3 Gardner, Howard, (1983). Pg. 3-4.

Bibliography

Bunting, Bainbridge. Early Architecture of New Mexico. University of New Mexico Press: Albuquerque, NM, 1976.

Casper, Dale E. Paolo Soleri, Master Architect: Twenty Years of Critical Comment. Vance Bibliographies: Monticello, IL. 1988.

Chauvenet, Beatrice. John Gaw Meen:Pioneer in Historical Preservation. Muesuem of New Mexico: Santa Fe, NM, 1985.

Elting, Mary and Michael Folsom. The Secret Story of Pueblo Bonito. Harvey House, Inc.: New York, 1963.

Ferguson, William M. Anasazi Ruins of the Southwest in Color. University of New Mexico Press: Albuquerque, NM, 1987.

Forrest, Earle Robert. Mission and Pueblos of the Old Southwest. Arthur H. Clarke Company: Cleveland, OH, 1929.

Garaway, Margret Kahn. The Old Hogan. Mesa Verde Press: Cortez, Co., 1986.

Gardner, Howard. Turbulent Teens. Jalmar Press, Carson Cal., 1987.

Grizzard, Mary Faith Mitchell. Spanish Colonial Art and Architecture of Mexico and the US Southwest.

Herzog, Lawrence. From Aztec to High Tech: Architecture and Landscape Across the Mexico-United States Border. John Hopkins University Press: Baltimore,          MD, 1999.

Hillman, James. A Blue Fire. Harper Collins: New York, NY, 1975.

Hillman, James. Thought of the Heart; and, The Soul of the World. Spring Publications: Dallas, TX, 1992.

Hillman, James. The Soul’s Code: In Search of Character and Calling. Random House: New York, NY, 1996.

Hillman, James and Michael Ventura. We’ve had a Hundred Years of Psychotherapy-and the World is getting Worse. Harper San Francisco: San Francisco, Cal.,         1992.

Mayne, David S. Soleri’s Cities: Architecture for Planet Earth and Beyond (video recording). Home Vision: Chicago, IL, 1993.

Markovich, Nicholas and Wolfgang F. E. Preiser and Fred G. Sturm. Pueblo Style and Regional Architecture. Van Nostrand Reinhold: New York,NY, 1990.

Moore, Thomas. Care of the Soul. Harper Collins: New York, NY, 1992.

Muench, David and Donald Pike. Anasazi, Ancient People of the Rock. American West Publishing Co.: Palo Alto, Cal. 1974.

Nabokov, Peter. Native American Architecture. Oxford University Press: Oxford, England, 1988.

Ortiz, Alfonso. The Tewa World: Space, Time, Being and Becoming in a Pueblo Society. University of Chicago Press: Chicago. IL, 1969.

Ortiz, Afonso, ed. New Perspectives on the Pueblos. University of New Mexico Press: Albuquerque, NM, 1972.

Ortiz, Simon J. After and Before the Lighting. University of Arizona Press: Tucson, AZ, 1994.

Ortiz, Simon J., ed. Earth Power Coming: Short Fiction in Native American Literature. Navajo Community College Press: Tsaile, AZ, 1983.

Silko, Leslie and Lee Marmon. Rain. Grenfell Press: New York, NY, 1996.

Soleri, Paolo. Arcology and the Future of Man. Montgomery Museum of Fine Arts: Montgomery, Alabama, 1975.

Soleri, Paolo. Arcosanti: An Urban Laboratory? VTI Press: Santa Monica, Cal., 1987.

Taylor, Anne. Southwest Architecture; The Ornamentation of John Gaw Meen. Sunstone Press: Santa Fe, NM, 1985.

Taylor, Anne, George Vlastos and Alison Marshall. Architecture and Children: Teacher’s Guide. Architecture and Children Institute: Seattle, WA, 1991.

Way, Jean. The Contemporary Architecture of John Gaw Meen on the University of New Mexico Campus. Albuquerque, NM 1977.

Philosophy: This is a class in Architectural CAD Computer Aided Design for 9th through 12th graders. The class will focus on architecture in the Southwest so the students may visit and experience various types of architecture within their environment. The entire curriculum is based on problem solving and critical thinking activities. The class will last an entire school year. The unit presented in this endeavor is for a three week period during the school year. The activities are broken into 85 minute periods and so you may have to make adjustments for your own class schedules. The students will have had 5 weeks of manual drafting and CAD (computer aided drafting) before this unit is begun.

It is important that all the students have the opportunity to succeed in school; therefore, the class will be taught in all learning styles, incorporating the various multiple intelligences. The classroom is set up to experience all mediums. Enclosed with the lesson plans, please see the diagram (fig. 1) of the classroom setup, which gives the students a chance to solve problems, in a hands-on approach, related to "real world" experiences.

This course is designed to meet the needs of the students and future employers in order to prepare the students to become productive members of the workforce or to encourage higher educational endeavors.

Special Considerations: Due to the high rate of inclusion of all students in regular classes, the following statement addresses this consideration. All labs and classwork remain constant during the school year. It includes all of the following: maintaining contact with students’ special education teachers and providing the individualized help required to each student, pairing students when reading or completing written work, allowing students to complete work in their native language, assigning work to be done with the aid of the LEP language equivalency programs materials or the aid of a special education teacher. Contact with students’ parents or guardians will be made when necessary. Grading is with respect to each students’ ability and his or her effort in project completion. In addition, maintaining a close contact with students’ counselors, liaisons and parents is a priority, in order for the student to succeed.

Standards and Benchmarks: This curriculum is written with the intentions of meeting district, state, and school goals, standards and benchmarks for a CAD computer aided design program for first year students.

Curriculum Unit
3 week unit on Southwest Architecture & Computer Aided Design CAD

Topic Presentation of Problem, Problem Solving Process, Group Cooperative Skills, Evaluation Procedures & Introduction to Southwest Architecture.

Delivery Lecture on Problem Solving Process, Application of Problem Solving Process to Presented Problem. Presentation of Evaluation Criteria. Class taken outside to sketch school or neighborhood buildings. Assign small groups to work on problem. (3 to 4 students in a group)

Application

Steps in Problem Solving
1. Define or restate the problem.
2. Research the problem.
3. Propose possible solutions.
4. Pick the best solution.
5. Try the solution.
6. Evaluate the results.
7. If necessary return to step 3.

Evaluation Criteria
                    1. Does the end result fulfill the problem criteria?
                    2. What problems were encountered in the problem solution?
                    3. How would you change the process or the solution?
                    4. How would you evaluate your participation in the problem solving process?
                    5. Does your model accurately reflect your written solution?
                    6. What overall grade would you give yourself on the project?
                    7. What overall grade would you give each member of your team?

PROBLEM
You are new architects working for a firm in Albuquerque, NM. You have been transferred here from various parts of the United States and Canada. The architectural firm is going to place a bid on a contract for a new housing development on the west side of the city in the desert. The housing development is a new concept with a town square and authentic reproduction homes of the southwest containing styles from 1800 to 1900. All the homes plus commercial structures, churches and the government offices must be authentic reproductions of styles of buildings from that era in the southwest. Your group is to choose one type of house or building to complete as well as the landscape design of the town square. You must research home styles, commercial buildings, and governmental buildings between 1800 and 1900. The bid requires one blueprint of your structure and a landscape plan of the town square. The blueprint must be done in the CAD computer drafting program, and the town square landscape must be manually drafted. Upon completion of the project, a 5-minute presentation with appropriate architectural models must be made to the city officials. The completed project for presentation, including models, must be ready in three weeks.

Facts: The entire land space is 1000 acres. The town square may take up no more than 4 acres. An individual house may have no more than 1/2 acre. Each house, although a reproduction, must be environmentally advantageous, cost effective, able to accommodate at least four people of various ages and genders, and be xeriscaped.

Materials Handout with problem solving process and evaluation process. Handout with problem. Paper and pencils for sketching and note taking.

Objectives Students will be able to use the problem solving process within a small group. Students will be able to sketch an example of one style of southwestern architecture. Students will be able to make a chart containing the evaluation process.
Closure Students sharing sketches when returning to classroom. Small groups’ restatement or definition of problem written on chalkboard.
Assessment Grade evaluation charts.

Daily Lesson Plan Day 2

Topic Southwest Architecture History

Delivery Slide show presentation of Southwest homes. Video on Bandelier Nat’l Monument. Lecture and discussion on cultural influences on architecture in New Mexico.

Lecture Content Typical of early Native American settlements in New Mexico is the Taos Pueblo. "Still inhabited, though now modified, is the Taos Pueblo, Taos, New Mexico, begun before the sixteenth century but showing the traditional method of adobe construction. The pueblo consists of two clusters of houses, each built of sun-dried mud brick, with walls ranging from two feet thick at the bottom to about one foot thick at the top. Each year the walls are still refinished with a new coat of adobe plaster as part of a village ceremony. The rooms are stepped back so that the roofs of the lower units form terraces for those above. The units at ground level and some of those above are entered by doors that originally were quite small and low; access to the upper units is by ladders through holes in the roof. The living quarters are on the top and outside, while the rooms deep within the structure were used for storage of grain. The roofs are made of cedar logs, their ends protruding through the walls; on the logs are mats of branches on which are laid grasses covered with a thick layer of mud and a finishing coat of adobe plaster. It is a massive system of construction but one well suited to the rigors of the climate..."¹  Albuquerque’s first settlers arrived on the banks of the Rio Grande and settled in 1705. The settlement was named Albuquerque after the Duke of Alburquerque in Spain. New Mexico was known as the New Spain. Hence the influence of Spanish Architecture in Old Town and much of the city today.

Housing and Architecture
        For shelter simple foragers generally used brush windscreens or small, portable tepees, tents, or wigwams of poles, bark, or hides. In the American Southwest multistory apartment houses in the form of pueblos made of stone, mud, and beams were made by the ANASAZI, possible ancestors of the Pueblo peoples. Temple and burial mounds were built widely in Nuclear America and in the Eastern Woodlands and the southwest of North America.

Spanish missions
The history of Spain's missions in the American South and Southwest reveals much about Spain's strategy, contributions, and failures in these regions. The expedition of Juan de ONATE (1598) convinced Spanish authorities that no wealthy Indian empires like that of the Aztecs were to be found north of Mexico. Consequently the Spanish came to view the northern frontier of their empire as a defensive barrier and as a place where pagan souls might be saved. In what is now New Mexico missions, were founded to propagate Roman Catholicism. To protect these missions as well as the mines and ranches of Mexico from attack from the north, the Spanish established presidios--fortified garrisons of troops.

The first missions in New Mexico were established by friars accompanying the Onate expedition of 1598; during the next 100 years Franciscan priests founded more than 40 additional missions, most of them along the Rio Grande. Especially influential was Father Alonso de Benavides, who directed the founding of 10 missions between 1625 and 1629 and thereafter promoted them ably in Spain. By 1680 missions had been established among most of the New Mexican Indians.

Missions varied enormously in their economic and religious success. Some could not support themselves; others developed fertile fields and vineyards and huge herds of cattle. Virtually all successful religious conversion was among sedentary Indians who were easier to control and more adaptable to agriculture and herding. The few attempts to convert such warlike nomads as the Apaches and Comanches failed dismally.

In seeking to introduce both Catholicism and European methods of agriculture, the missions encouraged the Indians to establish their settlements close by, where the priests could give them religious instruction and supervise their labor. Unfortunately this arrangement exposed the Indians to the Europeans' diseases, against which they had little immunity. An epidemic in New Mexico, for instance, killed 3,000 Indians in 1640. Critics charged also that the mission system destroyed much of the Indians' native culture and turned them into an exploited and degraded labor force. Indeed, there were sporadic rebellions; the most spectacular was led by an Indian named POPE in 1680; almost 400 Spaniards were killed, and the rest were temporarily driven from Santa Fe and northern New Mexico. After 1834 the Mexican government secularized most surviving missions, converting them for nonreligious use.

In design the missions reflected Gothic, Moorish, and Romanesque architectural styles--the various cultural influences brought by the Spanish. Paintings on interior walls sometimes depicted the Southwestern landscape and the artistic traditions of the Indians. Among the best surviving examples are Missions San Jose y San Miguel de Aguayo in San Antonio, Tex.; San Juan Capistrano, in the California town of the same name; and San Xavier del Bac near Tucson, Ariz.²

HOUSE CONSTRUCTION TERMS

"In terms of its basic construction, a house is composed of a FOUNDATION; the framing, or superstructure; an exterior skin; interior finishes; ELECTRICAL WIRING; HEATING SYSTEMS; and PLUMBING.

The Foundation
The base of the foundation, the footing, must be sunk below the frost line--the depth to which the ground freezes--to insure that it will not be moved by prolonged frost. The foundation walls are usually made of poured concrete or concrete block, and waterproofed below ground level. If the surrounding soil is poorly drained, drainage tile is used to divert underground water away from the foundation. Anchor bolts are set into the top of the foundation wall and are used to anchor the wooden house frame to the foundation.

Framing
In a conventional frame house, the frame--the skeleton that supports all the major elements of the house--is almost always of wood, usually of relatively small dimensions: 2 by 4 in., 2 by 8 in., or 2 by 12 in. in various lengths. The frame is fastened to the foundation walls by the anchor bolts; door and window frames, siding, roof covering, and flooring are fastened to the frame.
Although framing nomenclature varies widely in different areas, it includes several universal terms for those framing members which are present in almost every house.
The sill plate is the wood plank that is anchored directly to the foundation wall and supports the exterior house wall. The roof plate anchors the roof rafters to the house frame.
Posts or corner studs are the main vertical supports of the frame.
Studs are smaller vertical members and provide support for exterior siding and interior paneling or wallboard.
Braces are diagonal members used to brace the studs.
Girders, or beams--often of steel--are horizontal members that carry the weight of the house.
Joists support the weight of the floor and ceiling.
Girts and plates are horizontal ties holding the frame together at the second floor level and on top of the studs at roof level.
Headers are members placed over a door or window opening. They are used to support the ends of studs that have been cut off to make the opening.
Rafters provide support for the roofing material.
Framing practices differ according to the type of house being built. Conventional eastern, or braced, framing is the oldest framing type and is characterized by the use of solid corner posts and studs that run the full height of the house from foundation to roof. In western, or platform, framing, each floor level acts as a platform for the posts and studs above it. Balloon-frame construction uses continuous foundation-to-roof studs; unlike eastern framing, however, it may not use diagonal stud braces but will rely for its lateral strength solely on its exterior sheathing. All three systems introduce short bracings, called fire-stops, that block the fluelike spaces between studs.
Floor framing consists of joists strengthened by short stiffening members, or bridging. Rough flooring, or subflooring, may be plywood or rough boards laid diagonally over the joists; the actual, or finish, floor--wood, vinyl, or tile--is then laid over this substructure.
Roof framing differs according to the shape of the roof (see ROOF AND ROOFING). The most common shape is the gable, or pitch, roof, which is a simple triangular section: the two sloping sides meet at the center, or ridge. Most roof shapes are variations of the gable. Roof frames consist of rafters that form the support for the roof covering. They are attached to the roof plate and slant upward to meet the ridge board. They may be reinforced by interior braces. (Preassembled wood TRUSSES, which are complete rafter units, are now widely used in roof framing.) Plywood sheathing is nailed over the rafters, followed by air-resistant and moisture-resistant roofing paper and the exterior roofing material--usually asphalt shingle or slate.

Finishing
Interior walls, or partitions, are made up of studs covered with panels of sheet rock, or dry wall. (The older wet wall construction--plaster laid over thin strips of wood called lath--was slow and expensive and for the most part is no longer used.) The hollow space left within the wall will contain some of the plumbing, electrical wiring, and ductwork for certain types of heating and AIR-CONDITIONING systems. Other parts of these systems will be run through the exterior walls, the floors, and the ceilings.
Finish flooring and ceilings are now put in place. Interior trim such as doors, stairs, baseboards, and moldings is installed, along with finish plumbing and electric units: fixtures, switches, radiators, sinks, tubs, and so on.
Prior to exterior finishing, INSULATING MATERIALS are placed over or between the studs. Exterior plywood sheathing is then nailed over the studs, followed by building paper and the exterior finish material--wood shingle or siding, plaster or stucco, or masonry veneer."  3

Application Students trace slides on plain white paper using marking pen. Students meet to decide what type of building they will design.

Materials Slide projector. Slides of Southwest architecture and homes. Large sheets of white paper, marking pens. Handout of house construction terms.

Objectives Students will be able to apply the problem solving process. Students will be able to identify various characteristics of Southwestern Architecture. Students will be able to complete tracings of slides.

Closure Slides projected onto paper on classroom walls. Students tracing southwestern buildings.

Assessment Completed student tracings and participation in discussion.

Topic Southwest Architecture Research

Delivery Trip to school library with access to computers and internet. Include in the research the definition of the following architectural terms.
                adobe                 Anglo-American houses   
                bungalow                  hogan
                kiva                         latilla
                Spanish Mission pit house
                pueblo                 Spanish Colonial houses
                viga

Application Students will use various reference sources in the school library including books, magazines, encyclopedias, videos and the internet to research southwest architecture.

Materials Computers connected to the internet. Library. Research guidelines handout. (fig. 2)

Objectives Students will be able to use group cooperative skills. Students will be able to tell about the history of Southwest. Students will be able to use various reference sources including books, magazines, encyclopedias, videos and the internet.

Closure Students will hand in research notes.

Homework Students will bring in pictures of Southwest homes and buildings from magazines, newspapers or printed from the internet.

Assessment Grade research notes.

Daily Lesson Plan         Day 4

Topic Southwest Architecture Around Us

Delivery Field trip to Old Town in Albuquerque.

Application Students will take sketch pads and handout on the history of Old Town and some of its buildings. Students will sketch at least three historic buildings.

Materials Sketch pads and markers or pencils. Handout on the history of Old Town in Albuquerque.

Objectives Students will be able to identify various buildings constructed between 1800 and 1900 in Albuquerque. Students will be able to sketch historic buildings.

Closure Students will post sketches on the bulletin board in the classroom, identifying the buildings and the year they were constructed.

Homework Students will write one-half-page description of a Spanish Mission built between 1800 and 1900 in the Southwest.

Assessment Students will grade others sketches.

Topic Floor Plans, Elevations and Landscape Architecture

Delivery Students will work in their small groups using research notes and sketches. Students will have access to the resource books and slides of Southwest architecture in the classroom with information about floorplans, elevation drawings and landscape architecture.

Application Students will do a sketch of the floorplan, front, back and 2 side elevations of your structure using the research information about Southwest buildings. Put dimensions on the floorplan. Students will do a sketch of the landscaping in the town square of the new housing development.

Materials Sketch paper 17 x 22. Pencils, erasers, architecture textbooks, Southwestern architecture slides, slide projector and reference material on xeriscaping. Handout on Chaco Canyon, kivas and hogans. (fig. 3)

Objectives Students will be able to design buildings that replicate those constructed between 1800 and 1900 in the Southwestern United States. Students will be able to design a Town Square and the landscaping for it.

Closure Each group must hand in sketches of all elevations, the floorplan and the landscape architecture in the Town Square at the end of class.

Assessment Grade sketches.

Daily Lesson Plan         Day 6, 7, 8, 9

Topic CAD (Computer Aided Drafting) and Manual Blueprints

Delivery Students will begin to transfer the sketches onto the computers into Autocad (a commercial CAD program) or begin a manual blueprint of the landscape architecture in the Town Square.

Application Students will begin to transfer the sketches onto the computers into Autocad (a commercial CAD program) or begin a manual blueprint of the landscape architecture in the Town Square. The computer drawings will consist of a floorplan of the structure, electrical systems, heating and plumbing systems, front, back and 2 side elevations of the structure. The drawings will be fully dimensioned and then printed on the blueprint machine on D size paper (22" by 34") and will be done on a scale of 1/4" equals 1 foot. The blueprint will have a 1" border and a title block.

Materials Computers equipped with a CAD program. Size "D" paper. Manual drafting tools (T-square, architects scale, triangles, erasure shields, landscape templates, compass and mechanical pencils.) Sketches of all elevations, the floorplan and the landscape architecture in the Town Square.

Objectives Students will be able to use the CAD program to produce working blueprints of their structure or students will be able to manually draft a landscape blueprint.

Closure Students will print out on a printer on 8 1/2" by 11" paper the work they have completed during the class while transferring drawings into the CAD program or they will hand in the manually drafted landscape blueprint.

Assessment Grade printouts of drawings or manual blueprints daily.

Daily Lesson Plan         Day 10

Topic Model Construction Techniques & Cost Estimation

Delivery Teacher demonstration of tool safety, model building techniques and construction cost estimation.
Tool Safety Rules
Blades should be carried down and away from the body.
Never use a dull blade.
Keep blade at least two inches from fingers when cutting.
Never cut directly toward your body.
Always use a metal straightedge to cut against.
No jewelry.
Tie long hair back.
Keep all guards down when using power tools.
Always wear safety glasses while using power tools.
Never touch the metal part of the hot glue gun.
Never touch glue that has just been melted.
Always keep the hot glue gun in its holder when not in use.
Unplug glue gun when finished.
Never run in the classroom.
No fooling around.
No gum, candy, food or drink in classroom.
All tools must remain in model building area.

Model Construction Techniques
Place your material for constructing the model on a large flat surface. Under your material place a large piece of chipboard that can be used as a cushion to cut on. Copy elevations, walls and floorplan onto model material. Place a metal straightedge (ruler) along the lines drawn and carefully cut the material. Do not try to cut through the entire thickness of the material with one cut. Make three or four cuts along the same line. When you wish to bend the material at a particular point, score the material with one gentle cut that does not go all the way through the model material. Make sure you cut out all windows and doors before gluing. Carefully use the glue gun to place several spots of glue along one of the edges to be joined. Then hold the second piece in place until the glue sets. Any gaps can be filled in with a clear drying white glue.

Application Students to brainstorm safety rules for using an exacto knife, a utility knife, a jigsaw, a handsaw, large paper cutter and hot glue gun. Teacher will demonstrate the correct procedure for cutting cardboard, chipboard or foamboard. Teacher will demonstrate the correct procedure for using the hot glue gun. Teacher will demonstrate the correct procedure for transferring blueprints to construction material to build a model where 1/8" equals 1 foot of the original dimensions. Students will list all the necessary materials to build their structure.

