From the Shire to the Batcave – Designing Organic Architecture GRADE LEVEL: 6Th Grade CLASS SIZE: 15-20 Students LENGTH of PERIOD: 4-5 One-Hour Classes

TO THE BATCAVE

DESIGNING ORGANIC ARCHITECTURE

THE SHIRE: A BRIEF HOBBIT-TON TOUR OF MATAMATA NEW ZEALAND: HTTPS://I.YTIMG.COM/VI/N1ICEHTGB3G/MAXRESDEFAULT.JPG

BATCAVE ILLUSTRATION HTTP://VIGNETTE4.WIKIA.NOCOOKIE.NET/CASSCAIN/IMAGES/B/B2/BATCAVE_1999.JPG/REVISION/LATEST?CB=20100 707234302

CAITLYN THOMPSON MARCH 2016 INTRODUCTORY INFORMATION

LESSON TITLE: From the Shire to the Batcave – Designing Organic Architecture GRADE LEVEL: 6th grade CLASS SIZE: 15-20 students LENGTH OF PERIOD: 4-5 one-hour classes

LESSON TOPIC AND DESCRIPTION In this lesson, students will design organic architecture using geographic terrain to dictate how various types of structures are built. Students will choose a geographic environment (cave, desert, mountain, forest, etc) and illustrate a structure (with real or imaginary function) that can only exist in that designated place.

FRANK LLOYD WRIGHT, FALLINGWATER, ORGANIC ARCHITECTURE

STAGE ONE – DESIRED RESULTS

ENDURING UNDERSTANDINGS STUDENTS WILL UNDERSTAND THAT: • Artists can use physical terrain and natural resources to create works of art and architecture designed specifically on, with, and from the designated land. • Different terrains dictate the types of structures we build based on physical attributes and natural resources of the land.

ESSENTIAL QUESTIONS • How do artists use geography in their work? • How does terrain determine the types of structures we build and what materials we build with?

MASSACHUSETTS STATE STANDARDS ADDRESSED

VISUAL ART FRAMEWORKS • LEARNING STANDARD 3 – OBSERVATION, ABSTRACTION, INVENTION, AND EXPRESSION: Students will demonstrate their powers of observation, abstraction, invention, and expression in a variety of media, materials, and techniques. o 3.6 Create artwork that employs the use of free form symbolic imagery that demonstrates personal invention, and/or conveys ideas and emotions o 3.7 Create artwork that shows knowledge of the ways in which architects, craftsmen, and designers develop abstract symbols by simplifying elements of the environment • LEARNING STANDARD 6 – PURPOSES AND MEANINGS IN THE ARTS Students will describe the purposes for which works of dance, music, theatre, visual arts, and architecture were and are created, and, where appropriate, interpret their meanings. o 6.3 Interpret the meanings of artistic works by explaining how the subject matter and/or form reflect the events, ideas, religions, and customs of people living at a particular time in history • LEARNING STANDARD 10 – INTERDISCIPLINARY CONNECTIONS: Students will apply their knowledge of the arts to the study of English language arts, foreign languages, health, history and social science, mathematics, and science and technology/engineering. o 10.1 Integrate knowledge of dance, music, theatre, and visual arts and apply the arts to learning other disciplines

GRADE SIX GEOGRAPHY

• Sixth graders study the world outside of the United States and North America. Students systematically learn geography around the world continent by continent, similar to the way in which atlases are organized. • Students address standards that emphasize physical and political geography and embed five major concepts: location, place, human interaction with the environment, movement, and regions. o The concept of place refers to the physical and man-made characteristics of a place such as a town or city. Human interaction with the environment encompasses the many ways in which people have adapted to their surroundings or altered them for economic reasons. The movement of people, goods, and ideas is the fourth concept.

ACQUISITION/LEARNING OBJECTIVES • Students will know geographic vocabulary. • Students will be able to identify different geographic terrains. • Students will be able to explain how architectural designs are influenced by and can incorporate geography. • Students will demonstrate critical thinking skills by using knowledge from social studies and natural environments as a framework for designing structures. • Students will be skilled at designing a balanced composition and illustrating distinguishable terrain and architecture. • Students will be able to draft, edit, and finalize their work. EXTRA CREDIT • Students will integrate modes of transportation into their illustrations that function properly in their chosen terrain.