Materials Exacto knife, utility knife, jigsaw, handsaw, large paper cutter and hot glue gun. Blueprints of structure and landscape. Straight-pins, ruler, T-square, architects scale, triangles, erasure shields, landscape templates, compass and mechanical pencils. Chipboard, foamboard and cardboard.

Objectives Students will be able to use cutting and model construction tools safely. Students will be able to pass a tool safety test. Students will be able to be able to transfer blueprints to model making material.

Closure Review of Safety rules.

Assessment Test on safety (must get a grade of 100% before they can use tools.) Students begin transferring blueprints to model making material.

Daily Lesson Plan         Day 11, 12, 13, 14

Topic Model Construction

Delivery Students will construct models on a 1/8"=1 foot scale of their blueprints. Students will research and record materials cost using telephone, catalogues and internet, for construction of buildings and landscaping.

Application Students will begin construction of the models.

Materials Exacto knife, utility knife, jigsaw, handsaw, large paper cutter and hot glue gun. Blueprints of structure and landscape. Straight-pins, ruler, T-square, architects scale, triangles, erasure shields, landscape templates, compass and mechanical pencils. Chipboard, foamboard and cardboard. Telephone, building material price catalogues and internet access.

Objectives Students will be able to construct 1/8"= 1’ models of their blueprints.
Students will be able to prepare a cost estimation sheet for a prospective client.

Closure Continued working on models and cost estimation sheets.

Assessment Daily journal of work accomplished during model making and cost estimation by each student.

Daily Lesson Plan          Day 15

Topic Presentations to imaginary clients by students.

Delivery Student presentations of blueprints, models and cost estimations. (minimum 5 minute presentation)

Application Student presentations.

Materials Video camera to record presentations.

Objectives Students will be able to judge the quality of the work presented and chose the building styles most appropriate for the project.

Closure Students will view the presentations recorded on tape.

Assessment Students will fill out evaluation sheets on the project. The project grade will be a combination of teacher grade and student evaluation sheet. (80% teacher grade and 20% evaluation sheet grade)

(figure #1)

This paper will be to take notes and record sources of information needed to complete in solving your architectural problem. The notes should include some examples of construction materials, general building styles and history of Albuquerque.
Use at least 5 resources for your notes. Hand in this page with your project. Notes are due at the end of class today.

Resource #1
Title
Author
Publisher
Date Published

Resource #2
Title
Author
Publisher
Date Published

Resource #3
Title
Author
Publisher
Date Published

Resource #4
Title/ Internet Address
Author
Publisher
Date Published

Resource #5
Title/ Internet Address
Author
Publisher
Date Published

NOTES

(figure #2)

CHACO CANYON, HOGANS AND KIVAS
Chaco Canyon, in northwest New Mexico about 70 km (45 mi) south of Bloomfield, is the site of numerous ruins of the prehistoric ANASAZI culture, including the largest and most completely excavated multistoried communal dwelling, Pueblo Bonito. A national monument from 1907, it was renamed Chaco Culture National Historic Park in 1980. The 88-sq km (34-sq mi) park constitutes, with MESA VERDE, one of the most extensive collections of pueblo ruins in the southwest.

In addition to the great multistoried, freestanding apartment houses of Pueblo Bonito, Chetro Ketl, and Pueblo Arroyo, there are numerous smaller sites, including a Basket Maker village of the period AD 450-750 and a restored Great KIVA (large ceremonial chamber) of AD c.1000. Pueblo Bonito is situated on the valley floor with its back to a towering mesa. Tree-ring dates indicate that construction of the huge building was begun around AD 900 and not completed until about 1115. Arranged in a D-shaped arc that encloses a central plaza, the pueblo reached a height of four stories and contained more than 650 rooms, with numerous subterranean kivas scattered through the complex.

In the ruins were found fine specimens of traditional PUEBLO black-on-white and corrugated pottery wares as well as outstanding examples of shell necklaces and pendants inlaid with turquoise, evidence of trading contacts with Mexican cultures. The great communal buildings of Chaco Canyon were abandoned during the 12th century, for reasons not yet understood by archaeologists.

hogan
A hogan is the traditional dwelling of the NAVAJO Indians of Arizona and New Mexico. It is an unpretentious structure, usually of logs and mud although occasionally of stone, designed to blend into the landscape. The walls are formed of horizontally placed logs built in toward the center, so that the roof is shaped like the top of a beehive. The entire exterior of some hogans is covered with earth. Most hogans have dirt floors and are without windows. The low entryway is usually covered with a blanket. The typical hogan contains little or no furniture, and members of a family sleep on sheep pelts arranged around a central fire.

{kee'-vuh}
Kivas (Hopi for "old house") are sacred ceremonial chambers of the present-day PUEBLO Indians of Arizona and New Mexico; they are also found in the ruins of the prehistoric ANASAZI culture. The kivas traditionally belong to the religious fraternities in Pueblo society, whose members perform secret rites from which the uninitiated are excluded. Most kivas are semisubterranean, built along clefts on the edge of the mesa with the roof of the kiva level with the ground surface. These rectangular or circular stone rooms have no doors and can be entered only by hatchways, descending by ladders through the roof. In addition to being used for the performance of esoteric rituals, the kivas also traditionally serve as council chambers and workshops, where the men do the weaving. (figure #3)

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The World-Wide Web Virtual Library: Architecture
Architecture Virtual Library A special resource for those who want to be an Architect. Groups: Schools Government Organizations Research Firms Jobs http://www.clr.toronto.edu:1080/VIRTUALLIB/arch.html

Derren`s Architectural Web Page
Browse into areas which will lead you to the understanding of Architecture and its location of firms and institutions. http://www.arch.su.edu.au/~wong_de/INDEX.html

Richtex Architecture & Building Links - Architectural & Construction I...
Richtex Architecture & Building Links is a meta-index of the best architectural directories on the World Wide Web.
http://www.architecturelinks.com/

UO Architecture and Allied Arts
The School of Architecture and Allied Arts offers professional education in architecture, interior architecture, landscape architecture, and community planning and public policy as well as opportunities for study in the history, theory, administration, and practice of the visual arts.

Renaissance and Baroque Architecture: Architectural History 102
The images included in this collection were scanned from slides taken by Professor C. Westfall and used in his survey course, Renaissance and Baroque Architecture (ARH 102), University of Virginia, School of Architecture, Department of Architectural History. http://www.lib.virginia.edu/dic/colls/arh102/index.html

Arts: Architecture - Ferris State University Web Links
Arts Architecture Architecture, Design, History, Images and 3D Models Artifice Great Buildings Collection AEC InfoCenter: Architecture, Engineering, Building Construction
http://www.ferris.edu/htmls/CONNECT/ARTS/archit.htm

Art & Architecture Book Stores
Art & Architecture Book Dealers Listed below are links to book dealers who have large collections of art and architecture books for sale. We list them for your convenience, not as an advertisement or endorsement.

UCLA Architecture Websites
The following sites have been chosen by the Librarians in the UCLA Arts Library primarily for their potential usefulness for research and reference in architecture and architectural history.

Frank Lloyd Wright
PBS Frank Lloyd Wright Web site, a companion to the Ken Burns/Lynn Novick film, contains biographical information, drawings and blueprints, analysis of parallel architectural movements, critical reviews, and lesson plans centered around America's most famous architect.
http://www.pbs.org/flw/

Las Cruces, New Mexico
Welcome to Las Cruces, New Mexico. Our name means City of the Crosses. Over four centuries ago Spanish explorers brought their faith and their language to this land.
http://www.weblifepro.com/lascruces/

Early American Building Trades Robert Cottrell, Remick Museum & Robin Rohrkaste Crumrin, University Library, IUPUI Arbor, Marilyn. Tools and Trades of America's Past: The Mercer Collection.
http://www.connerprairie.org/craftbib.html

Topic Environmental Impacts and Architecture.

Delivery Student reading and discussion.

Application Students will return to library for one period of research on new building materials and solar home design. Students are to draw a sketch of a Southwestern solar home or a straw-bale home.

Materials Research form, books, magazines, internet access.

Objectives Students will be able to identify environmentally sound housing. Students will be able to design either a Southwestern solar home or a straw-bale home.

Closure Students present drawings to class and explain the environmental impact of straw-bale housing.

Assessment Grade house designs and presentation.

Architecture and History of Barelas

Lorraine Bustos-Martinez

Summary

This curriculum will teach middle school students architecture, oral and visual history of their neighborhood where most of them reside within the Barelas Community area. About 95% of these students are on free lunch programs, the community is poor and test scores are relatively low. The population is basically Hispanic, whose families settled in this area generations ago. The other students are immigrants whose families are seasonal or migrant workers. I teach ESL(English as a Second Language) at Washington Middle School. The students that I teach usually do not complete the entire year, and Spanish is usually their first language. The focus for the year is to teach these students to read, understand what they read and speak English, therefore this lesson will be introduced and carried through in Spanish and English.

A lot of the students that attend school, live at or near the historic renovated neighborhood of fourth street and Barelas. They will have a better understanding of this area and the relationship of architecture when this lesson is introduced to them. I will present a narrative history of the area. The objective is to create knowledge, observation, description and develop hands-on skill through architecture and design thinking.

This unit is an interdisciplinary curriculum. My primary focus during the next semester will be nine weeks to assist and direct students through this unit. They will be involved in a survey, hands on lessons, walking tours, face to face interviews with people of this community, and architectural history of this area. This curriculum emphasizes observation, critical thinking, practical skills, cultural knowledge and understanding, civic and aesthetic values, creative expression, reading and writing, speaking and listening, literature based instruction and creative-artistic problem solving, and hands-on expression. This unique discipline helps students become involved in practical learning skills. They will meet state standards and benchmarks as required by the district.

In the following curriculum I will introduce the historical background of the community of Barelas as it existed and as it is known today. This is informative to students, teachers, and community.The information was gathered for this unit was through numerous resources; the Albuquerque City Planning Office, Barelas business district residents, personal interviews of the residential area, newspaper clippings, architecture history for children, and New Mexico history books. This unit will reflect what will be utilized during the course of this semester, what can be taught, the method of teaching it and how it can be evaluated. This information is important for teachers who would like to teach a similar unit or other units that may reflect architecture.

Strategies:
The classroom setting will be created into an architectural setting, giving students plenty of space to work individually or in groups work, which enhances cooperative learning. (Figure #1) They will learn architectural vocabulary terms such as vertical lines, foundation, vanishing point, horizon line etc. They will have an opportunity to utilize their senses, work with clay, draw, construct models from cardboard or shoe boxes. They will learn about webbing or bubble diagrams, as well as grid work which helps them plot their ideas into designs for floor plan outlines.

A walking tour can help students identify geometric forms in architecture. The students will go on a field trip to the Historic Fourth Street/Barelas District. From this the students will learn the procedures for compiling information. They will take a journal and paper which they can write on while on their walking tour. Permissions letters will be sent home for each child; they must be signed and returned to their teacher. It is important to follow school field trip procedures. Students will understand what procedures are needed for this assignment about themselves, from the school and from the merchants.

I will include a permission letter which is included in this curriculum.(figure # 2) It will be presented to merchants prior to visiting their businesses. Students will have an opportunity to speak with merchants as well as with residents. A series of questions will be provided to all students to assist them while talking to merchants. They will be encouraged to solicit answers based on numerous questions. This helps students overcome their shyness, and become knowledgeable of the course matter.

Previously, I mentioned that these students are in school for a short period of time and it is important to begin this lesson as soon as school begins; it will help keep them. I will introduce the architecture lesson to students the first week of school. They will get a copy that introduces a brief history of Fourth Street/Barelas area. They will observe pictures of historical buildings that exist in this area. They will observe the different architecture styes of numerous buildings. As the semester progresses they will create hands-on three D projects. They will learn to read a map that reflects where this area is located. They will learn about the history, architecture, and present status of what is going on in this area to date.

I am including a list of the architectural terms which are going to be introduced and this will assist them to understand this unit. The Albuquerque City Planning office offers a list of photographed homes and locations. This may be obtained from their city offices.

Vocabulary:
truss     vanishing point     horizon line   vertical line     floor plan     bubble diagram
beam    column                 arch              base               entry way      elevation
portal   foundation             vigas             bridges          tracing           grids
model  aesthetics              latias              plan view      data               city plan

Historical Summary:

Nobody remembers why, or who named this area "Barelas," but the first Spanish documents of 1662 mention Pedro Varela (Barelas) established the first farming ranch in this area. It is a predominately Hispanic neighborhood where the first Hispanic farming villages developed in the 19^th and early 20^th centuries not far from the ford of the Rio Grande River. The railroad system was developed in 1880. Soon after, Fourth Street became Route 1, and in 1924 the area was redesigned as U.S. Routes 66 and 85. This is the area which created an urban core .

This area is located on South Street Historic District within the city of Albuquerque, New Mexico in Bernalillo County. It begins three blocks south of downtown and is surrounded by the commercial and residential buildings. It is three blocks away from the old Santa Fe Railway Locomotive Shop and tracks. Most of the building are New Mexico vernacular houses built of adobe and corrugated metal roofs, Bungalow style homes, Queen Anne Style, four square houses, shotgun, wood and brick form homes, flat and hipped roof homes.(figure #3 roof styles)

The history that will be introduced will be based on the origins of this area and Route 66. Its major routes were the Chihuahua, Mexico Trail, and Santa Fe Railway otherwise known as the Camino Real, the main route connecting New Mexico to Mexico. Supply trains traveled the Camino Real (Kings Highway) twice a year bringing chocolate, paper, coffee, oranges and yard goods to isolated villagers. Barelas area is a path of history, it is located at the best ford of the Rio Grande, where the first bridge is located, not far from the Plaza and not far from the locomotive repair shops.

Barelas is one of Albuquerque’s first forming communities originating sometime in the mid 1600's. This area has pioneered its earliest inhabitants and as it grew it fueled Albuquerque’s early growth until 1960. By 1860, there were 300 people who farmed their fields by the acequia madre(main irrigation ditch). The vein that feeds the acequias is the Rio Grande which is known to be 1,800 miles long. The greatest river connects with New Mexico, Texas and Mexico.It plays an important role in the state of New Mexico history.

In the early 1800's, like other Hispano farming villages, a strong sense of community developed through family ties, and the custom of compadres (god-parents) began to move closer together from surrounding villages. These areas included Colorado and Chihuahua, Mexico after 1880. The area of Barelas formerly known as Varela, as previously mentioned, matured into an urban neighborhood. The area has a deeply-rooted historical, cultural connection to communities in the southwest or the U.S.- Mexico border region. The buildings in this area are dwellings that common folk of the time could afford. This constituted the original settlers and their descendants who migrated during the latter years.

Mexican Era 1660-1880:

It is during this era of 1662 that Barelas was born because of its tributary valley location and position along the Camino Real (roadway). Many communities existed along this route from Mexico City to La Villa Real de San Francisco de Assisi de la Santa Fe, (Santa Fe, N.M.) New Mexico. New Mexico was governed under appointed and elected Captain don Diego Dionisio de Panalosa Briceno y Berdugo. The state was under Mexican Rule from 1822-1846. Two years later, on February 2,1848 the United States and Mexico signed the Guadalupe-Hidalgo Treaty. The United States under the direction of General Stephen W. Kearney paid Mexico fifteen million dollars for New Mexico, Colorado, Texas, California, Nevada and Utah.

It is during this era that adobe houses and single neighborhood general stores, metal roofs, canopies on stores were constructed. These canapes gave buildings a Spanish-Mediterranean -Caribbean look. Shady portales over the walkways of commercial buildings and stone veneers continue to exist today.

Farming Community 1830's:

As more and more people populated the area, water from the acequias was diverted into the community by means of irrigation ditches for proper irrigation of this farming community. Homes were constructed in different styles of adobe and stone. The casa, or house began as a single, square-sided, flat-topped roof. The basic styles had corbels, canale, latias, vigas, bullets, moldings, columns, shingle, portals, posts, shudders, Victorian style, quatrefoil windows, bay windows, and pattern moldings.

They were constructed of earth tone colors, wooden framed windows and doors, roofs were either flat or steep patterned. These homes were constructed with different materials of the area until the railroad system integrated in 1880 into this farming community.

Railroad Neighborhood 1880-1948:

Social changes took place when the railroad arrived in Albuquerque. It became a vehicle for economic transportation. The roundhouse was built offering jobs to numerous people of other areas along the Camino Real. About 80% of the neighborhood residents were of Spanish descent. Some Italian, Anglo, Irish, Greek and Polish Americans, Mexicans, Germans and Eastern United State immigrants moved into the area. By 1920 there were at least 1,500 inhabitants.

As a result this also influenced the form of architecture. It developed a stronger identity and soon boasted Victorian cottages and owner-built adobes with gabled roofs. The styles of these homes are characterized by bold design and irregular forms. A Gothic style home is constructed very strong with vertical narrow boards, diamond shaped windows, iron doors and window hinges.

Italian style homes had lower roofs, arch shaped doors and windows and double doors. Again as with the above mentioned styles, these buildings were not always modeled to accommodate the structure of the already existing building. This is an area of the city, unlike many others, where defined details of the architecture is either simplistic or very detailed.

As the downtown and Barelas area developed between the tracks, subdivisions of square blocks with narrow lots were plotted. These lots ran mostly north-south and a few east-west. A new style of homes was now being constructed. The architecture consisted of brick and wood frame houses with multiple intersecting roofs .

The area suffered when the Santa Fe Railway completed its conversion from steam to diesel locomotives, which required less maintenance. Repairs now were consolidated with Texas and California. By 1950 the employment for repairs reduced from 1,000 to 100 employees.

New Mexico Route 1 Highway Boom 1942-1945:

Bridge Street was added south of Barelas 4th street (known today from the east side bridge; Caesar Chavez Blvd. and westbound is Bridge Avenue). The Camino Real Highway, recognized by the federal numbering system, was incorporated as U.S. Route 66 (East-West) and U.S. Route 85 ( North- South) highway traffic across the state of New Mexico went down Fourth Street and over the Barelas Bridge. More than 3,500 vehicles were crossing this bridge daily. This was the classic first-generation automobile strip that resulted in having two major U.S. highways run down an existing residential street.

Construction of Service Stations, New Stores and Grocers 1931:

Four service stations and eight stores elevated the neighborhood, especially with the grocery influence of Piggly Wiggly chain store. This influence emerged the shopping district area and now newer commercial buildings were being added alongside the first utilitarian designed buildings, attracting even more tourists because of its uniqueness. Central Avenue was constructed in 1931 and designated as the east -west Route 66 highway in 1931. Car and tractor dealerships continued to expand even through the Great Depression. New construction ceased during World War II due to the lack of resources and material and many men joined the armed forces. Many families moved to the East Coast in search of jobs. It is during this era that the locomotive shops employed 1,500 workers.

The Shopping District 1946-54:

The district continued to expand after the war and traffic was more abundant and crowded. By 1948 traffic over the Barelas Bridge peaked at 15,000 and in 1952 it was 20,000 from second street to the Central Avenue Railroad underpass. Between 1947-1956 more angular International Style buildings were erected alongside the mixture of existing buildings. The merchant district attracted a large majority of Hispanic and Spanish-speaking natives from Northern New Mexico and Southern Colorado. Other merchants in this area were immigrants from Mexico, Greek-American, a Jewish-Polish American merchant family, a South-American physician, Cuban-American barber, and an Italian-American grocer.

Southern communities 1960:

The new expanded communities South of Fourth Street were Los Lunas, Los Chavez, Los Padillas, and Isleta. The Northern communities were Albuquerque, Los Martinez, Los Darwinist, Los Chandeliers, Los Gringos, Alameda, Corrales, and Algodones. These areas usually were named after families’ last names who resided there or named after their profession.

Revitalization and Restoration 1960-present day:

The rapid growth and changes of the economy declined affecting Barelas physically, socially, economically, and politically. It is important to know that the majority of these buildings remained the same.Therefore; in 1992, an architectural project got underway directed by the U.S. Department of the Interior and registered this area for historic preservation. The reason behind this was due to the decline of security and the wide spread of crime, boarded up buildings and windows, security barred homes and remaining businesses and basically the deterioration of a once booming community.

The state and the city have allocated grants of up to $2,500 or match property owner expenditures as high as $25,000 to renovate the area. The services provided for this will include free design services, publicity of the area’s history and revitalization, contrasting color schemes to enhance the detail and character that each building once had, the replacement of fixed windows and coverings with security shutters, reconstruction of sidewalk canopies. Signs, sidewalks, road repairs, lighting system and the new construction of the Rio Grande Zoo, Biological Park, and the most recent underway construction of the Cultural Center

Interview:

The most recent construction that has been introduced in this area has been the Hispanic Cultural Center. It was introduced in the first session of the 41^st legislature. Its primary focus is to educate and serve New Mexico arts and humanities. This includes art, drama, traditional and contemporary music and dance, research, literary arts, genealogy, oral history, publications, special events from storytelling and fiestas, films, videos and culinary art.

Oral personal interview procedures:

1. Set a schedule to interview, call the person ahead of time, and ask permission to interview.
2. Be sensitive, courteous and polite.
3. Arrange a time schedule and location to meet.
4. Utilize the spoken language that the interviewee is comfortable speaking.
5. Ask direct questions and wait for responses.
6. Get permission to photograph or record if needed.
7. Stay on task with your time-management.
8. Thank them for the interview and schedule for a second one if needed.

The cultural center will be constructed off of Fourth street and Bridge street. Every person who lived in this area sold their lots to the city except Adele Martinez. In a recent interview she revealed that she refused to sell.

"I was born here, I was born at home in this house, we only had the midwife. My mother had eleven with the midwife in this home." "And then my sister, she died over here in our other house." This was the corner house near the ditch and my mother bought this land from the Springers, and when we bought here, a lot of people started buying over here." "We bought the land and my mother and small brother stated making adobes and they build the house."
"The one that is older, was the one that made the house."
"I had two boys and two girls."" Fourteen grandchildren, twelve great grandchildren and six great-great grandchildren and soon to have a seventh."
"I have five living generations, and I am seventy-nine years old."
"I don’t regret not selling because this is my home, and this is the land that was bought with the money that my mother gave to buy it." "The politics had meetings, but not with us to have a nine feet fence built around us."
"I feel like I will be in prison, and what they are doing is not right."
"In my heart, my beloved son, he is the one who died at age twelve here, he played the guitar, he planted the trees, and he hung a tire from this tree."
"and I won’t destroy what he did."

Adele’s fond memories will live in this home until the day she dies, she will not sell.

Adele gave a disrcription of what the area looked like when she was a little girl, she said that her grandfather was a French man and moved to New Mexico from California. She felt comfortable speaking in both Spanish and English languages.

The cultural center is being constructed around her property. There will be a high wall surrounding her home.Many residents of this area have expressed that Barelas area has cultural value as well as traditional family pride. As mentioned previously, the areas inhabitants have lived here for numerous years and find it difficult to move away. The cultural center will become a part of the other cultural facilities along the Rio Grande Valley with the zoo, the aquatic botanic area, old town plaza, and the railroad. The historic district provide residents and businesses an opportunity to enhance this valuable neighborhood.

A pamphlet states that: "the mission of the New Mexico Hispanic Cultural Center is to create a greater appreciation and understanding of Hispanic Culture for the public at large. NMHCC will provide a venue for presenting the historic/contemporary representations and achievements of this rich culture over the past 400 years."

The NMHCC will serve as a local, regional, national, and international site for the study and advancement of Hispanic culture. The center will located in the heart of New Mexico, a place with a long and storied tradition of Spanish influence and settlement reflecting the unique ancestry of Indo-Hispano roots. Students will have an opportunity to tour this center upon completion and will be have an opportunity to write poetry that reflects their knowledge of their Hispanic background.

Evaluation:

Students will have an opportunity to become involved with hands-on projects that they have not had before. Numerous youth are not properly educated about the value of neighborhood. This lesson will allow them to value the quality and hard work that has been emphasized in this area.

This project will change their views about architecture styles, community, history, observation, listening skills and hands-on learning techniques. They will be able to transition this into their personal lives and learn to respect their community. After becoming involved in this architectural program and learning about their community, students will think before destroying their neighborhood (spray paint).

The curriculum’s effectiveness will be evaluated by teacher observation and interest, hands-on projects, community involvement and display of final projects. Students will consider a variety of approaches within this historical community, through family and peer involvement, record keeping of the neighborhood that they studied. The kinds of lines the building design has, the shapes, colors, texture and their interest in the buildings. As their teacher, I will be responsible for all aspects of instruction, grading students progress and scheduling activities, involving teams, planning trips, and inviting speakers and project evaluation.

Project will be evaluated by the number of students who are involved in this project, their hands-on activities and note taking journals. Their general interest as students, teachers, parents, and the community as a whole.

Letter to Property Owner(Figure #2)

(A letter such as this will be drafted prior to students touring their neighborhoods, community, or business.)

1. Decide on a letter to send to property owners.
2. What do you want them to know about your project?
3.Are they willing to be interviewed?
4.Can you take photos of their building?

Date

Name if known

Street address

City/State/Zip Code

The students from Washington School are going to be in your neighborhood this week collecting data for our Architectural Design Planning Class. We are attempting to incorporate the study of history and architecture in our ESL class. This block was chosen because of the different kinds of architectural styles, common architectural details, and because we live and attend school near this area. Our project is supported by our school(name of school).

We would like to sketch, photograph, and study the area of homes and businesses. We count windows and doors, observe designs and with your permission record an oral interview. We would like to have your permission to bring (total number of students into your front area of home or business. Our visit is 45 minutes and we will try not to bother you in any way. Thank you for enriching the education of our youth.

Lesson Plan: Schematic drawings and architectural conventions

Goal: The students will create architectural floor plans, this will help their thinking skills,visual and spatial thinking and techniques.

Vocab:     elevation drawing     horizon line                  perspective drawing
                vanishing points        three-dimensional        section drawing

Purpose: To introduce the students to drawing a simple and familiar object in an architectural style.

Procedure: Demonstrate in a drawing the figurative lines which begin in the center horizontally.

At the beginning of the line on the left hand side, label this Vanishing Point A. Draw a line from A across to the left hand side and label this Vanishing Point B. The line in the center is called Horizontal Line. The line that runs up and down and crosses the center of the Horizontal line is the Vertical Line.

Materials:         paper      pencil     ruler      paper       construction paper

Drawing Exercise:
This is a drawing that architects use to see how a building will look in a detailed lay-out. The vanishing points are important because it allows you to see the your drawing at an eye level and as humans have three partsto their body, so does a building. The center is the middle(torso), the roof (head), and the lower area (feet).

Optional Exercise:
An oblique perspective drawing will help students see how a building looks and feels inside. Provide tracing paper and pencil and show them an empty shoe box as their design. After drawing two squares overlapping they will connect the corners by drawing lines to each corner.

Evaluate: Ask each student to think about the squares or boxes that surround them their lives (ie; a car, television, a windows, they eat in tables, sit in boxes etc.) Clarify the meaning of boxed-in, and consider the multiple approaches that help see your surrounding area.

Lesson Plan: Bubble Diagrams

Goal: The students will utilize their senses during this assignment and learn the schematic techniques that will represent space, order and form.

Vocab:     sound graphics     images               space          design
                spacial relation     form collision     unity           order

Purpose: The students will observe the bubbles and hear the balloon, they will feel the bubbles and the air from the balloon as they blow them up and they descend.

Procedure: The students will observe the life of a bubble and compare it to the life of a building.Once they see the first, fourth, fifth bubble blowing out they will draw the birth, life and death of a bubble. Explain to them that buildings have the same format, their foundation, the upright building, and the roof. When this building collapses or burns it will lose its life.

Material: colored balloons pencils paper crayons construction paper

Exercise: Students will be asked to observe balloons that are about to be blown up, ask them to observe carefully and begin to draw what they see from birth, middle and death as it occurs in a pattern. This is a retrospective movement drawing showing how the balloons fly through air and space. Have students create bubble diagrams and explain to them that each represent space needed to live in.

Floor plan: After they cut out their colored circles they can arrange them on a flat surface cardboard area and label each space; kitchen, bedroom, living room etc. They can compare various spaces and sizes and arrange them where they want them to be: This a technique that architects use to start developing their ideas into designs that are to come alive. The final project teaches them that planning for an idea takes time and effort, whether that is a trip, cooking, homework, or a party.

Evaluation: Students present their plan and drawings and explain what they have completed. They will be evaluated on their imagination, innovation and creativity.

Lesson Plan:

Objective: the students will go on a walking 4^th street tour to observe buildings and their architectural styles.

Goal: students will gain a visual understanding of the varied buildings and neighborhood area. Apply this knowledge by writing about the area in their visual journals utilizing sensory perception.

Materials: hand out a list of questions that only they will answer after walking through the area.
Camera

Procedure: They will also have an opportunity to utilize cameras and take pictures of the architectural structures that most interest them while on a walking tour toward 4^th street area.

1. Define architectural terms.
2. Read questions orally regarding each structure.
3. Observe the architecture.
4. Focus camera and choose the best angle (taking photos with your back to the sun).

Vocabulary:
                    asps          latias              territorial style                  placita
banco           lintel          Victorian                     horno
buttress      merida          steeples                       vigas
adobes      ventana          corbel                         fogo
roof pitch   fish scale      molding

Define each word and label each photo taken in walking tour with appropriate vocabulary. Illustrate each word as a piece of work. Display their work in the classroom walls.

Evaluate: Students now have a more fluent vocabulary and can communicate and understand through visual aesthetics the detailed architecture of the buildings and the design that each structure has.

References and Bibliography

Anaya, Rudolfo. Heart of Aztlan. Albuquerque: UNM Press, 1976.[ Novel set in post World War II Barelas].

Albuquerque’s City Planning Committee. Albuquerque’s Historic Landmarks. 1993.

Albuquerque’s City Planning Committee. A Chronology of South Fourth Street and Barelas.1995.

Chihuahua Trail. 1958, reprinted Norman: University of Oklahoma Press, 1995.

Ching, Francis D.K..(1996).Architecture Form, Space, and Order.International Thomas Publishing Inc.

Garcia, Laura vigil. "Brief Recollections of South Barelas." Unpublished Manuscript, 1992. [SWCollections, Albuquerque Library; CSWR,UNM].

Kinsman, C. Design. Historic Albuquerque Tour Map and Guide.1992.

Kinsman, C Design. Albuquerque New Mexico’s Historic Route 66 Tour Guide and Map.1993.

Martinez, Dela. Interview at Ms. Martinez home June 1999@ (4^th and Bridge).

Taylor, Anne, Ph.D.1991. Architecture and Children Teachers Guide. Albuquerque, N.M: School Zone Institute.

Wilson, Chris. "Barelas-South Fourth Street Historic District." National Register of Historic Places nomination prepared for the City of Albuquerque Planning Department,1996.

Wilson, Chris. 1986. University Neighborhoods History Handbook. Albuquerque, New Mexico.

 Introduction
This project will incorporate Geometry concepts with the architecture around us giving students a hands-on approach to learning, allowing them to experience the excitement and see the logic of learning Geometry in the context of the environment, in particular, Southwest Architecture.

Need
The students have difficulty comprehending formulas and seeing the practical uses for them. They will learn these skills through the drawing of two-dimensional designs and the building of three-dimensional scale models, and then will apply the formulas to these real-world applications.

Purpose
This project will combine the ideas of shape and measurement, encompassing both two and three-dimensional figures, with the concepts of Southwest architecture. The concepts of Geometry, beginning with points, moving on to lines, then on to two-dimensional shapes and then, finally, to three-dimensional solids, parallel the study of architecture. The study of Southwest Architecture provides the students with real-life examples within or very near their own community. Students will connect the principles of Geometry by following a common strand rather than chapter-by-chapter isolated topics.

Review of Literature
Students will learn to research materials needed, comparing and contrasting design ideas. They will also learn to present this information in a convincing format. This will meet the Content Standards for Mathematics in Communication which states that students will use drawings, discussion, reading, writing, and listening to access, learn, and communicate mathematical ideas. Library and Internet research will be expected from the students. The teacher will also provide activities to enhance their studies. This could include walking tours and videotapes that give the student access to a variety of designs not available in the neighborhood. Guest speakers will also be invited.

Approach
The project will be an ongoing concept using the design studio format (explained below). Students will begin by learning to transform bubble diagrams into scale drawings, continuing the strand with several class activities, and culminating in the actual building of a model of their own design during the second semester. Risk-taking will be encouraged.

Design Studio
The classroom will be set up as much as possible to mimic the architecture design studio. This will support the idea of a project-oriented curriculum and instruction based on self-expression and recognition of the multiple intelligences. The design studio involves a process that values the new and unknown, not "what was" or "what is" but what "can be." It encourages learning through visual thinking--so much a part of the Geometry curriculum, hands-on activities, problem solving, creative thought, group activities, and presentations, including the development of communication skills in the math classroom. The design studio concept promotes perceptual learning strategies, visual and verbal skills, kinesthetic skills, and technical skills. All ideas are prized. The presentations by the students allow them to share their own ideas before a peer group for teacher review, reflect on the process, give and receive constructive criticism and evaluate the work completed.

Ideally each group of two or three students will have a workstation complete with a laptop computer, a portfolio storage space, all the tools needed for the variety of projects planned and then display space on all walls for immediate posting of student work. Realistically, one area of the classroom will be set up with a large table, tools for all to share and some type of display space to post student work. Student desks will be moved to provide a flexible work environment. Hopefully, in time, the public school classroom will be more conducive to hands-on learning.

Individual tool kits that enhance the design studio format include a sketch book, clipboard, black markers, gray markers, compass, triangles (45-45/30-60), home planning template, french curve, lettering guide, metal ruler, scale ruler, glue, glue gun/glue sticks, tracing paper, oil pastels, colored markers, colored pencils, an x-acto knife, scissors, draft dots, invisible tape, masking tape, clay, and small binder clips. Also, equipment available in the classroom will include an overhead projector, a slide projector, a trace box, a light board, chipboard, clay, plastic knives, rolling pins, plastic bags, and drawing paper. Students will become familiar with many tools and learn the value of handling them with care.

Benefits/Results
The curriculum will be covered as a total concept allowing the students to understand Geometry and its place in their real world, now and in the future. The hands-on experiences will enhance their learning and comprehension as well as excite them about further study either in school or on their own. The final project will encourage interdisciplinary learning as they research all the aspects necessary to complete their design, including the historical background. Writing about their work will prepare them for the real work world. Students will realize success in completing their models and presenting them to the class. They will understand the concepts involved and be able to talk about them. Hopefully the projects will be displayed for others to view, possibly in the Spring Art Show.

The Skills Learned Will Meet the Following Content Standards for Mathematics:
1 Students will understand and use mathematics in problem solving.
2 Students will understand and use mathematics in communication.
3 Students will understand and use mathematics in reasoning.
4 Students will understand and use mathematical connections.
5 Students will understand and use numbers and number relationships.
6 Students will understand and use number systems and number theory.
7 Students will understand and use computation and estimation.
8 Students will have a foundation in geometric concepts.
9 Students will understand and use measurement.
10 Students will understand and use statistics.
12 Students will understand and use patterns and functions.
13 Students will understand and apply algebraic concepts.

Students will utilize the following skills of architecture:
* Drawing
* Model Building - clay, chipboard
* Self-expressive behavior:
                Tracing of projected images
                Use of trace paper
                Portfolio Assessment

* Appreciative Behavior:
                Presentation of work
                Critical aesthetic judgments

Lesson plans/handouts included in this curriculum:
My Room (Individual Project)
                Sample Bubble Diagram
                Arrows in Architecture
                Multiple Views: How to show spatial relationships
                Using an Architects Scale
                Drawing a Floor Plan   
                Doors and Windows in Plan
Southwestern Vegetarian Fast Food Restaurant (Individual Project)
A Pueblo Model (Individual/Class Project)
                Pueblo House Pattern (Run on cardstock)
Circles, Kivas and Pueblo Mythology (Group Project)
                Origins of Southwest Architecture/History
Spanish Colonial Architecture (Individual Project)
                Spanish Colonial Architecture/History
Visual Portfolio Evaluation (Teacher Assessment Tool)

My Room

Objective: The student will...
I. learn to sketch a bubble diagram;
II. learn the use of arrows in architecture;
III. learn the skill of drawing elevations;
IV. learn the skill of drawing scale models using a scale ruler;
V. learn the skill of drawing a floor plan, including doors and windows;
VI. transform a bubble diagram into an actual scale drawing.

Vocabulary:
bubble diagram...... closed curved forms or bubbles which represent spaces and spatial relationships.
elevation........... a view of a room or house as seen from the side
floor plan.......... a view of a room or house as seen from above

scale model......... any model or drawing that is proportionately smaller/larger than the original object

Materials needed:
* Black pens
* Drawing paper
* Tracing paper
* Scale rulers
* Overhead Projector

Background: Bubble Diagrams
Architects use several different visual means to organize their thoughts. When they start with a dream or an idea of a space, they first draw circles or "bubbles" in order to see the space in their mind's eye. They want to imagine the spaces they will need and how those spaces, and the functions that take place within those spaces, should relate to each other.

A bubble diagram is composed of circles, arrows, and labels. Each bubble represents a space and has a label to describe the space and/or the function that will take place within that space. By drawing bubbles, the designer can determine which space should be next to another space. Arrows show the circulation of how people and creatures would move through these spaces. Tracing paper can be used as an overlay to rearrange bubbles/drawings.

A plan view converts the bubble diagram to a form that begins to resemble a building. A scale ruler is used to make a scale model of the building and the spaces within.

I. Bubble Diagram

* The teacher will introduce the concept of bubble diagrams and tracing paper using the classroom or school as an example. A sample handout is included.

II. Arrows in Architecture

* Students will practice arrows in architecture from a transparency on the overhead projector. A handout is included. For homework the students will sketch a bubble diagram of their room or any room in the house, using arrows to indicate traffic flow.

III. Elevations

                   *     The teacher will introduce elevations and the drawing of front, side, and back elevations, using the overhead projector. The students will practice                       drawing elevations from slides of southwestern architecture.

IV. Drawing Scale Models

* Using the concepts of drawing scale models from a general mathematics text, the teacher will explain the concept of scale models and the use of a scale ruler. Students will practice using items in the classroom. A handout on using an architect’s scale is included.

V. Floor Plan/Doors and Windows

                *     The teacher will introduce floor plans and the drawing of doors and windows, making copies of the handouts included for each student. Students                      will practice these skills, using the classroom as an example.

VI. Bubble Diagram to Floor Plan

* For homework the students will transform their bubble diagram to an actual scale drawing. Students will turn in their bubble diagram and their scale drawing for assessment, including a list of vocabulary, actual and scale measurements and the area of the room studied.

Southwestern Vegetarian Fast Food Restaurant
Objective: The student will...
                    I.       create a bubble diagram to effectively design a southwestern vegetarian fast food restaurant;
                    II.       create a scale drawing floor plan and front elevation of the actual restaurant;
                    III.      present the design on a poster board to a small group of students; and
                    IV.     submit the poster and convincing statements to the teacher for assessment.

Vocabulary: Defined above.

Materials Needed:
* Black pens
* Drawing paper
* Tracing paper
* Ruler
* Scale ruler
* Poster Board

I. Bubble Diagram
* Students will create a bubble diagram to effectively design a southwestern vegetarian fast food restaurant, using tracing paper to prepare additional drafts or corrections. The restaurant will need a kitchen, bathroom, office and other possibilities, depending on design, may include more bathrooms, a dining area, a pick-up area, a drive-up window and parking. To meet city codes, doors must open out.

II. Scale Drawing and Front Elevation
* Students will create a scale drawing floor plan and front elevation of the restaurant. They will include measurements of the building and its spaces.

III. Group Presentation
* The student will present the design on a poster board to a small group of students in a convincing manner, explaining each space and why this design is most effective in meeting the needs of the owner, employees, and customers.

IV. Assessment
* The student will submit the poster and convincing statements to the teacher for assessment. The teacher will lead a critique on the effectiveness of presenting to a small group.

A Pueblo Model
(This project will be completed during the geometric study of quadrilaterals, including the introduction of cubes.)
Objective: The student will...
I. learn the background of a Pueblo Village;
II. create a pueblo house from a cardstock pattern (included);
III. work as a class to create a pueblo village; and
IV. submit a final report including an explanation of the project, vocabulary, measurements, drawings, and answers to questions.

Vocabulary:
plaza........... open space between the house clusters where public dances and ceremonies take place.
pueblo.......... from Spanish, "village, people"; refers to both the communal sandstone and adobe structures of Southwestern Indians, and to the people who inhabit                           them.

Materials needed:
* Drawing paper
* Tracing paper
* Ruler
* Cardstock pattern for each student
* Glue gun or glue stick
* Large platform for pueblo village base
* Slides/slide projector

I. Background: Pueblo Villages
The Pueblo people build their houses and their towns as living, breathing things. The east-west alignment of the buildings ensures that the northerly walls protect against cold and winter winds; the south-facing terraces and doorways trap the sun's heat, which is stored in the heavy massing of adobe walls. The use of natural building materials and environmental orientation reflect the unique efficiency of the Pueblo city plan. Because the buildings themselves are an organic and vital architecture, they are allowed to "die" when their lives are done. But, from the crumbled clay of a broken house, a new house is born. The building materials are recycled, transformed, and become a wall, an oven, or another building.

To shelter their growing population, second stories are added to the unit pueblo. Families sleep in the upper, front units where sunlight can peer through the smoke hole, and the passive-solar heating properties of adobe are most effective. During late fall and early spring the people work or socialize on the outdoor roof terraces. In the cooler, darkened interior rooms they process dried corn, squash, and other produce. The interior rooms are used as storage for the food supply. A number of rooms are devoid of any sign of domestic life.
Several slides will be available for observation and sketching/tracing.

II. Create a Pueblo house
* The students will each create a Pueblo house out of cardstock.
* The students will measure the perimeter of the house, the area of each wall, the floor and roof, and the volume of the solid created. This information will be included in the final report.
III. Create a Pueblo village
* Each student will create a bubble diagram of a pueblo village following the guidelines of placement with regard to North, South, East and West. The village will include one or more plazas for dances and celebrations.
* As a class, the students will create a model of the village using their Pueblo houses and their bubble diagrams.
* The students will measure the perimeter and the area of the village as well as the perimeter and area of the plaza(s). This information will be included in the final report.
IV. Final Report
* A final report will be submitted for assessment. This report will consist of an explanation of the project, vocabulary, the measurements required from above, the student’s bubble diagram of the village and a final elevation drawing of the class village as assembled, including a key stating the position of the village regarding North, South, East and West. In addition, include answers to the following questions:

                    1. Was your bubble diagram consistent with the final design? Explain.
                    2. Did the class work constructively as a whole in the design of the village? Who determined the decision-making process?
                    3. Is the layout of the village consistent with the guidelines followed by the Pueblo people? Explain.
                    4. Did you feel comfortable working on this project with the class? Explain. What suggestions do you have for grouping students in the most efficient                           way for further projects?

Extensions
*  Visit a nearby Pueblo with your family and notice the layout of the village. Did they follow the guidelines as you learned them? Determine North, South, East,             and West. Take a compass to verify the layout. How many plazas are there? See if you can find out when their celebrations are held and if you can attend              any of them.

Circles, Kivas and Pueblo Mythology
Objective: The student will...
                I. learn the geometric concepts of circles, including
                                * naming parts of circles
                                * determining relationships between lines and circles
                                * writing equations of circles
                                * recognizing major and minor arcs and semicircles
                                * finding the measure of arcs and central angles, and
                                * defining a sphere;
                II. learn and draw the architectural concepts of
                                * section drawings
                                * plan views, and   
                                * elevation;
                III. learn about the Pueblo cosmos as a contained spherical unit;
                IV. work as a member of a community to design and build an adobe model of a Pueblo kiva; and
                V. prepare a report to include vocabulary, labeled geometric and architectural drawings, Pueblo cosmos drawings and symbolism, and an evaluation of                        the studio activity.