EXAMPLE TURKISH FOLD TECHNIQUE

STAGE TWO – ASSESSMENT EVIDENCE

PERFORMANCE TASK OR FINAL PRODUCT In this lesson, students will create an illustration of a unique building or structure that utilizes, and can solely exist in the designated geographic terrain of students’ choosing. The illustration will be successfully folded into a transformable 3D structure using a Turkish folding technique with a properly attached and decorated cover.

EXAMPLE TURKISH FOLD TECHNIQUE

CONTINUUM OF ASSESSMENT STRATEGIES • Active participation during class discussions and brainstorming sessions. • Teacher’s observational notes on student progress and time management. • Complete sketch of architectural structure on a distinct terrain.

EVALUATIVE CRITERIA • Did students participate in class discussions? • Did students complete a well-thought out sketch of their architectural structure? • Did students demonstrate knowledge of how geography affects architectural design? • Did students effectively illustrate a structure suitable for its designated terrain? • Did students use a variety of materials and demonstrate proper use of tools? • Did students successfully complete the Turkish paper folding technique? • Did students exhibit proper use of bone folders? • Did students assemble their covers correctly?

FRANK LLOYD WRIGHT, TALIESIN WEST. ORGANIC ARCHITECTURE

CAITLYN THOMPSON, ISRAELI FORTRESS RUINS, DIGITAL PHOTOGRAPH, 2008

STAGE THREE – LEARNING PLAN

MATERIALS AND EQUIPMENT • Pencils (graphite and colored) • Erasers • Crayons • Markers • Newsprint sketch paper 12x12 in • Mohawk 100lb weight bright white paper 12x12 in • Rulers • Bone folders • Card stock – colorful • Glue sticks VARIOUS MATERIALS RESOURCES: VISUALS, TEXT, MEDIA, WEB – SEE APPENDIX XX FOR VISUALS • Batcave illustration http://vignette4.wikia.nocookie.net/casscain/images/b/b2/Batcave_1999.jpg/revision/lat est?cb=20100707234302 • Gardner, J.P. & Mills, J. E. (2009). The everything kids’ geography book: From the grand canyon to the great barrier reef – explore the world! Massachusetts: Adams Media. • Frank Lloyd Wright’s architecture: Green design before it’s time http://www.brittonmdg.com/the-britton-blog/frank-lloyd-wrights-organic-architecture- green-design-before-its-time/ • Earth House 1, 4, 8, & 12. http://conceptrends.com/2008/06/28/would-you-live-in-an- earth-house/ • The Shire: A brief hobbit-ton tour of Matamata, New Zealand https://i.ytimg.com/vi/N1icEHtgb3g/maxresdefault.jpg • Thompson, C., Israeli Fortress Ruins, Digital photograph, 2008. • Underground eco-cottages. http://deano.com/2011/05/25/how-practical-are- underground-houses/

JANE GARDNER RESOURCE BOOK

VOCABULARY WITH DEFINITONS

• COMPOSITION – The way in which a piece of artwork is organized and structured. • ECO COTTAGE – A house that has made important environmental improvements to its structure in order to minimize its impact on the environment. • GEOGRAPHY – The study of physical features of the earth and its atmosphere. • ORGANIC ARCHITECTURE – Architectural design that considers and integrates the natural world to create unique structures. • PHYSICAL ATTRIBUTES – Natural features of the Earth’s surface, such as land formations, soils, vegetation, and climates. • TERRAIN – Refers to the physical features of a stretch of land.

UNDERGROUND ECO-COTTAGE

TEACHER INSTRUCTION THE TEACHER WILL: DAY I • Hang up images, set out resources (images of Frank Lloyd Wright’s work, National Geographic Magazines, and The Everything Kids’ Geography Book) and write the lesson title and schedule/objectives on the class white/black board. • Welcome students into the classroom and settle them using a method that incorporates verbal, visual, and physical cues. • Hook students into the lesson by presenting photos of a Hobbit hole from Lord of the Rings as well as the Batcave from Batman comics, and begin a discussion about architecture found in nature. • Prompt students to think about what they are learning in geography and begin discussion of terrain. • Show examples of Frank Lloyd Wright’s work and define organic architecture. • Give students an overview of the entire lesson and exhibit benchmark. While explaining the lesson, the teacher will periodically pause and use a call-and-response technique using the phrase, “nod if we’re on the same page,” to assess whether or not the students understand the concepts being explained. Script: “You will be choosing a geographic terrain, like a desert, forest, mountain, or cave, and then design and illustrate a building or structure that can only exist within or on that specific terrain. For example, you can’t build a straw hut on a rocky mountain because you don’t have the materials, and if you did, think of the strong winds at the top of mountains, straw might not be sturdy enough, not to mention the floor would be rocky and super uncomfortable! This is just an example—we have books of different terrains you can look through. Just remember to think about what materials are there and how you might use them by themselves or with other material you’d build a house or structure with. Once the project is done we will be turning this flat illustration into a transformable 3D structure using a Turkish paper folding technique.” • Ask students if they have any questions. • Specify the daily objectives: choose a terrain, start designing and sketching the architectural structure to be illustrated. • Distribute and briefly go over handout containing a list of natural terrains, information on Frank Lloyd Wright, organic architecture, architectural materials and vocabulary. • Instruct students that they may collect pencils and sketch paper, and begin working. Inform students that they may quietly brainstorm with their neighbors to discuss different uses of ground material and design options. • Cue students when they have five, and two minutes of remaining work time. The last three minutes of class will be used for clean up.