Geometry Vocabulary:

central angle........ an angle formed by two rays coplanar with the circle with the vertex of the angle being the center of the circle.
chord................ a segment whose endpoints are points on the circle.
circle.............. the set of all points in a plane that are a given distance from a given point in the plane, called the center.
diameter............. a chord that contains the center of the circle.
exterior of a circle.... a point is in the exterior of a circle if the measure of the segment joining the point to the center of the circle is greater than the measure of the              radius.
interior of a circle.... a point is in the interior of a circle if the measure of the segment joining the point to the center of the circle is less than the measure of the radius.
major arc............ an unbroken part of a circle whose measure is greater than 180 degrees. Three letters are needed to name a major arc.
minor arc............ an unbroken part of a circle whose measure is less than 180 degrees. Two letters are needed to name a minor arc.
radius............... a segment whose endpoints are the center of the circle and a point on the circle.
semicircle........... an unbroken part of a circle whose measure is exactly 180 degrees. The diameter divides a circle into two semicircles. Three letters are needed to              name a semicircle.
sphere............... the set of all points in space that are a given distance from a given point, called the center. Southwest Architecture and other vocabulary:     
adobe................ a sun-dried brick made of mud, clay, and straw.
altar................ an elevated place or structure before which religious ceremonies may be enacted.
architecture......... the integration of aesthetics, function, space and materials to create a building.
cosmos............... universe, world.
fire pit............. a pit used both for cooking meals and heating the room.
kiva................. a cylindrical Pueblo structure, usually underground, used for ceremonies and men's religious meetings.
latilla.............. a sapling stripped of its bark and laid perpendicular to the vigas on a Pueblo roof.
masonry.............. stonework.
mythology............ traditional stories about the history and origin of a people and their ancestors and deities.
niche................ a recess in a wall.
pueblo............... from Spanish, "village;" refers to both the communal sandstone and adobe structures of Southwestern Indians, and to the people who inhabit them.
rectilinear.......... bounded by straight lines
sipapu............... an opening in the kiva floor; place of emergence of the Pueblo people from the underground.
viga................. a horizontal wooden beam used for roofing.

Materials Needed:
* Compass
* Black pens
* Drawing paper
* Tracing paper
* Slides/slide projector
* Overhead projector
* Additional materials listed under Studio Activity

I. Geometry
* Refer to the Geometry text to cover vocabulary and concepts. Students will practice circle constructions using a compass.
* Homework will also be assigned from the Geometry text.
II. Architecture
* Study the history of Native American architectural forms. A handout entitled "Origins of the Southwest/History" is included and research sources are listed in the bibliography. Students are encouraged to search the Internet as well.
* Refer to the handouts explaining section drawings, plan views and elevation. Slides of kivas will be displayed and the students will construct circles and then sketch the drawings for their final report.
III. Pueblo Cosmos
* Refer to the Geometry text for an understanding of spheres and the construction of spheres using a compass.
* Refer to the bibliography for information on the pueblo cosmos mythology as a contained spherical unit. Display drawings on the overhead to enhance student understanding and as patterns for spherical cosmos units for their final report.
IV. Studio Activity: Build a model of a Pueblo kiva
(Adapted from The Pueblo: Architecture for a Natural World, Art in the School, Inc., Albuquerque, NM)
Materials needed for each group (suggest groups of 3 or 4)
* Clay
* Rolling pin
* Newspapers to work on
* Cup of vinegar/water
* Plastic knife
* Combs to score bricks
* Cardboard for base
* Sticks/dried grass for roof
Making the Adobe Bricks
* Role a slab of clay 1/2" thick, and approximately 8" x 11".
* Using "combs" made of 11" wood strips with nails placed at 1" intervals on one, and 1/2" intervals on the second, score the clay. Draw the 1" interval
"comb" across the clay in one direction, and draw the 1/2" interval "comb" across the clay at right angles to the first. Cut the adobes apart with a plastic knife. Keep bricks moist under plastic or a damp towel until ready to work.
Construction
* Using a compass, construct a circle with a radius of approximately 3" on the cardboard base.
* To lay the first course of bricks, moisten and score with your finger nail the adobe brick and place on the base circle. Continue to add adobes end to end around the base being careful to moisten and score all adjoining sides.
* Lay the second layer of bricks over the first, but stagger the adobes over the joints of the first layer. After completing the second layer, lay the third, fourth, etc. until the wall stands approximately 4" high.
* To construct the layered roof, use sticks and twigs. Remember to leave a hole for an entrance. First, place strong viga sticks across the width of the building and allow the ends to protrude over the wall. Add latilla twigs perpendicular to the vigas. Next, cover the twigs with a layer of brush, and finally smear a thin layer of adobe over the whole roof. Dry earth and grasses may crown the structure.
* Construct a ladder from viga sticks. Glue latilla twigs for rungs.
* Remember to work cooperatively and make sure that everyone has a turn. Kivas may be displayed for all to enjoy.
V. Evaluation
* Record in your individual project report the procedure you followed.
* Measure and record the radius and diameter of the completed kiva.
* Write a possible equation of the circle with the kiva center at (0,0).
* Write a possible equation of the circle with the kiva center at (-1,2).
* Answer the following questions:
1) How did you feel working on a group project?
2) What can we learn from the pueblo people about cooperation?
3) What can we learn about architecture that seeks to be at one with the environment?
4) Did you encounter any difficulties in your building? How did you deal with them?

Extensions
* Visit a nearby Pueblo with your family. You will not be able to enter the kiva, but see if you can determine where it may be located. Observe the construction of their houses. Are they made of adobe? Are they circular? Are they rectilinear? Remember to respect the people and their property. You may not be allowed to take pictures or may be charged a fee to do so.
* The Pueblo Indians were keen observers of the sun, moon, and stars. Their agricultural success depended on knowing when to plant their crops. You can measure the progression of the seasons by recording the angle of the sun as it climbs in the sky.

Cut a piece of board (15" x 20"). Erect a 4" high stick in the center of one of the longer sides, about 1" from the edge. Put the board in a south-facing window (stick side toward the window).

Each hour during daylight hours, make a mark at the end of the stick’s shadow and record the time. Connect the dots and record the date. Repeat this procedure every two weeks and plot the curves. Does the length of the shadow change with the seasons? When is it longest? Shortest? What does this tell you?

Spanish Colonial Architecture
Objective: The student will...
I. conduct research to discover examples of Spanish Colonial casas;
II. design a Spanish Colonial casa;
III. execute plan and front elevation drawings of this casa;
IV. build a plan model of their design;
V. prepare a report to include research, vocabulary, drawings and measurements; and
VI. present their project in front of the class and submit the report and model to the teacher for assessment.

Vocabulary:
banco.......... bench built of adobe adjoining an exterior or interior wall; used for sitting and sleeping.
canale......... drains or troughs set in the roof to carry off excess rainwater; made of flat stones, hollowed gourds, or wood.
colonial....... period in history when the southwest was a colony of Spain, 1598-1821.
fogon.......... bell-shaped, corner fireplace built of adobe.
placita........ open patio or space within a house; plan in which single, adjoining rooms enclose an open patio.
portal......... porch extending the length of a building or side of a placita.
ristras........ string of chile peppers
zaguan......... gate; heavy wooden double entryway, often incorporating a smaller, pedestrian entrance.

Materials Needed:
* Drawing paper
* Tracing paper
* Black pens
* Chipboard/Clay/Gingerbread/Graham Crackers
* Scissors
* Glue/Glue gun
* Ruler
* X-acto knife
* Slides/slide projector

I. Conduct Research
*     Refer to the handout entitled "Spanish Colonial Architecture/History" to learn about the Spanish settlers entering the Southwest. Students are expected to
*     Conduct research on the Internet or in the library to add to this lesson. Drawings of examples will give the students ideas for their project as well as enhance         their presentation. Students are encouraged to take photographs as well. Several slides will also be available for research and tracings.

II. Design a Spanish Colonial Casa
*     The students will begin by creating a bubble diagram and working toward the drawing of a scale model. Measurements will be included. All work will be               completed outside of class. The previous activities will have prepared the students for this individual project. All drawings will be labeled and become a part                of the final project.

III. Plan and Front Elevation Drawings
*     Students will prepare a plan drawing, including fogons, bancos, and a placita. The placita will be landscaped with trees, vegetable, and herb gardens and a          well. The front elevation will include a portal and zaguan and perhaps some ristras by the door. The front elevation will include a traditional roof. Students are to           label all drawings.

IV. Model-building
*     The students will build a model from their drawings using any material that will represent a traditional Spanish Colonial casa. Some suggestions are chipboard,         clay gingerbread, or graham crackers. The floor is part of the model. Be sure to include windows, doors, portals, roofs with vigas and latillas, and canales.   
       Interior fogons and bancos do not have to be included in the model.
*     To make a gingerbread adobe casa, a standard recipe should provide enough edible adobe for a small casa. Design your own pattern pieces and build a          
       cardboard model first. Remember, the dough swells slightly during baking. Cement pieces together with Royal Glaze (Recipe: Gradually add 3 and 1/2 C sifted
       powdered sugar and juice of 1 lemon to 2 stiffly beaten egg whites. One or two drops of glycerin helps in spreading.) Use cinnamon sticks for vigas; bake          red or orange hard candy at 300 degrees F until it melts and "glue onto window interior with Royal Glaze; hang red icing ristras beside the door; and sprinkle         powdered sugar on the roof for snow. You may choose to use graham crackers instead of gingerbread.

V. Final Report
      The final report will include a brief research-based explanation of the project, vocabulary, all drawings, measurements, and any visual aids used in the     
       presentation. The answers to the following questions will also be included: 
                1. Did you enjoy working on this project? What part was particularly enjoyable? Explain.
                2. How does Spanish Colonial architecture differ from Pueblo architecture ? Are there any similarities? Give an example.
                3. Where have you seen examples of the influence of Spanish Colonial architecture in this area? Give some examples.

VI. Presentation and Submission of Project
       Students will present their project to the class and submit the model and final report to the teacher for assessment. The presentation will include explanations of         the materials and methods of building construction. Correct Spanish vocabulary will be used to describe the model. Models will be displayed and returned to          the students by the end of the school year.

Extensions:
* Visit the "Casa San Ysidro: The Gutierrez/Minge House" in nearby Corrales. This home, an excellent example of traditional Spanish Colonial architecture, is part of the Albuquerque Museum. One-hour public tours are offered by reservation for a fee.

Pueblo House Pattern

A thousand years or more before Christopher Columbus set foot in the New World, Anasazi Basket Makers were excavating pit houses in the Southwest. When Viking explorer Leif Ericson sailed for America around A.D.1000, the Anasazi architects of Chaco Canyon in New Mexico had already built much of the spectacular Pueblo Bonito, a multi-storied structure. Today, modern Taos Indians dry chiles beside the same doors their ancestors had long before the founding of the Jamestown colony in 1607. Arid only in terms of rainfall, the Southwest provided fertile ground for the birth of American architecture.

The Anasazi ("the ancient ones"), who entered the Southwest about A.D.1, were the ancestors of modern Pueblo Indians of New Mexico and Arizona. These early Indians are referred to as "Basket Makers" as they had not yet learned to make pottery. Before A.D.500, they had begun building pit houses, partially underground dwellings with a circular plan. Early pit houses were saucer-shaped houses of sticks smeared with mud. Later ones had a framework of posts and crossbeams covered with brush to form the roof. A hole in the floor, the Sipapu, symbolized the place where the first Anasazi emerged into this world. Kivas, normally round stone structures used by later Pueblo Indians for religious ceremonies, are thought to be patterned after those early pit houses.

In time, the Anasazi built pit houses above ground with an entrance from a hole in the top. By around A.D.750, the Anasazi, now referred to as Pueblo, began building different types of dwellings, adapting materials in their environment. If stones were scarce, houses were built of adobe (a mud/clay mixture) with dried balls of adobe or terrones (square blocks cut from mud) used like stones. When possible,

a framework of slender upright poles call jacal plastered with mud was also used.

When sandstone was plentiful, dwellings were built of stone masonry, often around a central plaza. Vigas or wooden beams formed the roof; small saplings or latillas were laid between, followed by layers of twigs, reeds, mud, and finally dry earth. Anasazi called Cliff Dwellers built multi-storied stone structures, reached by ladders, near or under overhanging cliffs at Mesa Verde and other sites. Examples of later, planned, terraced "apartment" type architecture can still be seen at the Taos Pueblo in New Mexico.

The modern day Pueblo people inherited the architectural viewpoint of their Anasazi forefathers:
1. Effective use of native materials
2. Energy conservation in transporting materials
3. Energy conservation in heating and cooling
4. Harmony with the environment
5. Design with a broader world-view
All space is sacred; each house is a small example of the larger world.

Sharing the region with the Anasazi were the Navajo. There are many lovely Origin Myths telling how the Navajos were created. Some say that First Man and First Woman picked four sacred mountains (of white shell, jet, turquoise, and abalone) from the underworld to mark the boundaries of the Navajo homeland. The Holy People taught these early Navajo how to make their hogans or homes with the doorway always facing the east to greet the rising sun.

Navajo hogans have taken several forms from the early "forked stick" hogans with interlocking poles. Circular stone-walled dwellings with log roofs were also built. Later hogans were often flat roofed, earth-covered square structures of four poles or the roomier six-sided or even eight-sided hogan with notched logs forming the circular shape. All have a smoke hole in the roof and a door facing to the east. A blessing rite is performed for new hogans, or at least sacred corn pollen is smeared along the hogan poles to assure that the place will be happy.

Spanish Colonial Architecture History

Spanish settlers entered the Southwest, called New Spain, in 1598 under the leadership of Don Juan de Onate. Men, women, and children came on horseback and by caretta, a cottonwood wagon. They brought with them sheep, cattle, donkeys, farming tools, seeds for planting, and the vivid memories of Spanish culture. They were a brave, self-reliant and resourceful people. Large, close-kit families lived together helping each other and their neighbors to forge a new life in this inhospitable land. Supply trains traveled the Camino Real, the King's Highway from Mexico City twice a year bringing chocolate, paper, coffee, oranges, and yard goods to the isolated villagers.

The colonists tended sheep, wove the wool into blankets and coarsely woven rugs called jergas, maintained the acquias or ditches to irrigate their crops, ground their grain, hunted buffalo, held trade fairs, and built homes of adobe brick. They shaped the clay, sand and straw mix used by the Native Americans into bricks measuring 10" x 5" x 18" and weighing as much as 60 lbs. each. These building blocks dried in their wooden forms under the hot, southwestern sun.

The casa, or house, began as a single, square-sided, flat-topped room. As the economy and growing family needs dictated, additional rooms joined the first. Eventually, rooms in single file enclosed an open placita, or patio. Entrance to the compound was through a wooden zaguan, or gate, which was wide enough for wagons and herds of livestock. The thick, double gate often had a smaller pedestrian entrance. The placita or casa corral plan provided defense against Plains Indian attacks. The rooms opened out onto the placita and a narrow portal, or porch, provided shade and protection from rain and snow. The family well was located within the safety of this enclosed structure, and windows opened only onto the patio.

The interiors of the 26" adobe brick walls were plastered with adobe in the natural earth colorings of ochre, buff, pink, purple, red, and white. Bancos, benches adjoining the walls and built of adobe provided seating or sleeping space. Cupboards set into the walls served as closets or china cabinets. Every room had a fogon, a bell-shaped fireplace, flanked by two low shelves set into the corner. Exterior walls were also plastered to prevent erosion of the adobe bricks.

The floors were of packed earth. Roofs were constructed in the Pueblo fashion with vigas (wood beams) and latillas--slender saplings laid between the vigas. Canales, or drains, set into the roof carried off excess rainwater.

Furnishings were simple and sparse. Coarsely woven jergas covered the floor. Tables, chairs, and chests were carved from pine. Colorful colcha embroidery and santos, carved and painted images of the saints, were the only non-utilitarian objects.

The people of the southwest treasure their Spanish Colonial heritage. Details of centuries-old haciendas are authentically restored. Modern reproductions of colonial furniture grace contemporary homes. The utilitarian simplicity and handcrafted elegance of Spanish Colonial architecture silently testify to the enduring strength of these early settlers.

Architecture and Children, Southwest by Anne Taylor, Ph.D.,
University of New Mexico, School of Architecture & Planning

Bibliography
* Art in the School, Inc. (1992). The Pueblo: Architecture for a Natural World. Albuquerque, NM:(author).
Burrill, Cummins, Kanold, Yunker (1993). Geometry, Applications and Connections. Lake Forest,IL:Glencoe Division of Macmillan/McGraw-Hill.
Ching, Francis D.K. (1979). Architecture: Form, Space & Order. New York, NY:Van Nostrand Reinhold Co.
* Clark, Ann Nolan (1941). In My Mother's House. New York, NY:Viking Press
        Lister, Robert H. & Florence C. (1987). Aztec Ruins on the Animas. Albuquerque, NM: University of New Mexico Press.
Markovich, Nicholas C., Preiser, Wolfgang F.E., Sturm, Fred G., editors (1990).Pueblo Style and Regional Architecture. New York, NY:Van Nostrand 
        Reinhold. 
Mays, Buddy. (1985). Indian Villages of the Southwest. San Francisco, CA:Chronicle Books.
* Smith, MaryLou M. (1984). Grandma's Adobe Dollhouse. Santa Fe, NM: New Mexico Magazine.
* Taylor, Anne (1991). Architecture and Children, Southwest. Albuquerque, NM: School Zone Institute.
Taylor, Anne (1991). Architecture and Children, Teachers Guide. Seattle, WA: Architecture and Children Institute.
Wood, Nancy (1989). Taos Pueblo. New York, NY: Alfred A. Knopf
* Yue, Charlotte & David (1986). The Pueblo. Boston, MA: Houghton Mifflen Co.

* Suitable for children

Resources

Otto-Diniz, Sara, Founder/Director, Art in the School, Inc. Albuquerque, NM
Taylor, Anne, PhD., University of New Mexico School of Architecture & Planning, Albuquerque, NM
Wilson, Chris, Architectural Historian, Albuquerque, NM

Architecture in the Southwest;
how we relate to it and how it affects us

Overview for unit as a whole:
Southwest architecture is an integral part of our lives and should be studied by the students so they can gain an appreciation for the designs of buildings that they live in and are affected by. Southwest architecture can be used as an overview for many subjects. It can be tied in to history, literature, math, science, carpentry, CAD, etc. It is a diverse study that can be adapted for almost any subject. A teacher can talk about the shapes of the buildings, the materials that make up the buildings, what was happening historically when the buildings were being built, or what was being written at the time the buildings were being built. Many of the buildings in Albuquerque contain some aspect of Southwest architecture, and a class study would enhance the students’ ability to realize why many of these building designs are still being used after hundreds of years.

Each of these lessons will build on upon the other. Drawing bubbles and balloon races will free the students to look openly around themselves. The teacher will continue to talk about light, shade, and shadow as each lesson continues. The teacher will use the areas of his interest to explore and enhance each continuing curriculum. If you are a history buff ( not that you necessarily teach history, just you have an outside interest in it) you will help the students better understand the history and about the dates involved. Interest them. If it is math explore the circles, triangles, squares, rectangles, etc. Weave your interests and abilities in to each lesson. The possibilities are endless.

Introdution
The 10th grade students will understand how architecture affects their lives and how they can learn from buildings and environments and will apply this knowledge to communication skills. The students may work alone or in groups, but all students need to turn in the visual verbal journal for their own personal grade. The studio design model of learning will be utilized in this curriculum.

The design studio is a model in which the students learn in the manner in which architects and designers learn. It uses a studio format in which aspects of lab work and workshop are used and creative problem solving generated. The teacher is a mentor who orchestrates and facilitates learning through creative problem solving.

Each lesson plan will vary in length and each teacher will spend as much time as is necessary to get the concept across. Time spent will depend on the teacher and the students ability.

Goal
The students will be encouraged to explore their environment and see how they can affect it. The students will explore every aspect of buildings and see how they are put together, how each part builds on the next part then to explore how it works in their lives. The students will learn about the effect of architecture on their lives.

Objective
Finally, they will use the information they have gathered and create a building of their own, in the style of the elements of SW Architecture. They will study the way buildings are designed, how that design affects them, colors used, how that affects them, lighting and its effects, room size, furniture, etc. They will go on to design their own buildings with each of these items explored and use visual-spatial skills in drawing and modeling buildings. They will research the above mentioned items, write about them, and give presentations explaining their findings and later their choices.

Review Literature
The students will look up and read books, see slides, videos, explore the internet, talk to architects, and go on walking tours. (see lesson 2)

Approach
The students will begin the unit and build a vocabulary with a lecture/slide presentation/video clips as a motivation for the study of SW architecture. We will explore and do research in the library and on the internet. When the research about the history of the buildings (pueblos, hispanic, anglo-american and modern houses) has been done, we will go on a field trip, a walking, sketching, photographing, and documentation tour.

We will return to the library and research construction, materials used, and energy sources in designing buildings. I will invite a few speakers in to talk to the class and we will watch a few videos on building design.

We will finally go back to the library and research interior design, investigate how space is used, and how to use it effectively. We will look at and discuss various aspect of furniture and use of space, heating, and light materials, etc.

The design studio is a model in which the students learn in the manner in which architects and designers learn. It uses a studio format in which aspects of lab work and workshop are used and creative problem solving generated. The teacher is a mentor who orchestrates and facilitates learning through creative problem solving.

In the studio model, the class revolves around a defined objective, solving a problem for a client ( real world application), using knowledge from multiple disciplines. Solutions both verbal and visual are used ( drawing, model building, tracing), and as a result the students gain experience speaking before groups, justifying decisions made, and giving and receiving constructive criticism. The most important part of the studio presentation is the use of large drawings and models, graphics, visible from a distance of 15 feet (Taylor, Lecture 1999).

A visual-verbal journal will be turned in at the end of the process (see appendix for how to make a visual-verbal journal) for each student. The journal will contain drawings, sketches, bubble diagrams of activities leading up to their final project. It will also contain verbal description of processes they went through to achieve the drawings.

Benefit/ Results
The students will learn about research, how to do architectural drawings, exploring, putting knowledge to use, writing, and giving presentations. They will gain an extensive knowledge about architects, design, and seeing a project through from beginning to end. Students will gain an appreciation for the work put into buildings and will enhance their vocabulary. There are also two behaviors being fostered in a studio design model. The students are being self-expressive; and they are learning to appreciate architecture and learning to make critical aesthetic judgments.

Motivation (mine):
I want my students to see how buildings, space, light, color, furniture, and design affect them and how having knowledge about it explains some of the mystery. How all projects (houses, schools, papers) start with a broad base and work up to a final completion point.

Evaluation
Evaluation will be based on written work, presentations, vocabulary, speeches, research skills, visual/verbal portfolio assessment, and applying what they have learned. There will also be a final 3D project which they (either as a group or alone depending how they worked) will model and explain.

Portfolio assessment should contain a rubric of some or all of the following items. The student should demonstrate clearly the idea through graphic visual means. The student should show a variety of experimentation and a number of approaches. The student will create a narration and visualization of the stages of development of an idea or product. The student should show evidence of an eye for detail and overall aesthetics. Finally, the student should have the ability to construct in 3-dimension (Taylor, 1996 Architecture and Children).

Goal
To help students observe, think, and express ideas visually in preparation to study southwest architecture. The following lesson is to allow students to explore drawing. Schools today have cut many art programs and this lesson should allow students to loosen up.

Objective
Students will make a series of contour and schematic drawings to be displayed and then write about the experience.

Materials
Drawing paper
Two colored markers per student
Balloons
Mechanical toy
Non-mechanical toy
Bubble liquid and wand
Lined paper and pen

Skills and Concepts
    Math
    Geometry
    Science
    Art
    Creative problem solving
    Observation Skill
    Visual communication
    Spatial relationships

Architectural Vocabulary:
Schematic drawing-A visual way to present an idea of something such as space, shape, areas of activity, or patterns of movement, sound, light.
Diagram-A linear representation of something
Bubble diagram-"Bubble" outlines which represent spatial relationships.
Negative space-The space outside an object in a drawing.
Positive form-An object depicted in a drawing.
Geometric forms-Two dimensional ( flat) and three dimensional (solid) forms.

Client
An artist asks the class to present a show of visual stories based on drawings of time, movement, change, and sound. The artist wants the student architects to discover that everyone has a special way of expressing what they see through their drawings. The visual stories will be called THE LIFE OF A BUBBLE, THE GREAT BALLOON RACE, THE TOY DIAGRAM, and THE GRAPHIC SOUND.

Architectural program
The students will prepare 2 12" x 18" sheets of paper for their drawings by folding them in half. The sections should be labeled THE LIFE OF A BUBBLE, THE GREAT BALLOON RACE, THE TOY DIAGRAM, and THE GRAPHIC SOUND.

1. The life of a bubble:

Explain to the students that you are about to blow several large bubbles, ask them to watch closely. Advise them that after observing the fourth or fifth bubble, they should begin drawing the birth, life and death of a bubble in the area labeled THE LIFE OF A BUBBLE. By the end of the tenth bubble all of the students should have completed the first drawing exercise.

2. The great balloon race:

Blow up three different colored balloons and hold them together with one hand so that when released, the balloons start their race from one starting point. Have the students watch all three balloons as they fly around the room and then have them draw the way each balloon flew through the air. This is a retrospective movement drawing showing how each balloon flew through space. Label this drawing THE GREAT BALLOON RACE.

3. The toy diagram:

Find a wind up toy. Ask them to watch it work and illustrate how it moves and how they believe the mechanism makes the toy move. Ask them to illustrate in graphic form their knowledge of how it works. Encourage them to use arrows to show how it moves and write notes to explain concepts such as gravity, motion and direction, up, down, retracting, and springing. They should label this drawing THE TOY DIAGRAM. (This can also be done with a non-mechanical toy: slinky)

4. The sound graphic:

Find a simple instrument which makes a sound that moves from one pitch to another ( kazoo, jew’s harp, a slide whistle). Demonstrate the sound made by the musical instrument. Repeat several times in exactly the same rhythm or manner. Have the students draw a graphic representation of what they have just heard. tell them to imagine that they are creating a sign that will be placed on a door to warn people that this sound is in this room. The students should create the sound graphic with visual images only. They should not use words. ( you could also play a piece of a song on a CD player- an up beat symphony works well). This drawing should be labeled THE GRAPHIC SOUND.

Each drawing should be signed and dated.

Evaluation
When the students have finished drawing their visual stories of the life of the bubble, the great balloon race, the toy diagram, and the sound graphic the drawings should be displayed. Make sure that each drawing touches the next drawing so they cover the display wall like wall paper in a modular pattern. Evaluate these drawings from the standpoint of how well they express the concepts of time, movement, change, and sound through the use of schematic drawing. Encourage students to do more drawings in a similar fashion. Try to facilitate the ideas of schematic drawing and visual thinking. This exercise should show students that drawings can illustrate concepts and that people can express the same concept in different ways. (Taylor, Anne Architecture and Children, 1996)

Goal:
To enable students to see the history of a building by looking at it and seeing what is there. To show students how to break a building up by looking at light, shade and shadow. The students will listen to a lecture while watching slides and will draw in their visual journal. They will also begin to connect their newly learned vocabulary with some of the words used in context. The will use throughout the rest of the assignments. As the teacher presents slide they will talk about light, shade, and shadow.

Materials:
Black medium felt tip pen
Visual-Verbal journal, or blank white paper

Skills and Concepts:
History
Geometry
Art
Deductive reasoning
Spatial relationships
Dimensional analysis
Classifying
Problem solving
Listening and interpreting

Slide/lecture:
Anasazi AD 700-AD 1275
Pueblo Indians 1300-present

Traditional Pueblo Villages built from about 1000 to 1945

BACKGROUND:
This way of building began about 1,000 years ago just as the development of agriculture made permanent settlements possible. Anasazi and Pueblo Indians built villages like this :

Ground level doors before 1880 were uncommon. Ladders led from the ground up to the first roof tops and on to higher terraces. The construction of everyone’s house built together into a single large building reflected the strong community social life. Beginning about 1900, most of these massed, multi-story Pueblo villages began to break apart into one story forms, and separate new dwellings, as more and more people went away to Indian schools for education and returned with a strong sense of individual identity. Classic multi- story Pueblo villages are now found only at Taos, Tesuque, Acoma, Hopi, and a few other pueblos.

Hispanic houses built from about 1600 to 1940

1598-1605 Juan De Onate
1608 New Mexico made a royal province of Spain
1608-1610 Pedro De Peralta established capitol at Santa Fe
1692-1693 De Vargas reconquers New Mexico
1821 William Becknell Santa Fe trail opened
1850 Treaty of Guadalupe NM designated a territory
1876 RR in NM
1878-1881 Lincoln County War
1876 Geronimo captured
1898 Rough Riders Spanish American War
1912 New Mexico statehood
1916 Pancho Villa raid on Columbus NM, Willa Cather Death comes to the Archbishop
1923-1924 oil discovered on Navajo Reservation

Hispanic houses Spanish Colonists brought the Mediterranean tradition of flat-roofed, courtyard houses to central Mexico. In New Mexico, on the far northern, Spanish Colonial frontier, full courtyard houses were not often realized, but that was the ideal form that families hoped to build over time.

Rectangular rooms, each with an exterior door, formed the basic module. A family might begin with a single, self-sufficient room. As they grew and prospered, additional rooms were added long single file plans. After three or four rooms were built, a corner was typically turned to form an L-shaped plan. If the house grew larger, a U-shaped form, and finally, a full courtyard plan might be realized. The majority of houses, however, were two to five rooms.

Before 1880, even in very large houses, one large room, known as the sala, a living hall, typically functioned as the multi-purpose focus of family life. Here the extended family slept, entertained guests, prepared food and ate. After 1880, as the modern practice of devoting separate rooms to specialized functions spread, the individual modules became bedrooms, a living room, a kitchen and so forth.

A. Hall-and-Parlor floor plan built from 1870-1900
See above dates for history
The most basic Anglo-American folk house form is a rectangular structure with the door in the long side, and a gable roof with its ends facing the narrow sides. The simplest example is the mythic one-room log cabin in the wilderness clearing. A two room version was more common in the eastern English colonies, and was the primary form brought by early Anglo migrants to New Mexico. This Hall-and-Parlor plan was built as a homestead house, and as modest worker’s cottages in early railroad neighborhoods. These are usually built of lumber frames covered by wooden sliding or stucco.

B. Center Hallway Floor Plan built from 1865-1920
See above dates for history
This formal house with its balanced, symmetrical facade and hallway down the middle can be traced from the Italian Renaissance through the English Renaissance to the two-story Georgian mansions of the late Colonial and early Federal periods on the eastern seaboard. It provided a separate room for each different function. The addition of an internal hallway insured the separation of functions by ending circulation through individual rooms. The U.S. Army and a few individuals introduced this plan to New Mexico in the 1850’s, but its widespread popularity here followed the construction of numerous examples at army forts across the Southwest during late 1860’s and early 1870’s.

The floor plan is symmetrical with a hallway down the middle and equal sized rooms on either side. The hall can be as much as 12 feet wide, to accommodate some furniture and serve as a formal receiving area. Typically, functions were arranged with private bedrooms on one side, and public rooms such as the parlor/living room and kitchen on the other.

Presentation:

Client:

A client is buying a house and would like a history of the surrounding houses. The student should go on a neighborhood scavenger hunt and describe the surrounding houses. Find a local area and have the students visit. Some of the questions answered should be:
1) How many examples are there of Pueblo villages (apartments),Hispanic houses, Anglo-American A Plan and B Plan?
2) When were the houses developed? (City planning office will help here)
3) During what years was the block developed?
4) What elements unify the block?
5) What elements give it variety?
6) What was the predominant cultural group when the neighborhood was developed?
7) What was their most prized possession?
8) What are the most common modifications and additions made to the houses since they were built? (lecture and notes, Wilson, C Summer 1999)

Lesson 3
Plans And Perspectives
Goal:
To help students develop visual and spatial thinking skills and techniques.

Objective:
The students will develop architectural plans and a model for a mouse house.

Materials:
Black medium felt tip pen
White glue, tape
Drawing Paper
Tracing Paper
Cardboard
Scissors,
X-Acto knife

Skills And Concepts
Math
Geometry
Art
Using tools
Visual/verbal communication
Recognizing 2D and 3D
Measuring
Using ratio and scale
Problem solving
Measurement
Habitat study

Architectural Vocabulary:
Bubble diagram Closed curved forms or bubbles which represent spaces and spatial relationships
Elevation drawing A drawing of the front view of an object such as a house front.
Horizon line In perspective drawing, an imaginary line at eye level
Model A three-dimensional representation of an object
Plan view A view of a site or building from above
Perspective drawing Drawing that shows depth by means of lines that converge; a technique of depicting volumes and spatial relationships on a flat surface.
Vanishing point In perspective drawing, a point toward which a series of parallel lines seem to converge
Section drawing A flat two-dimensional representation of the inside of a building showing the internal parts (Sometimes called an X-ray drawing in children's art.)

Client:
Your client, a mouse, needs a house. It should have a kitchen, bedroom, hall-way, bathroom and a cheese storage room. It should all be arranged around a living room.

Architectural program:
Objective:
The students will use schematic drawings to develop a design, starting with a bubble diagram, proceeding to a floor plan, elevation, perspective and model.

Bubble Diagram:
Schematic Drawings:
1. Bubble diagram:
Have the students draw a bubble to represent each space needed by the mouse: a kitchen, cheese storage room, bedroom, bathroom, and living room. Each bubble represents a space and has a label. Have them arrange the bubbles in various ways until they find their best arrangement. They can use architect's tracing paper, called "flimsy" to trace and keep a record of their trial arrangements. Tracings enable them to keep ideas. Then they can compare the various arrangements and choose the best one.

2. Floor Plan:
A plan view converts the bubble diagram to a form which begins to resemble a building. Explain to the students that a floor plan is a view of a room or house which is seen as if the roof has been removed and someone is above the building looking straight down on the rooms. It is a bird's-eye view. Give the students a copy of the appendix page, Drawing A Floor Plan. Have the students look at the features of the plan view of this poster in order to see how architects draw walls, doors, door swings, and windows. Translate the bubble diagram for the mouse house into a floor plan.

3. Elevation Drawing:
Elevation drawings are two dimensional drawings that show the outside walls of a building. Have the students draw a front elevation of their mouse house design. The front elevation would be the side of the house which contains the front door. Show the students how the front elevation is drawn by tracing lines up from the corners of the floor plan. Explain that elevation drawings are based on the information found in the floor plans. The students should use an architect's scale to determine the height of the walls, roof, doors, and where windows are placed. Elevation drawings also show the pattern or texture on the walls. (A section drawing of the mouse house is not called for on the poster but as an option, you may have the students draw one to show the Interior view of a section of the house. Ask them to imagine that they have X-ray vision and draw the walls and other parts of the inside of the house that they can see with X-ray vision behind the elevation drawing they have made.)

4. Perspective Drawing (for older students):
Explain to the class that while elevation and section drawings look flat and diagrammatic, a perspective sketch will enable them to draw a house that is three dimensional looking, more like a photograph. On the chalkboard demonstrate these step-by-step instructions for perspective drawing:

(Step 1) For perspective drawing, start with the horizon line and two vanishing points. On the chalkboard draw a horizon line and vanishing points, A and B.
(Step 2) In the middle of the horizon line, draw a vertical line, C, which crosses the horizon line. This represents the corner of the building.
(Step 3) Draw lines from D, the bottom corner of the building, up to the vanishing points.
(Step 4) Draw lines from E, the top corner of the roof, down to the vanishing points. Now two side of the building can be seen. Have the students draw in the details following the rule (indicated in steps 3 and 4) of having the lines go toward the vanishing points. This includes the lines of the siding, bricks, and other details.

Optional advanced drawing exercise: Oblique Perspective:
This is a special drawing used by architects to help them see how a building looks and feels inside. To make an oblique perspective drawing, the student will need the floor plan and a sheet of tracing paper. Show the student how to tip the floor plan toward him/her at a 45' angle. Then the tracing paper is laid over the plan and vertical pencil lines are drawn from all the corners within the plan. In this way the walls are drawn as they would rise up from the floor plan. Once the pencil drawing is complete, have the students go over the lines with a felt tip marker to complete the oblique plan drawing.

Model construction:
There are several ways of constructing a model. The floor plan and elevation drawings are used as patterns for making models. Young students could simply decorate a shoe box with elevation drawings of their house. Another simple way to make a model is to have the student draw each side of the house next to another on a long piece of tagboard. Score the corners with a butter knife and fold them to form the walls. Older students can use the detailed instructions for materials, making patterns and constructing models on appendix page 85, "Model Making."

Evaluation:
Give each student time to present his or her mouse house plan and model to the class. Ask each student how the use of the bubble diagram and plan view helped him or her to achieve a creative design for the mouse house. Evaluate their progress in visual thinking and visual communication through schematic drawing.

The drawing techniques used in these activities will be used again and again in the exercises that follow on the other posters. The students will get more practice as they continue with the other sequences. Remind them, this is as much a way of thinking as a way of drawing. Positive reinforcement for visual thinking and creative problem solving is very important in the early stages of this new way of learning.

Related Activities: Designing a Fast Food Vegetarian Restaurant:
This gives students an opportunity to work with organic forms that are more like bubble diagrams. The client is an entrepreneur who has just come into your town. He wants the students to design a fast food vegetarian restaurant. The students should begin by making drawings of the outside of a green pepper and an orange, then cut them and make section drawings of them. The purpose of this is to start thinking about the internal organization of two different organic forms and to become more experimental as they organize the interior space for the many functions of a restaurant. In developing the architectural program, have the students brainstorm ideas about the spaces needed (eating and preparation areas, delivery space storage, restrooms, parking, etc.-spaces, only, not equipment.) They should make a bubble shape of each space, label it, cut it out, and experiment with arrangement of the spaces, rearranging the diagram as often as they like and changing the size, shape, spatial relationships, number of bubbles. Have them use tracing paper to trace the different arrangements that they try. Then they should draw a plan view possibly using a combination of geometric shapes and organic, curved shapes. The four steps of the final drawing can placed on one large sheet of drawing paper folded into four sections. Section I should have the bubble diagram. Section 2 should have the plan view. Section 3 should show an elevation. Section 4 should show a perspective drawing. This drawing should be colored. (Taylor, Anne Architecture and Children, 1996)

Lesson 4: Colors And Textures:
Goal:
To help students gain an understanding and familiarity with color and textures, how they work and what they express when they are used in interior design.

Objective:
Students will make a color board for an interior design client.

Materials:
Many old magazines
Scissors
Crayons
Glue
Pencils
Newsprint
Tagboard
Colored fabric samples
Color swatches from a paint store
Mat board scraps from a picture framing shop
Masking tape
Crayola markers

Skills And Concepts:
Math
Language Arts
Art
Deductive reasoning
Spatial relationships
Dimensional analysis
Applying knowledge
Classifying
Geometry
Texture
Balance
Aesthetics

Architectural Vocabulary:
Interior designer A professional who designs the insides of buildings
Color board A color sample display made by an interior designer for the client
Color wheel A two dimensional model showing the full array of spectrum colors arranged in a circle
Color temperature A psychological impression of warmth or coolness given by colors
Cool colors, receding colors Blue and green are examples of cool, "receding" colors; they are associated with cool water and green trees
Warm colors, advancing colors Red and yellow are examples of warmer, "advancing" colors; they are associated with hot sun, red fire, flames
Hue The color quality of a spectrum color identified by its name
Spectrum The band of colors seen in a section of a rainbow
Intensity or saturation The brightness or dullness of a color
Value The lightness or darkness of a color
Neutral colors Black, white or gray; colors with no hue

The power of bubble gum pink
Explain to students that color can affect behavior. Here is an example to share: A color researcher found that if he put a large board with bubble gum pink in it in front of the eyes of weight lifters, they could not lift the weights. He also found that the color subdued angry prisoners. Now some prison rooms are painted bubble gum pink.

A color brainstorming session:
Students will look at twelve colors-the basic spectrum colors of red, orange, yellow, green, blue, purple and six others, if possible bluish gray, yellow green, pink, black, brown and turquoise. Have the students, as a group, consider one color at a time. As they look at each color, one at a time, encourage them to brainstorm, telling their spontaneous associations with each color. Have a recorder write on the blackboard the title of each color and list all reactions for a period of one minute per color. No response should be left out. At the end, go back to each list and have the group select five or more responses for each color and remove the others. Then have a recorder make a master list of the colors and the reactions to them. This will help students understand their own and others' reactions to colors.

Color survey:
Conduct a survey on color responses. Have the students ask people of varying ages, lifestyles and interests a standard set of questions. Sample questions might include some of the following: What color is your favorite piece of clothing? What color would you choose for a car? What color would you like the rug to be your (room, classroom, office- whatever place the person spends most of every day)? What color of toothbrush would you choose? If you had a little tree house what color would you paint it?

Color representation exercise:
Give the students a list of words that have been used to describe colors. The list might include such words as hot, fresh, natural, feminine, rich, masculine, vibrant, loud, quiet, sophisticated, tranquil, avant garde, traditional. The student should make a colored illustration or example of each word. Depending on ability, this might vary from drawing the word in outline letters and coloring them to selecting sample color swatches from old magazines and pasting them next to the descriptive word. This is a valuable exercise for helping the students select colors that will satisfy their client's preferences.

Texture rubbings:
Have the students look for a surface with an interesting texture. They may find a surface to rub on the inside of a wall or a floor or perhaps outside on a walking tour of the neighborhood. To make a rubbing they tape down a piece of paper larger than the area to be rubbed. (Brown paper grocery bags have good tough paper for rubbings.) Give them thick crayons for rubbing and tell then to rub in one direction from the center to the edges of the paper and always away from the center to the edge. Encourage them to try several rubbings. Have them draw a picture of the object they rubbed or bring an example of it to class.

Texture word representation exercise:
In the following exercise, students will represent word meanings by visual symbols. Assign words from the list of texture words below. Have students fold a sheet of paper In half and write their word in the upper left hand corner of the folded paper. With a large felt tip marker, they should draw a symbol of the word in the upper half of the folded paper. On the lower half of the folded paper, they should create a repetitive pattern using the symbol they made on the upper half of paper. Keep assigning word exercises until all words have been illustrated by the class.

        holes     rough      wrinkly         fireworks      uneven sharp     waves in      sand coarse
        lumpy    basket ware      gritty  slippery         curly     knotty    slick    bumpy     bristly
        glassy    fat      grainy     glossy      small     prickly polished      pointed/sharp    pebbly
        shiny     soft/rounded      thistle     silken     up and down     thorny silky    zig-zag
        splintery          sleek      downy gravelly         velvety barbed satiny    spiny      fleecy
        tacky        smoothsoft          waxy          hairy     oily      furry     greasy      spongy mossy slimy
        plush     filmy      gooey     shaggy doughy          delicate

Help the students to articulate the message they see in the visual symbols. Display the drawings: Ask the students questions such as: Which patterns are bold? Which are subtle? Which seem earthy? Which seem manmade? Which seem loud? Which seem quiet? Which are regular? Which are irregular? Does the word symbol make you think of the word It is illustrating?

Client:
A client wants guidance in choosing colors and textures for a new home and has selected you, the student interior designer to help make good choices. (Note: The description and type of person the client is should be defined by each student.) The client needs a colored drawing and samples of the colors and textures to understand what you are recommending and will need to have you explain why you think these choices will be best for the client's new home.

Architectural program:
Photocopy the interior design room in the lower right hand corner of Poster 8.
It is like a color board drawing used by professional interior designers. Give each student two copies of the drawing. The students should first use the color board to design a room for themselves. They should select the colors and textures that they like. Then they should use them to color in the color board. Have each student write a brief self-description and an explanation of why this design is appropriate for them. Each student should then write a short description of his or her client. Does the client like loud, noisy colors or cool quiet colors? How does the client like to spend his or her spare time? Is the client young or old? Is the client interested in art or music- what kind? How will colors affect the space? Each student should make, or select from magazines, the color swatches chosen for his or her client. After moving the swatches around and looking at them in different combinations, they should choose colors and textures appropriate for their client's room. Not all colors on all objects have to be different. Many can be the same throughout the space. The student should color the color board drawing, arrange some swatches around the drawing in an orderly way, and be prepared to explain their choices to the client.

Evaluation:
Have each student give an imaginary client presentation of his or her project, thoughtfully explaining the reasoning they used in reaching their design solutions. The students should say why they like or dislike certain choices. Quite often when we buy something we may say we like it, but can't say why. We need to help children not only make choices about the material world, but help them articulate why these choices were made.

Related activities:
1. Repeat the word representation exercises using movement and then musical sounds to indicate word meanings. Represent the words using one movement or musical phrase create a repetitive pattern.
2. Visualize a geometric shape. Cut it out of paper and place it on a different background color. Now choose a word and demonstrate it using cut paper geometric forms and the two colors - (instability, motion, anchored, frantic, playful, resting, etc.) Try the exercise again using 5 strips of color.
3. Cut and fold colored and textured paper into 3 dimensional shapes and design a town. The texture can be obtained by using texture rubbings. (Taylor, Anne Architecture and Children, 1996)

Lesson 5: Preferences
Goal:
To help students evaluate the ambiance of certain environments, understand reasons for their preferences and to apply knowledge in designing a classroom.

Objective:
Students will design and build a model of a new classroom.