ECO COTTAGE, ORGANIC ARCHITECURE DAY II • See first two bullet points from DAY I. • Instruct students to collect materials and continue sketching. • Inform students that they may add color to their illustrations once designs have been approved. • Cue students when they have five, and two minutes of remaining work time. The last three minutes of class will be used for clean up. DAY III • See first two bullet points from DAY I. • Tell students that they must continue filling their illustrations with color. • Cue students when they have five, and two minutes of remaining work time. The last three minutes of class will be used for clean up. DAY IV/V NOTE – TEACHER WILL MONITOR STUDENTS’ PROGRESSION ON ILLUSTRATIONS, WHICH WILL DICTATE WHETHER THE DURATION OF THE LESSON IS FOUR OR FIVE CLASS SESSIONS. • See first two bullet points from DAY I. Note: Whiteboard notes will include diagrams of the Turkish paper folding technique on the board. • Set up an ELMO projector for a demonstration. • Inform students that they have 20 minutes to complete their illustrations. The remainder of class they will be used to fold the work and assemble the covers. • Cue students when they have five minutes, then two minutes, left until illustration materials must be put away. • Distribute bone folders and practice paper to students. • Instruct students NOT to touch the materials they are receiving. They are to watch the demonstration and wait for further instruction. • Instruct students to watch a quick demonstration of the Turkish paper folding technique using an ELMO projector. • Instruct students to pick up their practice paper and follow along with each fold the teacher makes together as a class. • Ensure students understand and are successfully executing the map folding technique by going around to each student and checking their work. • Instruct students to set their practice paper aside and pick up their final illustrations. • Perform the Turkish map fold with the whole class working in sync. • Distribute card stock and glue while explaining that students will fold and attach it around their folded illustrations. • Demonstrate the single fold and gluing technique using the ELMO projecter. • Inform students that once they have completed the Turkish fold and attached their covers, they may complete any unfinished illustration and/or decorate their covers with the remaining class time. • Cue students when they have five, and two minutes of remaining work time. The last three minutes of class will be used for clean up.

QUESTIONS TO GENERATE DISCUSSION • Who has heard of a Hobbit hole or the Batcave? • Who has ever made a tree house, or seen an igloo? • What do the structures we’ve mentioned have in common? • What’s another name for the different kinds of environments or lands we are discussing? (Call and response – Terrain!) • What are some different terrains? • What kind of houses or structures would you want to build in those terrains? Real or imaginary?

ECO-COTTAGES, ORGANIC ARCHITECTURE

LEARNING ACTIVITY THE STUDENTS WILL: DAY I • Participate in a group discussion about architecture they find in nature, specifically made by people. • Learn about Frank Lloyd Wright and organic architecture. • Brainstorm/sketch building/structure ideas and look through book examples of different geographic terrains and images of organic architecture for inspiration. DAY II, III/IV • Complete their illustrations. DAY IV/V • Learn and complete the Turkish paper folding technique and assemble their covers.

DIFFERENTIATION • A call-and-response technique during class discussion will be used to ensure that students understand the various concepts and objectives of the lesson. • Resource images and books will be displayed and available for the duration of the lesson. • The teacher will display a sketch, as well as an incomplete and complete benchmark so students can tangibly see a starting point for the assignment. • The teacher will continuously go around the room checking in with students’ progress and inquire about their chosen terrain and structures, help articulate, praise, and validate their ideas and provide options for architectural material they might consider illustrating. • To accommodate ELL students as well as students with visual impairments, step-by-step instructions and diagrams will be written on the white/black board and provided on a handout. • Use of an ELMO projector and constructing the Turkish paper folding technique together (as an entire class) to ensure students can see each step clearly.