Materials:
Large drawing paper
Colored marker sets
Model building materials
Cardboard
Scissors
Glue
Masking tape
Construction paper

Skills And Concepts:
Math
Science
Art|
Social Studies
Dimensional analysis
Spatial relationships
Geometric construction
Scale, ratio, proportion
Experimentation
Evaluation
Communication
Geometry
Problem solving
Cause, effect
Socialization
Space
Harmony
Aesthetics

Architectural Concepts And Vocabulary:
Aesthetics The philosophical principles of art and design
Ambiance The mood, character, quality, or atmosphere of a place, an environment, or surrounding
Bubble diagram Circles or "bubbles" which represent spaces and relationships
Elevation The front view of an object such as a house front
Model A miniature, built copy of something
Plan view A diagram of a site or building as seen from above
Scale Proportion of a plan or model in relation to the actual size of the object
Spatial relationship Relation of objects, people or spaces to one another

Presentation: My favorite place- a creative visualization
In order to create a new design, it helps to forget the way things are and open up one's imagination to all the possibilities it can invent. This creative visualization exercise will help stimulate creative, imaginative suggestions that could be integrated into the design of the classroom of the future. Clear a large area in the room- enough space for the whole class to lie down on the floor. Students should have near them some large paper and a set of colored large felt tip markers. Have the students lie down on the floor with their eyes closed. If you can find a tape of ocean wave sounds, play it while reading the following very quietly:

"Close your eyes and relax your head. Make your neck loose. Now make your arms go limp like a doll. Now relax your trunk, relax your feet. Take some deep breaths and listen to the sounds of this room. Try to imagine yourself walking along a beach. The sun is warm on your body. The sand feels warm to your feet. The waves are crashing in on the shoreline. A sea gull cries. You are alone. You are the only person on the beach. You begin a walk and you walk along this beautiful beach. Listen to the waves crashing." (Pause) "All at once you see a dot on the horizon. You can't make out what it is. You keep waIking. Soon you realize that the figure coming down the beach is you yourself. Yourself takes hold of your hand and crosses over a sand dune through time and space to the special place that you would like to be. Try to see this place in your mind; imagine the colors and textures and smells. Think about it for a minute and put yourself in this place. Now quietly begin to draw this place. Spend as much time as you need to draw a complete picture, showing all the objects and all the colors. Is your place outdoors or indoors? What does the sky or ceiling look like? Are there trees? Is there furniture? Is there water? Sunshine, light? What is on the ground? What is on the floor?"

Class discussion:
Display all the students' drawings and have them break into groups of four to talk about their special places. Have each group pick features of their special places which could be incorporated into a classroom of the future.

Client:
A classroom teacher is the client. She wants the students in your school to help her create the ideal classroom. She wants to know the students' likes and dislikes concerning their present classroom and wants them to design a new classroom using their best ideas. She wants the classroom of the future to be very different from the classroom of today. She believes students learn best when the classroom offers lots of hands-on materials and experiences and a studio workshop atmosphere.

Architectural program:
This is an involved design project that will last through several classroom periods.

Analysis of the classroom as it is now:
Floor plan:
Have the students measure and draw a plan view of the classroom and its furniture as it is now, using a scale of 1/4"=110".

Tally likes and dislikes:
Make a list of features of the classroom such as furniture, lights, windows, floor covering, and so on. Have each student copy the list on a sheet of lined paper folded into four columns. Have them write features on the left "do like" and "don't like" in the next two columns and "tally" in the right column. Write the sum of "likes" for each feature in the "do like" column, the sum of "don't likes" in the "don't like" column. Subtract the "don't like" sum from the "do like" sum for to give each item a score. Record the score in the "tally" column. Then rank I the features from the most liked to the most disliked according to the scores.

Requirements of the new classroom:
The new classroom should be designed in such a way that many activities can harmoniously go on at once. The students and teacher do not have to have their own desks, and furniture can he organized in different ways to change the way or increase the ways the classroom can be used. They should all have individual cubby holes in which to store their papers and books, and portable toolboxes with handles in which to carry school supplies and other tools.

Ideas from the students:
The class as a group should make a list of teaching/learning areas which they would like to see in their classroom. Some zones might include the following:
Entryway                              Portable student storage
Student cubby holes              Personal space zone
Soft area                               Library and reference zone
Plants and living things          Sink and wet zone
Technological zone                Teacher zone with drop-down table
Tables and closets                 Mini-museum display space
Writing surfaces                     Open space
Access to outside (patio)      Super graphic
Banners

Group design process:
Design teams:
After establishing the zones needed for a working classroom, the class should break into teams of four. The teacher assigns all the zones among the teams. Each team will make a list of items needed in their zones, design the ones and illustrate their designs with clearly labeled bubble diagrams. (See bubble diagram information in Entryways and Plans and Perspective lessons.)

Team presentation of bubble diagrams:
All teams should display their bubble diagrams. The designers of each presentation should explain their work and participate in a class discussion to determine which designs are the most successful. In the discussion, the class should decide upon four or five zones that will be included in the new classroom. When the presentations end each team accepts a zone to design.

Study model construction:
Each team will now make a study model to show its design concept for its zone. These models are not meant to be complete or done in fine detail. Study models are usually built in a short period of time (one hour is usually enough). Tell the students that these will be pinned on the wall when complete, so they should glue the parts down securely. Simple tools -and materials such as scissors, white glue, paste, drafting tape and construction paper wiII do nicely. Each study model should be built to a scale of/41, = l'O". Give each student a photocopy of the 1/4" = l'O" scale (see Appendix 1). Scale model People, ( see appendix 2), should be used for visual reference. the students to use their time wisely. After they begin working, You should announce the time left to complete the model every ten minutes. The students are encouraged to work quickly in order to develop fluid thinking and visual representation skills. Each model and the drawing that it was based on should be displayed on the wall. The classroom can be thought of as an architectural design studio, with students working cooperatively towards solutions. Cooperative learning occurs when students help one another solve problems creatively and see and listen to several points of view.

RELATED ACTIVITIES:

Redesign another environment for the future, such as a recreational center that serves different age groups.

Evaluation:
Display all bubble diagrams, plans and models made during the various steps of this project. Discuss the pros and cons of new ideas the students have incorporate in their designs for the classroom. Review a checklist of the client's specifications and have the students determine if the final design solutions meet his or her needs and dreams of a classroom for the future. (Taylor, Anne Architecture and Children, 1996)

Bibliography
Bartuska, T.J., & Young, G.L. (1994). The built environment: A creative inquiry into design & planning. Menlo Park: Crisp Publications.

Bunting, B. (1976). Early architecture in new mexico. Albuquerque: The University of New Mexico.

Bunting, B. (1974). Of earth and timbers made: New mexico architecture. Albuquerque: The University of New Mexico.

Iowa, J, (1985). Ageless adobe: History and preservation in southwestern architecture. Santa Fe: Sunstone Press.

Loughlin, C.E., & Martin, M.D. (1987). Supporting Literacy: Developing effective learning environments. New York: Teachers College Press.

Marshall, A., Taylor, A., & Vlastos, G. (1991). Architecture and children. Seattle: Architecture and Children Institute.

Mazria, E. (1979). The passive solar energy book: A complete guide to passive solar home, greenhouse and building design. Emmaus: Rodale Press.

Reader’s Digest. (1995). The family handyman helpful hints: Quick and easy solutions time-saving tips tricks of the trade. New York: The Reader’s Digest                  Association.

Taylor, A. (1991). Architecture and children southwest. Albuquerque: The University of New Mexico School of Architecture & Planning.

Taylor, A. (1999). Lecture during Yale Institute summer 1999.

Traugott, J., (1998). Pueblo architecture and modern adobes. Santa Fe: Museum of New Mexico Press.

Warren, N. H., (1995). New mexico style: A sourcebook of traditional architectural details. Santa Fe: Museum of New Mexico Press.

Wilson, C. Lecture during yale institute summer 1999 lecture and notes. Permission to use his material granted by phone conversation  6-17-99.

We must consider "how the environment we build works on us physically and psychologically, and what historical and symbolic messages it carries." -- Leland Roth

Introduction
The primary objective of this class is to teach American history and literature through an integrated humanities approach. The curriculum unit emphasizes the study of architecture in the Southwest and New England.

Using architecture as a way of approaching American history and literature makes sense. First, architecture is familiar and accessible in ways that other art forms may not always be. Everyone lives in a dwelling place of some sort and has commerce with larger buildings, both visually and physically, but few understand what they are seeing. Perhaps they have not studied architecture nor traveled widely enough to have increased their awareness of different vernacular styles. This curriculum will encourage visual as well as verbal interpretation of the environment, which should result in greater appreciation and understanding of the world around them.

Second, architecture is the study of more than the built environment. This curriculum focuses on how architecture reflects the aesthetic vision and values of various cultures. For instance, in the contemporary Southwest, the influence of Native American and Spanish/Mexican cultures on architecture is widely seen in public and private buildings. Buildings at the University of New Mexico in Albuquerque, the state capitol building in Santa Fe, and neighborhood homes feature typical Southwestern architectural elements of adobe or stucco walls, vigas, straight, clean lines, and earth tone colors. The use of the vernacular architecture makes a strong statement about the connection between past and present in New Mexico. Choice of materials and forms is often based on the climate of the building site, too. Heat and glare are always on the minds of architects and residents eager to find coolness and shade in the Southwest. New England’s climate makes different demands on its residents and architects. As a result of studying architecture in this unit, students should demonstrate increased ability to see details and deduce community values in historic architectural styles in the Southwest and in New England as well.

Finally, the study of architecture is not an only an end, but a means to an end. The study of United States history and literature focuses mainly on the eastern part of the nation. Many of my students who have not traveled or read widely feel disconnected from the East where so much of our national history occurred. By making connections between New Mexican and New England communities and the vernacular architecture, they will better understand the eighteenth and nineteenth century history and literature which make up a great deal of our curriculum.

Strategies for Learning
This class will adopt a studio design model. In addition to whole class lessons, students will work individually and with their peers to complete projects such as models and posters, thus demonstrating their understanding in both verbal and non-verbal ways. My reasoning is based on my understanding of what middle school students need to do in order to learn. Students’ enthusiasm and understanding increase in direct ratio to the amount of direct participation in the curriculum being taught. At-risk students make up an increasing percentage of our population. Many of these young people have had little success with traditional methods of instruction or evaluation, so perhaps this will be a more successful method. Studio design fosters informal interaction with teachers and peers, more individual creativity, and more emphasis on visual rather than verbal skills, which should reach reluctant learners. Howard Gardner’s work on "multiple intelligences" has shown that students can achieve through a variety of methods. Most middle school students have strong visual and kinesthetic learning styles, yet schools tend to emphasize verbal/linguistic or mathematical/logical styles. Conducting a studio-based classroom which emphasizes visual/spatial intelligence, in conjunction with more traditional methods of learning, implies a good balance of thought and activity. Finally, if the students’ experience of learning about architecture is successful, they will begin to see their community with new eyes. Architecture will become an interesting part of their everyday lives, and perhaps they will begin to consider some new career possibilities.

Assessment
It is important to give students an overview of their assessment requirements early in the unit so that they will be able to see what is expected of them and everyone will be on the same page. Students will complete a portfolio of their work in architecture, history, and literature, including samples of the following visual and verbal requirements, which will be distributed early:
1.Vocabulary of architecture with definitions and visuals
2. Studio Model notebook of basic architectural drawings (see list below)
3. Response to literature in a verbal/visual journal
4. Illustrated historical timeline of periods studied
5. Presentations including art, written, and spoken work
6. Reflective writing on all work, both process and product

Pedagogy of Architectural Literacy
In order to move from a traditional classroom to a studio, the use of physical space in the classroom will have to change. Large tables will replace traditional student desks. Wall space will be covered with bulletin board material to create canvases on which students’ work will be displayed for observation, presentation, comparison, and aesthetic appreciation.

The tools that students use will also be non-traditional. In addition to notebooks, books, pens, and pencils, they will have access to an overhead projector, slide projector, computers, drafting tools including pens, paper, markers, a compass, a French curve, rulers, straightedges, a scale ruler, glue, chipboard, tracing paper, t-square, clay carving implements, and more. They will keep visual/verbal journals in which to observe and reflect on their work as well as working portfolios to document their process.

In a classroom design studio, the teacher is more a facilitator than an instructor. After having given direct instruction, the teacher should move around the room, observing, encouraging, giving quick suggestions to students who need them, but otherwise, staying out of the way. This is the same method that many teachers use in reading and writing workshops: teach directly and briefly, provide tools, time, and a good working environment, and then give students a chance to practice and to demonstrate their understanding, either singly or in groups.

The following are some examples of activities used to teach basic architectural design skills, "expressing concepts which illustrate action, movement through space, sound patterns, and areas of activities." (Taylor, 1991). They make great warm-ups.

Schematic Drawings
1. The Life and Death of a Bubble: students will observe bubbles being blown and sketch their progression in chronological order from bubble pipe to the ground using directional arrows and simple sketches. They will write poems based on their observations.
2. The Great Balloon Race: three balloons of different colors will be released. Students will sketch their progression as they fly around the room and finally land, deflated, by using simple line drawings and directional arrows.
3. Schematic of mechanical devices: students will sketch a small wind-up toy and will "draw" the mechanical device which moves it. Similarly, they will plot the movement of a slinky and graphically "illustrate" the sound that it makes.
4. Section drawing: students will sketch a piece of fruit or vegetable which has been cut in half. They will pay attention to details and label each part.
5. Scale: students will isolate part of the drawing by cutting out a hollow square of paper and placing it over the section; they will then draw that section in greater dimensions, further emphasizing details by using color or dark lines.
6. Sketching: using gray and black markers, students will observe slides of buildings showing strong contrast of light, shade, and shadow and will sketch them rapidly to develop visual observation skills. While observing photos of ancient cliff dwellings or modern pueblos, they will list adjectives which describe the picture. The class will compile a list and use the vocabulary for writing poetry.
7. Perspective: students will learn one- and two-point perspective by using tracing paper to extend the lines of photographed buildings outward to their vanishing points. In addition, they will sketch the shapes of people against the buildings to show scale. People will have one, two, and three-part proportions of head, body, and legs.
8. Plan drawing: students will first draw bubble diagrams and then will formalize those in plans (birds-eye views) of buildings. They will mark walls, doors and windows and other design elements. They will write a descriptive paragraph of the building as if they were walking through it, using directional wording.
9. Elevation drawing: students will draw elevations (side views) showing architectural details of the wall shown based on plans.
10. Tracing: students will trace on tracing paper (called flimsy) pictures from slide projectors, overhead projectors, or light tables.
11. Model building: students will make 3-D models of buildings or communities (clay, chipboard, foam board) using plans. After building a clay model, they will write a poem from the building’s point of view.
12. Posters: students will create display posters with attention to strong visual and verbal communication of a central idea.

Vocabulary of architecture
An important tool is a common vocabulary. Students will write definitions, illustrate some of the words, and use these words in their writing and speaking.

adobe                                  building bricks made out of mud, straw, and liquid (from the Arabic word, at-tub)
arch                                    curved or pointed structure that supports the weight of material over an open space
balustrade                          a series of pillars or columns supporting a handrail
beam                                    a horizontal form resting on vertical supports or posts
bubble diagram                  circles or bubbles which represent spaces and relationships
column                                a supporting pillar consisting of a base, a cylindrical shaft, and a capital
cornice                                a crowning projection over windows or doors
capital                                 the top part of a post or column; it can be plain or decorative
colonnade                           a row of columns
corbel                                  a decorative element that supports part of the roof
elevation                            a view of one of the structure’s sides
facade                                 the front part of a building
fogon                                  rounded corner fireplace
gable roof                          a triangular wall section at the end of a pitched roof or as decoration over a window or door
gambrel roof                       a roof with two slopes on each side, a steeper pitch to the lower outer portion and a gentler pitch to the center
latillas                                sticks laid herringbone fashion across vigas to form a ceiling
perspective                        a drawing which shows how an object appears to the eye by using reference points to relate distance or depth   
pilaster                               a column of shallow depth, perhaps attached to the wall
plan                                   drawing what the structure looks like from a bird’s eye view
plaza                                  an open space surrounded by buildings
portal                                 an opening at the entrance of a wall or building; also a shaded porch
ramada                               an outdoor space partially shaded by beams
spire                                   the tapered termination of a tower, especially on churchesscalethe proportion of a drawing or model in relation to the actual size of the                                                      object
schematic diagram           a visual way of representing time, space, or motion
section drawing                drawing the object as if the outer layer had been peeled away
tracing                              drawing the object’s lines using tracing paper placed over slide projections, overhead projections, or light tables
vernacular                        a type of architecture peculiar to a specific region or culture
viga                                    a beam that holds up the roof and protrudes from walls
zaguan                                heavy double door or gateway

History and Architecture in the Southwest and New England
United States history does not begin when the first English colonists settled Jamestown in 1607 or the Pilgrims landed on Plymouth Rock in 1620. Long before that, Europeans were on this continent. Spaniards entered what is now the Southwestern United States in 1540 seeking the fabled wealth of Cibola. They found instead adobe pueblos older than the cities of Europe, built by time-honored methods appropriate to the climate and the culture. These methods still influence modern Southwestern architecture. The continued use of native materials, colors, shapes, and design details in the Southwest demonstrate cultural and practical ties to the past. The influence of Native American architecture is strong in the Southwest. This is to be expected, since native people have inhabited the high desert and mountains from time immemorial. Climate and religion have influenced materials and their use. Visit Mesa Verde in Colorado, Chaco Canyon in New Mexico, and Canyon de Chelly in Arizona to see stone and earth constructions which "exemplify the unity of house and land" (Roth, 1979). There clusters of rooms were built onto natural caves high on canyon walls; they created places that were safe, cool, and conducive to cultural stability.

These Anasazi communities were built at around the same time, 1000 to 1100 A.D. Ancient circular, subterranean pit houses with central firepits and smokeholes evolved into multiple units based on cubes. These cubes, still containing central firepits and smokeholes, were pushed together for protection, first in rows, then in D or E shapes, and later into pyramidal constructions such as Pueblo Bonito at Chaco Canyon, which could house many hundreds of people. Taos Pueblo in northern New Mexico exemplifies a multi-story pueblo made of adobe. The pueblo’s earth colors, straight lines, massive adobe walls, small windows and doors, strong contrast of sun, shade and shadow, and slightly rounded thick walls are still keynotes of Southwest architectural style.

The Arabic name at-tub, a straw-earth-liquid mixture, was brought to the region by the Spaniards, but adobe has long been a traditional building material in the Southwest. Although stuccoed wooden or block houses with the desired lines and shape often substitute for adobe today, the property of natural temperature control is sadly lacking in non-adobe homes.

The pueblos were built of adobe or mud brick held together with slip and covered annually with layers of mud stucco. Roofs were built by placing long cedar poles called vigas atop beams. These protruding vigas were topped by latillas, small branches placed in herring-bone fashion, which then held grass or brush and additional layers of mud bricks in the multi-story pueblos. Roofs became the terraces for the housing units above. Smoke holes in each roof allowed ancient families to enter via ladders which offered protection as well as imitated the cosmological reference to coming out of the navel of the earth, the sipapu, into one layer of several new worlds. (See figure 1.)

Modern pueblos, although often built on one or two levels in U shapes, have exterior doors, but the tradition of using ladders and living on the terraces as well as other outdoor areas still exists. The individual is part of a community in the traditional structure of a pueblo, which is Spanish for village. No one’s house is separate from or different from his neighbors’, and the entire tribe shares a common area, the plaza, for community religious events. The living space for families expanded or contracted as needed by adding on to the core dwelling place or closing off rooms for storage.

Native American communities, like Hispanic and Anglo communities, were influenced by the climate and the availability of building materials as well as by cultural values. For example, the Pueblo culture exemplified by Taos Pueblo built permanent structures near their agricultural fields, but the Navajo’s traditional hogans were scattered widely across the deserts and plains, separated from other hogans because the arid land could not support dense population or grazing. A hogan is a one-room, six- or eight-sided mud and log structure which appears round. Based on the Navajo cosmology, the single door always faces east to greet the rising sun. (See figure 2.)

The Spanish, who entered the Southwest in 1540 and have lived there almost constantly since, adopted adobe as a basic building material for their own communities. For individual families, small houses in the form of an L, with a central living space and perhaps a few additional rooms, were constructed on or near a central plaza, which is defined as a square which serves to protect as well as to invite commerce and community. Houses were traditionally placed on the site so that prevailing winds would strike the back walls with few small windows, and the rising sun would warm the front of the house. Additional rooms could be added to that structure, Pueblo style. Sometimes separate homes were built nearby to create, eventually, a hacienda of connected houses in U shape or a square with doors opening on the central patio shared by the extended family.

The Native Americans who built the Spaniards’ houses eventually began to use molds to make fairly uniform mud bricks. In Santa Fe, they used adobe to build the long, colonnaded Palace of the Governors along one side of the town’s central plaza according to Spanish plans. Homes were built near to the plaza and along the roads radiating out from it. The seventeenth- century church-missions built in the region were modeled after European cathedrals, but their thick adobe walls and protruding vigas, reminiscent of pueblo architecture, provided cool, safe spaces for the missions’ inhabitants and visitors.

Just as Southwestern natives used locally available materials and methods, the Eastern woodlands tribes and the English settlers also built homes appropriate for New England’s cultures and climates. The Algonquin tribes of the Eastern woodlands were hunters and gatherers who lived in round, bark-covered shelters called wigwams. These homes were easily moved from place to place to accommodate their nomadic lifestyle. The free-standing wigwams were placed together to create villages of from fifty to five hundred families. Each wigwam was built by tying flexible saplings together to form dome-shaped frames which were then covered by available materials: bark, hides, or woven mats. Each wigwam had an entryway and a smoke hole to allow the escape of smoke from a central firepit. The wigwams measured from 10 to 16 feet in diameter, about 10 feet high, and usually housed two or three families. Some wigwams called longhouses, which measured as large as 100 by 18 feet, housed many more families and stored food as well. Whether round or long, Algonquin wigwams were clustered around a central common area, much like the Pueblo plazas and New England commons, where celebrations and civic discussions could take place. Some villages had protective walls, but most did not and were easily dismantled for moving when weather or animal migration made it necessary.

Why did the Pilgrims arriving in New England in the early seventeenth century not build homes like the wigwams which had served native populations so well in all kinds of weather for hundreds of years? They did for a while. Earthen dugouts and huts made something like wigwams with bark-covered frames served as shelter for the first years on this continent, but these European settlers considered the natives to be heathen and their homes unworthy of imitation. Yet the daub and wattle (mud and stick) homes with thatched roofs that the earliest settlers imitated from their English homes did not work because they were inappropriate for the bitter New England climate. The wind blew through the walls, and the thatched roofs that had stayed moist in England often caught on fire in the dryer climate of New England, so they had to try other architectural styles. Soon the little cottages were winter-proofed with narrow boards, called clapboards, and roofing shingles were made from the abundant timber in the community. Left unpainted, the wood weathered to shades of brown and gray.

Seventeenth-century Massachusetts Bay Colony homes, in keeping with their Puritan and medieval European traditions, were plain wooden structures sturdy enough to withstand harsh New England winters. Beams were left clearly exposed. "In every room the mark of the broadax still showed up and down the rugged frame, for no one planed or sanded the beams. This wasn’t a showplace, it was a plain house for a plain life. Decoration in home or meetinghouse could only signal precious time, the Lord’s gift, squandered." (Bruce, 1975). Windows were small or non-existent, glass being expensive to import from Europe and other materials not especially translucent, so the rooms were usually dark. The interior space was divided into several small, low-ceilinged rooms which were not specific to household tasks. These houses were usually two stories high. The front door would open to a narrow hall entryway with a winding stair wrapped around the chimney core and leading up to two small bedrooms which were also used for storage. Although two rooms on either side usually backed onto the chimney for warmth, the family would spend most of its time in one of them, the keeping room, "a little like today’s wide-open modern houses with kitchen, dining room, and living room all flowing together. . .All the work in the house centered in that room, around the enormous kitchen fireplace." (Bruce, (1975). At night, the keeping room often served as the parents’ and smallest children’s bedroom, too. One room downstairs was usually a formal sitting room. There were no closets or bathrooms in the house. (See figure 3.) A later transformation of this basic housing style added one and one-half stories on the back, with a sloping roof that covered it. It resembled a saltbox, and so it was called. The additional rooms might be a separate kitchen or bedroom and storage areas.

In Massachusetts Bay Colony villages, which were Puritan congregations more than anything else, all buildings were supposed to stand clustered within one-half mile of each other, close to the village green or commons area. This was a way to demonstrate their strong interdependence as well as to keep an eye on the neighbors. Cattle grazed and farmers plowed their fields some distance from the towns where their homes were located. The roads all converged on the central commons area where the meetinghouse, the school, and the stocks or the jail were built. Living in such close proximity was hard for non-conformists, many of whom moved to Connecticut and Rhode Island.

Puritan church-meetinghouses, central to the community’s life and centrally located on the Common, were architecturally different from village churches and cathedrals in England. They were built for the spoken human voice, civic leaders as well as ministers, rather than sung or chanted liturgy. The entire community was welcome to participate, not separated from the principals by a choir screen. One of the remaining old-style buildings Old Ship Meetinghouse, Unitarian, in Hingham, Massachusetts, 1682. The building is large and rectangular with box pews and galleries. Its ceiling shows sturdy timber trusses such as a a barn or a ship might have.

It was "the individual and the full community represented in a visual symbol. . .first of all a house of worship, but. . .concerned. . .in the social and economic affairs of the community." (Mutrux, 1982).

Changing styles marked houses built around 1700 and later. Builders of new homes dropped the idea of the overhang, built larger sash windows and basically built two-story boxes with a gable or a gambrel roof, with more head space in the upstairs bedrooms. Often new houses were added onto or built around old ones as more generations joined a household. The village still focused on the green, but new houses sprawled farther out into the countryside on lots allocated by the town governors. The Puritan community became more widespread and less controlled.

As New England farmers, sailors, and merchants became more independent and prosperous, the styles of their homes changed as well. By the late eighteenth century, homes from Maine to Georgia began to resemble houses in England, no matter what the nationality of the current residents. This was due partly to the fact that England was the only country with which colonists could trade and partly to the fashion of the time. Georgian Colonial homes, named after England’s King George III (1760-1820), were usually two or three stories high and two rooms deep, covered in white clapboard or local stone. Most Georgian homes had their chimneys placed on the outside walls, a more sophisticated style than the early colonial practice of clustering chimneys as a heat source in the middle of the house and winding staircases around them. The houses were built symmetrically around a center axis, with public rooms on either side of a hall and private rooms upstairs. By then, separate rooms were built for specific purposes, such as cooking, dining, sitting, and sleeping. New England villagers requested God’s approval of their industry with wealth, so they didn’t shy away from displaying their favor by decorating their substantial homes with Ionic columns or pilasters flanking an embellished central door or multi-paned, double hung windows with decorative caps.

The old-fashioned Puritan meetinghouses were mostly torn down in the eighteenth century and replaced by what is now the symbol of New England, Greek Revival style churches. These are white wooden churches with a spire pointing heavenward. The use of neoclassical forms such as columns, pediments, cornices, and pilasters, as well as the Roman domes and arches now associated with our federal government buildings, were used to imply the rational nature of the new country and its leaders.

Now that you know a little bit about the architecture of the times, it should be easier to help your students visualize the setting of three historical fiction novels. For those in New Mexico, perhaps your students will be able to compare and contrast small towns in the Southwest and the Northeast.

Literature and Architecture: An Interdisciplinary Unit
New England town greens surrounded by tall white clapboard houses are very different from the dusty central plazas and single-story adobe and stucco homes of the Southwest, but they serve the same purpose of providing safety and a central meeting place for the community. This curriculum will make comparisons between familiar vernacular architecture and the different kind described in the novels that we read in literature class so that students can visualize the settings, including the community, specific buildings, and the events that unfold around them. Three novels described here are The Light in the Forest, The Witch of Blackbird Pond, and April Morning. Others would perhaps work as well. Students will form literature groups to read these three novels. Members of each group will designate the number of pages to be read daily and will use class time to read and discuss their reading. In addition, they will work as a group to complete the work for class presentations.

Light in the Forest.
This novel is about the forced return to his original home and family of a white boy, John Butler, captured as a child by a Delaware chief . As the adopted True Son of his Indian father, he has a great deal of trouble adjusting to the ways of white townspeople in a small Pennsylvania town.

Requirements:
1. Read the book carefully and contrast the styles of True Son’s two homes by taking verbal and visual notes about each in your reading log. Draw the floor plan of each as it is described in the book or as you imagine it.

2. Draw a map of both communities described in the novel. Consider these questions:
a. Where is the center of each community?
b. How are the homes placed in relation to one another?
c. What does this say about the community?

3. Write a five-paragraph essay in which you explain at least three reasons why Johnny/True Son might have been troubled by having to leave the forests to adjust to life in the town. Which does the author seem to think is the better environment?

4. Keep a visual/verbal journal with responses to readings.

The Witch of Blackbird Pond
A young orphaned girl leaves Barbados to live with her aunt and uncle in Wethersfield, Connecticut in 1687. She is immediately struck by the difference between the two communities. In her former home she was free to wear bright colors, read widely, and swim. In Wethersfield, she must wear modest clothing, read only the Bible, and work hard. Only witches can swim—in which case they are hanged. She meets a lonely Quaker woman who has been ostracized from the town but whom she finds to be very sympathetic.

1. Compare the construction of two houses to show differences between the Puritans and Quakers. Matthew Wood, a prosperous citizen of Wethersfield, lives in the third house beyond the town’s Common.
            Two and a half stories it stood, gracefully proportioned, with leaded glass windows and clapboards weathered to a silvery gray." (Speare, 1958). The               doorway of Matthew Wood’s house led into a shallow hallway from which a narrow flight of stairs climbed steeply. Through a second door. . .(was) the               great kitchen. In a fireplace that filled half one side of the room a bright fire crackled, throwing glancing patterns of light on creamy plaster walls. There               was a gleam of rubbed wood and burnished pewter (p.33).

Compare that to Hannah Tupper’s house in a meadow near the town—but separate from it.

The little hut with its sparsely thatched roof sagged at one corner. It looked as though it could never survive a stiff wind, let alone a flood. . . The one small room the house contained was scoured as a seashell. There was a table, a chest, a bedstead with a faded quilt, a spinning wheel, and a small loom. A few ancient kettles hung about the clean-swept hearth. ( Speare, 1958, p. 87).

2. Draw a house plan of each house, paying close attention to the text. Compare a picture of the Parson Capen House (1683), Topsfield, Massachusetts, available in many books about Puritan living, to the description of the Wood family’s house in the novel.

3. Draw a map of Wethersfield, Connecticut, as described in The Witch of Blackbird Pond. Include the common, the meetinghouse, the stocks, the Wood home, the road to Saybrook, the Connecticut River, the meadow, and Hannah Tupper’s cottage. Include a compass rose with directional arrows. (Extra credit:Use the internet or other source to find a map of this town today. Compare the two maps.)

4. Keep a visual/verbal journal with responses to reading.

April Morning:
The novel details the events of April 18-19, 1775, when shots fired on the Lexington Green signaled the start of the Revolutionary War. After creating a map of the town and the surrounding area, including the common with its church-meetinghouse and adjacent homes, readers will see more clearly how the events of the times played out along the dirt roads and stone walls of Lexington, Massachusetts.

1. Students will copy a timeline of events of British occupation of Boston, noting especially the dates of April 18 and 19, 1775. They will receive a copy of the book, April Morning, and will form reading groups for the purpose of conferring and presenting with their peers.

2. Chapter three, "The Night," (p.51-78) details the events of a night riders’ progress through Lexington toward Concord to warn the sleeping farmers that the British were coming. Read the poem, "Paul Revere’s Ride," and compare these two versions of the nights’ events. Then, if possible, get a copy of Lexington and Concord and read even more versions of the same events, some from primary sources. Draw conclusions about why history is told so many different ways.

3. Show overhead transparency or slides depicting the setting of April Morning, Lexington and Concord, Massachusetts. Students will receive a copy of a map of Lexington which they will detail and annotate as they read the book.

4. Discuss the layout of the town and compare it to that of a typical New Mexican town, also centered on the plaza or common area. As the class continues, students will fill in more of the map to show specific sites mentioned in the book.

5. Lay out the town plan for Lexington in 1775. Include the town green and the meetinghouse. Label individual houses mentioned in the novel. Add roads and directional symbols pointing to Boston and Concord. Mark the scene of the Battle of Lexington with an X. (See figure 4.)

6. Create a schematic map of the British soldiers’ movement from Boston to Concord and back. Sketch in a stone wall such as the one that protected the American Minute Men.

7. Draw a plan of a typical Georgian house of the sort that Adam’s family might have inhabited.

8. Keep a visual/verbal journal based on your reading. Write summaries, evaluations, questions, predictions, and comparisons. Focus on the effect of the battle on the Cooper family, Adam Cooper, the townspeople, and the rest of the colony.

After reading the book and completing the tasks, groups will make presentations based on their interpretation of events and their work together.

Language and architecture activities
These activities are unrelated to the readings but possibly interesting ways to integrate architecture into your teaching.

1. A house or building tells a story. It is full of characters, events, and points of view. Make a building model, and then write that story or tell that story.

2. Recall a house that you have lived in or visited. What do you remember about it? How did you feel while you were in it? What did you like or not like? Write a poem, essay, or short story about your experience.

3. Draw a bubble diagram of your home. Measure one/your room and create a plan drawing which is accurate according to a scale of 1 inch = 1 foot. Describe your room in writing.

4. Character study: choose a character from literature or real life (or other) and describe in great detail the perfect room for that person.

5. Find passages about houses or buildings in readings. Discuss how setting informs the text.

6. Have your class make a list of idioms relating to houses or other dwelling places. Discuss meanings. (Examples: A man’s home is his castle; house built on the rock/sand; eyes are the window of the soul; child has a good foundation; I’ve knocked, but no one is home; )

7. Students can select an architect to research. They should then create a poster with samples of the architect’s work including a building model, pictures/tracings, a paragraph or more, design details.

8. Students can enter an architectural design contest.

9. Take field trips and learn about architectural history in your neighborhood. Walking tours may be available.

10. Students interested in an architectural career can interview an architect and see a design studio.

Today’s Architecture: Culminating Activity
Considering what you have learned about the architecture, let’s put it to work today. You have received a letter from a client who wishes to move to Albuquerque, New Mexico from New England. If she decides to move here, she will bring her successful architectural firm and her first job will be to improve the school building and grounds. She doesn’t have much time to come out to visit personally, so she has hired this class to do some of the preliminary work for her. She wants to live in a city which values community and art, including architecture, and she has heard that Albuquerque may or may not be that city. Here are her questions.

Team 1. When you look at the city of Albuquerque, where is its center? What brings the people together for a sense of community that might formerly have been found in a plaza or a green? Document your findings in drawings or photographs and write a short explanation of your thinking.

Team 2. How does the city reflect the natural world around it? What does the city do to show its awareness of and celebrate the natural world around it? Document at least five examples of this in drawings or photographs.

Team 3. Does the city contain interesting buildings? Take a field trip to several sections of the city. Choose at least five buildings that you would give "orchids" and then label five "onions." Draw or photograph them, and then write a report in which you describe their good or not-so-good architecture. Create a checklist of architectural design qualities that will guide your thinking.

Team 4. Write a short report on an architect who has worked to make Albuquerque more beautiful. Take a field trip to look at the work of some local architects (John Gaw Meem, Brad Prince, and Antoine Predock are some of the more famous ones here.) Draw or photograph at least five examples of the architect’s work and explain how this architecture reflects or does not reflect the community in which it was built. You may also give your opinion of the architecture.

Team 5. Look around our school. What is good about its architecture? Does it reflect the vernacular culture? Is it welcoming to students? Do visitors know where to enter the school? What could be improved to make it a better place in which to learn? Write a survey and circulate it to at least 25 people outside of this family. Using their ideas and some of your own, redesign the school to make it a better environment for learning.

Be prepared to explain your ideas to the architect when she arrives.

Fast, Howard. (1961). April Morning. New York: Bantam Books.

Speare, Elizabeth George. (1958). Witch of Blackbird Pond.. New York: Dell Publishing.

Richter, Conrad. (1953). Light in the Forest. New York: Bantam Books.

Bibliography
Bruce, Curt & Grossman, Jill. (1975). Revelations of New England Architecture: People and Their Buildings. New York: Grossman Publishers.

Bunting, Bainbridge. (1983). John Gaw Meem, Southwestern Architect. Albuquerque, NM: University of New Mexico Press.(1976).

Early Architecture in New Mexico. Albuquerque, NM: University of New Mexico Press.

Chamberlain, Samuel. (1937). Beyond New England Thresholds. New York: Hastings House.

Diniz, Sara Otto.(1992). The Pueblo: Architecture for a Natural World. Albuquerque, NM: Art in the School, Inc.

Roth, Leland M. (1979). A Concise History of American Architecture. New York: Harper & Row. (1993).

Taylor, Anne, Ph.D. and Hon.AIA (1991). Architecture and Children in the Southwest. Albuquerque, NM: School Zone Institute.

Tourtellot, Arthur B. (1959). Lexington and Concord. New York: W.W. Norton.

Wells, Camille, ed. (1986). Perspectives in Vernacular Architecture, II. Columbia, MO: University of Missouri Press.

Wilson, Christopher. "Reading History in the Buildings Around Us." Architecture in the Southwest, Summer Program, 1999.

Eco-Architecture and Alternative Building

Mike Stanfield

The state of New Mexico and the Southwest offers a prime location for the building of alternative housing. The abundance of solar power and warm climatic conditions enable the use of a variety of indigenous building materials the standard wood frame construction, typical of most of the United States, diminishes in comparison to the benefits of Southwest architecture. The native people of the Southwest have used the earth as their primary building material for thousands of years.

A short drive around the state of New Mexico will show many examples of traditional adobe buildings and homes. The massive walls of these buildings are used as protection from the heat of summer and the cold of winter. When we look at the walls of these structures, we begin to explore the possibilities of varied building materials and specific advantages. Besides traditional adobe, these walls can be built using straw-bale or even recycled materials. Adobe construction has become almost a status symbol in New Mexico. The oldest and easiest way of building has a new look in the Southwest.

As we enter the new millenium, construction practices grow and change to support human need. As populations continue to grow, the environmental burden placed on housing needs creates a strong desire for alternative materials. In this paper I will explore three types of ecological construction. These are adobe building, straw-bale building and Earthships. For each type I will include the building process, building materials, and benefits. This information should be taught in an active learning environment for students and as an Eco-curriculum for students who will be future consumers of resources.

The student design studio will enable each individual to create his or her design and bring it into a three-dimensional reality. The studio layout will offer a new experience for students in the architectural and building fields. They will use light tables, projectors, trace boxes, and drafting equipment to create visual ideas for their portfolios. This portfolio will serve as an assessment tool and reference. After identification, sketching and design work, students will create scaled models of their work. An assortment of media, such as clay, chipboard, adobe and even found objects allow each student the experience of hands-on building and problem solving.

Section 1: ADOBE BUILDING

Adobe comes from the Arabic word atobe, which means sticky glob or muck. The architectural style of adobe migrated from North Africa to Spain to America. Adobe has been a main source of building material in the southwest and the world for many years, "earth is man’s oldest building material" (1) There are numerous examples of this style of building all over the world. Some of the architectural styles in the Southwest include traditional pueblo and contemporary homes, (See Figures 1 and 2). The walls are made from mud dried in the form of bricks. Straw is sometimes added to strengthen the bricks, but it is not necessary. These brick may vary in size, from 4 x 4 x 8 inches to 4 x 12 x 18 inches. There are ready made bricks available in standard sizes and they are sometimes more economical, (See Figure 3). The insulation value of the adobe will stabilize at about 12" thickness. After this thickness, the inside temperature will stabilize near the outside temperature (2). In the winter during the day, the adobe will retain the heat and dissipate that heat during the night. The opposite will happen in the summers. The heat will be kept out in the day and let in as the nights get cooler. This is natural insulation or the R-factor.

Adobe buildings will last for many years with minimal repairs necessary. It is not uncommon for mud plaster to last from 5 to 15 years without needing to be repaired. When repairs are needed, they are simple and cheap to make. Even in areas of substantial rainfall, vertical surfaces with rain up to 25 inches per year will only erode about 1 inch in 20 years (3). Cement stucco can be used instead of mud plaster with even longer periods before repairs are needed.

Adobe structures are not limited to residential housing. There are examples of warehouses, storage sheds, workshops and other common buildings. A typical 600-sq. ft., three room dwelling with 10 inch walls would require 3000 bricks, based on a 10 x 4 x 14 inch brick. Two people can make these bricks in 5 days. They will require no special equipment other than forms and a wheelbarrow. Another great feature of adobe is the little skill that is required (4).

The major benefits of using the adobe are thermal storage, low sound-transmission levels, and availability of material, manageability, fire protection and solidity. Many old and new adobe structures are visible in New Mexico and the Southwest. Construction practices are simple and basic and have not changed for thousands of years. The first step is to make the adobe bricks. Simple forms are used to size the mud. After the bricks have partially dried, the forms are removed and the bricks are stacked on edge to dry. The drying process takes a minimum of 6 days (5). The second step is to lay the bricks with mortar or mud. After the walls are completed, the exterior and interior surfaces are covered with stucco or plaster to produce a smooth finish.

Lesson Plan

Objective:

Students will be able to

Identify different examples of adobe structures

Discuss different construction practices and techniques for adobe building

Create sketches and drawings of adobe structures

Create 1/4" scale floor plan of adobe home

Construct adobe forms using Popsicle sticks and make scaled adobe bricks

Apply mud, plaster, or stucco finish to completed wall.

Activities:

A slide presentation will familiarize students will examples of old and new adobe buildings.

Students will sketch examples of the buildings for their portfolios from slides.

Students will also design a floor plan in one of the suggested styles.

Students will use Popsicle sticks to construct forms and make adobe bricks at 1/4" scale.

Students will use their bricks to create the exterior walls of their model floor plans.

Students will create a section of a portfolio for adobe structures that includes

        Sketches

        Articles and research material

        Lecture notes

        Pictures

        Poster and Presentation Boards

Materials:

Slide projector and slides of old and new style adobe structures

Popsicle sticks

Glue

Mud and aggregate

Drafting equipment

Magazine articles and Internet research

Evaluation:

In class discussion with visual-verbal presentation of drawings and models

Verbal quizzes and discussion

Tests

Project design

Class and self-critique of the structure

Portfolio grade based on the following:
        Fluency and clarity of communication
        Imagination, innovation and creativity
        Understanding process
        Detail and overall aesthetics
        Technical competence

Section 2: STRAW BALE BUILDING

Straw bale construction is not new although it may seem to be. It has been used for over 100 years, and it is recently making a comeback in the residential construction trade.

Before 1936 all known straw-bale structures in the United States used the walls to support the roof. This was known as the "Nebraska Style" (6). After 1936, strawbales were used as infill material. The bales are placed inside a roof support structure, such as post and beam, or concrete for their insulation values and not as support for the roof (7) .

Dr. William Henry Burritt built a two story mansion using straw bales in 1936, (See Figure 4). The first house, which used mostly wood for the structural support and the straw as in-fill material, burned the day Dr. Burritt moved in. He rebuilt his house this time mainly using concrete instead of wood for the structural parts. This house remains in good standing condition today.

Another straw bale process of building uses the bales by encasing them in mortar much like brick laying, (See Figure 5). There was a general store built in 1948 using this technique (8). Another technique for building non-load-bearing walls is to compress the bales. This is an example of typical construction practices of today, (See Figure 6 and 7).

Straw bale building slowed between the early 1950's and early 1980's, most likely due to the increased availability of mass-produced building materials. Straw bale building is not limited to dry areas. Straw bale homes have been built in Washington State, which receives 75" of rain annually. Until 1991 straw bale structures were given the lowest possible building permit and were generally not bank financed. In 1991, Virginia Carabelli of Tesuque, New Mexico built the first insured and bank financed straw bale home. In addition, around this time, Tony Perry organized the Straw Bale Construction Association, SBCA. The SBCA sponsored small-scale fire tests and transverse load tests to incorporate straw bale building practices into New Mexico building codes. A copy of New Mexico's straw-bale construction guidelines and codes located on the Internet at http://www.earthbuilding.com/nm-straw-bale-code.html.

Straw bale building uses building materials from a by-product of wheat and rice grain production. The straw can be grown in a short period in contrast to lumber, which takes years to produce usable material. Therefore, it is a fast, sustainable building material. This type of building does not require expensive tools or specialized laborers. Building with straw bales is less labor intensive than concrete block, adobe or stone. The straw is very forgiving and lends itself to the creativity of the builder.

A clear advantage of straw-bale construction is insulation. A straw bale has a better insulation value or R-Value, than the most modern well insulated homes.

A 3-string bale stacked flat, which is 23" wide, has an R-Value of 54.7. If that bale were stacked on edge, 16" wide, the R-Value would be 49.5. These values are 2 to 3 times greater than an well-insulated modern framed house (9).

Each year grain farmers battle with the remains of their harvest, straw. Straw does not decompose very rapidly and becomes a burden for the farmers. The burning of straw in California produced more Carbon Monoxide or CO than all the electrical power generating plants in the state combined produced. There is 1 million tons of rice straw burned, which produces 56,000 tons of CO. Burning 97,000 tons of wheat straw produces 5,000 tons of CO. The straw does not decompose very rapidly and becomes a burden for the farmers. It is estimated that if all the straw left after harvest was baled instead of burned, 5 million 2,000-sq. ft. homes could be built every year. This would help the farmers and help the homeless while reducing the amount of CO in the air (10).

The affordability of straw bale homes is cheaper or at most comparable to modern building practices. If the owner becomes the builder, the structure can cost between $5 to $20 per sq. ft.; $20 to $50 if the owner sub contracts part of the work out. Expect to pay $50 to $80 for a contractor to build the entire house. Today a typical two by four framed house will cost $75 to $100 per sq. ft. Another benefit of straw bale is fire safety.

In the mid 1980's the National Research Council of Canada carried out fire rating tests on plastered straw bales and found them more resistant than conventional building materials. A mortar encased bale passed the test with a maximum temperature rise of only 110 degrees F. for 4 hours. The plaster coating withstood 1850 degrees F. for 2 hours before a small crack appeared. In 1993, the state of New Mexico found similar results in their tests. The first test on an unplastered wall section met the standard requirements by exposing the face panel to 1000 degrees F. within 5 minutes and increasing the temperature to 1500 degrees after 30 minutes. The temperature rise on the unheated side was 1.97 degrees F. It took 30 minutes to burn through the center of the test wall, not the middle of the exposed bale. It burned through at a joint where 2 bales met; the rest of the bale was only charred half way through. The second test was exposing 1942 degrees F. to a plastered wall section. The temperature rise on the unheated side was only 10 degrees F. Neither flames nor gases penetrated the wall (11). Straw-bale construction has recently made a great comeback in the residential sector. All the research and testing is really stacking up to support straw-bale construction. Self-sustaining building practices are becoming more of a necessity.

Lesson Plan

Objective:

Students will be able to:

Comprehend terminology

Identify the processes needed to construct a straw bale home.

Evaluate the benefits of straw bale built structures.

Create a floor plan and section view of a straw bale structure.

Incorporate New Mexico Standard Straw-bale Codes into their house designs.

Complete a model replica of straw bale construction.

Activities:

The students will build wall sections using clay or another medium to signify the straw bales and tooth picks to represent the rebar.

They will finish the walls with a mud plaster finish.

Students will design a straw-bale structure using straw-bale-building codes.

Students will create a section of a portfolio for straw-bale construction that includes
            Sketches

            Articles and research Material

            Lecture notes

            Pictures

            Poster and Presentation Boards

Materials:

Slide projector

Articles and Internet information and sources.

Guest speakers from straw bale construction companies and SBCA, if available.

Straw-bale model medium such as marshmallows or clay

Toothpicks to represent the rebar

Mud and aggregate

Evaluation:

In class discussion with visual-verbal presentation of drawings and models

Verbal quizzes

Project design

Class and self-critique of structures

Test taking

Identification of materials and practices

Wall building project evaluation

Portfolio grade based on the following:

Fluency and clarity of communication

Imagination, innovation and creativity

Understanding process

Detail and overall aesthetics

Technical competence

Section 3: EARTHSHIP BUILDING

The Earthship was the creation of Michael Reynolds. Reynolds has been revising his designs of the Earthship for over 20 years, but the core remains the same. Earthships are designed to be completely self-sustained living environments. Builders use recycled materials such as tires, bottles and cans for their walls. The structures are heated and cooled using passive solar design. The homes are designed to operate as a unit. From the catching of the rainwater on the roof, to the recycling of the wastewater through a garden filtration system, to the photovoltaic panels catching the sun, the Earthship is an entity withinit self.

The building process is rather simple and does not require any complicated machinery or skills. The supporting walls are built using recycled tires. These tires are filled with dirt, packed and tied together, much like straw bale homes, using rebar(See Figure 8).

After the main exterior walls are constructed, interior walls are built with cans and bottles. Each wall is plastered to help in the insulation and protection of the wall.

The materials needed to construct Earthships can easily be collected, which helps to reduce the amount of materials in the landfills. There are over 194 million vehicles on the road in America. Used tires are very cheap if not absolutely free (12).

The first process is to build the load bearing walls, that will support the roof system. The walls are built using recycled 15" or larger tires. They are set in place and filled with dirt, is then compacted either by a jackhammer or with a home made tamper. Once the first layer is in place, the second layer is staggered over the first layer and tied together with rebar (See Figure 9). The walls are built in a U-shape; this is the basis of Reynolds design. After the exterior walls are built, the interior walls can be built. Most of the interior walls are constructed using cans and bottles. These walls are partition walls and will not have any weight on them. This process is similar to the exterior walls, but instead of using dirt and rebar, they are held together using cement. After all the walls are complete, they are covered using adobe or stucco. The entire South wall is reserved for the windows and solar panels. The windows allow light into the structure. The light and heat are stored in the flagstone flooring and the massive walls.

The Earthships rely on the sun for power, which is referred to as going "off grid." These homes also rely on catch water and cisterns for their water collection and storage. The roof is used to collect the water, which is then stored inside the house in a large cistern for later use. The entire south wall is used to grow food and recycle water. The greywater is recycled through the garden system and comes out 99.5% pure. The sun is used for heat and power.

The entire house and systems are self reliant and independent. The owner/builder can collect recycled materials and build their home for a cost of anywhere from $5 to $100 per sq. ft. Personal involvement can greatly reduce the cost of building- as the owner becomes also the laborer.

Lesson Plan

Objective:

Students will be able to

Identify and understand components of the Earthship concept:
            Wall Building
            Power, Water
            Heating

Understand the building processes of Earthships

Understand environmental conditions needed for constructing an Earthship.

Create 1/4" scale floor plan

Construct a wall section using recycled materials

Activities:

Slide presentations

Discussion and research of information

They will design all aspects of the house:

            Floor plan
            Electrical system
            Rains catch system
            Filtration system (greywater)

Students will create a section of a portfolio for Earthship construction that includes:

            Sketches
            Articles and research Material
            Lecture notes
            Pictures
            Poster and Presentation Boards

Materials:

Internet for research material
Recycled cans
Mortar, mud and plaster
Drafting equipment
Earthship Volume I, II, III.

Evaluation:

In class discussion with visual-verbal presentation of drawings and models
Verbal quizzes
Project design
Class and self-Critique of structures
Test taking
Identification of materials and practices
Wall building project evaluation

Portfolio grade based on the following:
        Fluency and clarity of communication
        Imagination, innovation and creativity
        Understanding process
        Detail and overall aesthetics
        Technical competence

Section 4: TYPICAL DESIGN STUDIO SETTING

The design studio is the best approach for students to experiment with hands-on learning. The studio layout (See Figure 10) allows students to engage in many activities at their own pace. Not all students will be working at the same stations at the same time. This gives the students more responsibility and invites their creativity into the learning process.

The design studio is organized to incorporate many processes into the same space. Students will be exposed to manual drafting, CADD drafting, light table tracing, projector tracing, slide tracing and model building. Some students will finish a task earlier than other students and can move on to the next station. A design studio learning environment is excellent for students to learn other skills, such as independent work, team work, applied learning, and problem solving.

Students will begin by sketching and tracing images at the light table, tracing boxes, and projector stations. Next, they will use the manual and CADD drafting stations to finalize their ideas by incorporating measuring and dimension skills. After the design process is complete, students will build a model of their design. This can be done in clay, adobe, chipboard, or found objects. These processes guides the students through the steps needed to complete an actual project. They will have a better understanding of the actual building processes, as well as, great senses of accomplishment in seeing their design go from thoughts to designs to models.

Notes and Bibliography

1.   http://www.earthbuilders.com/eaci-faq.html
2.   McHenry, P.G. Jr. Adobe and Rammed Earth Building, Designs and Construction. The University of Arizona Press: Arizona, 1984. Pg. 83.
3.   Steen A.S, Steen B., Bainbridge D., Eisenberg D. The Straw Bale House. Chelsea Green Publishing Company: Vermont, 1994. Pg. 10-11
4.   McHenry, P.G. Jr. Adobe and Rammed Earth Building, Designs and Construction. The University of Arizona Press: Arizona, 1984. Pg. 120.
5.   Clark, K. N., Paylore P. Desert housing Arizona Board of Regents: Arizona, 1980. Pg. 117.|
6.   Steen A.S, Steen B., Bainbridge D., Eisenberg D. The Straw Bale House. Chelsea Green Publishing Company: Vermont, 1994. Pg. 3.
7.   http://www.earthbuilders.com/nm-straw-bale-code.html
8.   Steen A.S, Steen B., Bainbridge D., Eisenberg D. The Straw Bale House.Chelsea Green Publishing Company: Vermont, 1994. Pg. 6
9.   Steen A.S, Steen B., Bainbridge D., Eisenberg D. The Straw Bale House.Chelsea Green Publishing Company: Vermont, 1994. Pg. 25.|
10. Steen A.S, Steen B., Bainbridge D., Eisenberg D. The Straw Bale House.Chelsea Green Publishing Company: Vermont, 1994. Pg. 27.
11. Steen A.S, Steen B., Bainbridge D., Eisenberg D. The Straw Bale House.Chelsea Green Publishing Company: Vermont, 1994. Pg. 41.
12. http://hampsire.edu/~vkmf92/dirvIII/chapters/chapterthree.html

Figure 1          Figure 2

Figure 3

    Figure 4              Figure 5                 Figure 6            Figure 7                 Figure 8            Figure 9             Figure 10

Designing a Southwest Neighborhood

Shelly Thornton

Narrative
This unit consists of three segments that introduce the basic skills and information needed to design a neighborhood. A fourth segment will involve applying those skills to creating the drawings and models for the neighborhood.

Segment 1: Basic Architectural Styles and Drawing Techniques

In this segment students will be introduced to design studio techniques and what will be expected of them throughout the unit. These techniques involve posing a problem or situation that the students will need to solve. Students will use various methods of research, from architectural websites and library resources to designing and building solutions by trial and error. All of the work the students complete will be displayed in one form or another. The students will produce visual/verbal presentations in which they explain the procedures and rationale for their solutions. They will give and receive constructive criticism of their projects. The objectives of this segment are as follows.

• Define architecture.
• Identify four basic architectural styles.
• Relate vocabulary terms associated with the segment.
• Produce basic architectural drawings such as: segment; light, shade, and shadow; floorplans; and elevations.
• Complete a visual/verbal presentation on a famous architect.

A slide presentation of four basic types of architecture will be a quick visual introduction for the students. There will also be reference materials available to browse through. The all important technology link will be forged with an on-going class list of websites devoted to architecture and architects for research purposes and for fun. This will be particularly useful for their famous architect project. The vocabulary words they will focus on will involve various activities incorporating skills from the district benchmarks to be achieved in Language Arts. The next important aspect of this segment is for the students to learn how to produce basic architectural drawings.

• Segment drawings- This will be done using a piece of fruit or candy bar cut lengthwise. The students will draw exactly what they see. It is an exercise in perception.
• Light, Shade, and Shadow drawings- The students need to train themselves to see gradations of color and the impact that light, shade, and shadow have on the appeal of forms. This will be accomplished using slides of various buildings illustrating the above principles as references for a drawing exercise.
• Floorplan drawings- This type of drawing gives the layout of a house with respect to where walls, windows, and doors are located. Rooms are also labeled. This is one type of perspective in viewing a house.
• Elevation drawings- This is another view perspective. If you are standing outside and looking at the front of a house, that is a front elevation. Looking at the side of a house is the side elevation. These drawings allow the students to break down a house into smaller perspectives.
  
  After the drawing techniques aspect, the students will choose a famous architect to research for a visual/verbal presentation. They will be expected to create a short speech to present on this architect with a visual presentation board showing a picture of the architect and examples of structures he/she has designed in the form of pictures, drawings, and/or models.

Segment 2: Southwest Architecture

Now that the students have been exposed to the basics of architecture we will venture into information on styles more representative of the region we live in. The two styles that will be our main focus are Pueblo and Spanish Colonial. The two styles have similarities and differences that will be shown via discussion and notes taken on slides of structures from Albuquerque, Santa Fe, and Taos. The students will discuss the main tenets of each style and their identifying characteristics. The objectives of this segment are as follows.

The students will be able to:
        Relate vocabulary associated with this segment.
        Identify and describe the two main styles of Southwest Architecture.
        Compare and contrast a Southwest style with one of the basic styles from the first segment of the unit.
        Produce a short essay on why Southwest architectural styles originate from environmental issues.
        Design a Pueblo or Spanish Colonial house for a family of four and build a representative model.

Southwest architectural design originated from two cultures’ ideas for dealing with a harsh environment. The extremes of heat and cold with the different seasons called for attention to such things as protection from the heat of the sun in the summer and protection from cold winds in the winter. Religion also had a big impact on building practices. Students need to be aware of the reasons for the orientation of the houses and the materials used to build them. Another focus of this segment will be on implementing the drawing techniques previously learned for the purpose of designing and building a model of a house in the Pueblo or Spanish Colonial styles. The students will be using chipboard, cutting tools, hot glue guns, etc. to create a three dimensional model of the house. Once all the houses are completed the students will give a presentation on their individual house.

Segment 3: Alternative Forms of Energy, Materials, and Landscaping
It is important for the students to be aware of factors other than just the appearance of a house. Environmental concerns such as recycling, energy usage, and water conservation are equally compelling. The region that we live in provides great opportunities to see some alternatives to the usual materials, forms of energy, and landscaping techniques. We have people using discarded tires and aluminum cans as building materials in houses called Earthships. When appropriately executed, an Earthship requires no back-up heating or cooling due to its ability to tap into the constant temperature of the earth itself (New Mexico Energy, Minerals & Natural Resources Department [NMEMNRD], 1993).

Straw bale construction of homes is another alternative materials use. This type of construction was created in the Plains region due to a lack of wood and an abundance of straw. Construction methods are simple, relatively fast, and don’t require skilled labor (NMEMNRD, 1993).

Solar power is very appropriate for our area. We have a very high number of sunny days. The students need to realize how easy it is to include passive solar design practices into the ideas for the house they will create. Wind power is another option I want the students to consider and investigate.

Xeriscaping is an important part of the whole picture. The use of low water and low pollen plants in an area with water scarcity and allergy issues is just plain smart. We have many examples of beautifully xeriscaped yards in the area. There are also botanical gardens with xeriscaped demonstration gardens. The objectives of this segment are as follows.

• Relate vocabulary connected with this segment.
• Identify and describe two appropriate alternative energy forms.
• Identify and describe two types of alternative building materials.
• Write an essay on why solar power is particularly appropriate to a house in New Mexico.
• Analyze the house they designed in the previous segment and describe the modifications they would make to create a more environmentally friendly house.
• Design the landscaping (using xeriscaping ideas) for the house they built.

Learning about these topics and applying them directly in projects is a great way of creating an awareness of the importance of these issues. The xeriscaping the students will create for their house will be fun to create and adhere to the "yard" around the model of the house they have designed. Who knows, maybe they will take these ideas and use them in their own yards. One can only hope. The ideas for the above objectives will come from lectures, slides, and reference materials on the subjects.

Segment 4: Planning and Designing a Neighborhood

This last segment will focus on what makes a good neighborhood or city. We will discuss the housing itself, its orientation to roads, street layouts, and green spaces. The topic of New Urbanism will also be explored. What differentiates it from normal city planning? Why are the ideas expressed in New Urbanism becoming so popular? Specific examples such as the Disney planned community of Celebration and Santa Fe’s Frijoles Village will be discussed. An alternative community, the Earthship Colony near Taos, will be examined as well. Materials from Disney and Frijoles Village will be obtained and reviewed for resource possibilities. A video on Arcosanti, a community designed by Paolo Soleri and currently being built by volunteers, will be an interesting resource. Arcosanti is in Arizona, not too far from Albuquerque, therefore, a potential weekend trip. The objectives for this segment are as follows.

• Relate vocabulary associated with this segment.
• Define New Urbanism and identify its main tenets.
• Produce a survey of neighborhood likes and dislikes and create a wish list from this.
• Write an essay on what their perfect neighborhood would be like.
• Work cooperatively in a group and produce designs for one of three parts of the final neighborhood design.
• Produce a group visual/verbal presentation on their portion of the final design.
• Combine the various parts to create a three dimensional model of the neighborhood.

The students will create a survey to take home and log the answers of family and friends about what they like and dislike about the neighborhoods they have lived in. This will be a good resource for creating their neighborhood and for writing their essay. The students will then split into three different groups that will focus on either housing, streets and green spaces, or landscaping for the neighborhood. Each group will present its ideas and then prepare to create the three dimensional representation of their aspect of the neighborhood. Once the final model of their neighborhood is completed, the students will collaborate on choosing a name for their neighborhood and creating a synopsis of how and why they created this project to attach to the model. The project will be displayed in the library for students, staff, and parents to see.

The topic of planning a neighborhood is relevant to everyone. We all live in places that may not be designed to our ideals. Sometimes we are not even sure of why one neighborhood is more comfortable than another, but we know it when we are there. One of the most interesting aspects of New Urbanism is that many of the design innovations are taking us back to the styles of the past. Large front porches, garages in the back connected by alleys, and pedestrian and bike friendly streets are all things my mother and grandmother talked about growing up with. Perhaps we are beginning to realize that neighborhoods should be designed for people, not for cars. I hope my students enjoy this journey of discovering what is involved in designing houses and their surrounding environment. They may gain an appreciation of and a sense of connection to their own neighborhoods.

Sample Lesson Plans

Lesson Plan One

Objective: The students will be able to compare and contrast a Southwest architectural style with one of four previously studied styles.

Materials: Paper, pencils, slides of various architectural styles, and books showing examples of various styles.

Procedures:

• Review the identifying characteristics of the previous four styles studied.
• Review the identifying characteristics of the two main Southwest styles.
• Discuss how to write a compare and contrast assignment.
• Assign a quick whole class example such as compare and contrast a Dodge Viper and a Ford Escort. Show on the board the layout expected and leave up there the answers the class provides as a model.
• Have the students write the name of the basic style vs. the Southwest style as the heading of their paper. Then have them write the subheadings of similarities and differences with the ideas listed beneath them.
• The students can then work on their assignment.
• Students will be chosen on a volunteer basis, or randomly if no volunteers, to share their assignment aloud with the class.
• Papers will be posted on a wall of the classroom.

Evaluation: The students will be evaluated on a teacher designed rubric.

Lesson Plan Two

Objective: The students will be able to write an essay on why xeriscaping should be the preferred method of landscaping in the Albuquerque area.

Materials: Paper, pens, reference materials on xeriscaping, vocabulary words and definitions, and a poster describing the main essay styles.

Procedures:

• Review the vocabulary previously taught on xeriscaping.
• Brainstorm what is unique about the Albuquerque area with regard to growing plants.
• Discuss the water problems in our area. What are some solutions, particularly focusing on their home environment.
• Discuss how xeriscaping can create a beautifully landscaped area that is water usage friendly.
• Discuss the possible reasons why most people have not used xeriscaping techniques in this area.
• Have the students brainstorm solutions to this problem.
• Review the persuasive essay style and its components.
• Assign the essay on why xeriscaping should be the preferred method of landscaping in Albuquerque.

Evaluation: The teacher will grade the essay using a rubric on persuasive essays.

Bibliographies

Teacher Bibliography

Doyle, M.E. (1980). Color Drawing: A Marker/Colored Pencil Approach for Architects, Landscape Architects, Interior & Graphic Designers, and Artists. New York: Van Nostrand Reinhold Company.

Graves, G. (1977). Santa Fe - A Tour of America’s Oldest City. Shawnee Mission, Kansas: Discovery Stuff.

New Mexico Energy, Minerals & Natural Resources Department. (1993). New Mexico Solar Home - A Source Book. Santa Fe, New Mexico: Author.

Rosner, H. & Rosner, J. (1985). Albuquerque’s Environmental Story - People Create Their Own Environment. Albuquerque, New Mexico: Albuquerque Public Schools.

Sanford, T.E. (1997). The Architecture of the Southwest: Indian, Spanish, and American (3rd ed.). Tucson, Arizona: University of Arizona Press.

Schultz, R.P. (1998). The Complete Guide to Xeriscaping. Albuquerque, New Mexico: Cooney, Watson & Associates, Inc.

Smith, K. (1978). Western Home Landscaping. Tucson, Arizona: H.P. Books.

Wood, T. (1997). Houses and Homes. New York: Viking Penguin.

Student Bibliography

Brown, D.J. (1992). How Things Were Built. New York: Random House.

Caselli, G. (1992). Wonders of the World. New York: Dorling Kindersley.

Corbishley, M. (1996). The World of Architectural Wonders. New York: Peter Bedrick Books.

Dorling Kindersley. (1992). The Visual Dictionary of Buildings. New York: Houghton Mifflin.

Graves, G. (1977). Santa Fe - A Tour of America’s Oldest Capital City. Shawnee Mission, Kansas: Discovery Stuff.

Lynch, A. (1996). Great Buildings of the World. Alexandria, Virginia: Time-Life Books.

Smith, A.G. (1983). The American House of Styles of Architecture Coloring Book. New York: Dover.

Wilkinson, P. (1993). Amazing Buildings. New York: Dorling Kindersley.

Interesting Website Links

http://www.arch.buffalo.edu/cgi-bin/pairc/archtcts (Many good website links.)

http://www.architecture.simplenet.com/links/index.html (Shows various European architectural exhibits.)

http://www.cyburbia.org (Internet resources for the built environment.)

http://www.whyy.org/aie/index.html (Architecture in Education site.)