Outreach Program’s Field Trip

and Teacher Packet

Paolo Soleri: Think. Draw. Build. Sustain.

Detail. Macro Cosanti (Cut-out 2 of 3), 1964. colored pastel, pencil, china ink. © Cosanti Foundation

Field Trip Procedures

Field Trip Registration 1) Contact the museum:

Phone #: (928) 523-7485 Fax #: (928) 523-1424 Email: art.museum@nau.edu Physical Address: NAU Art Museum Outreach Program PO Box 6021 Flagstaff, AZ 86011-6021 Location: The Historic North Quad Hours: 12:00 p.m. - 5:00 p.m. Tuesday – Saturday (Closed Sundays, Mondays and University Holidays)

2) Information that will be asked:

a. Teacher name b. School name c. Grade level d. Subjects taught e. Field Trip Sponsor’s name f. Sponsor’s phone number g. Number of students attending field trip h. Number of chaperons attending field trip (1 adult per 10 students is required) i. Number of wheelchairs j. Date of intended field trip (based on the following options)

Transportation Please call at least 14 days in advance to register for a field trip. The maximum amount of field trip participants in the museum at a time is 50. Field Trip Possible Dates Field trips may be scheduled between the hours of 9:00 a.m. and 1:00 p.m. on Tuesdays, Wednesdays, and Thursdays; however, the maximum time spent at the museum should be about 55 minutes. * Museum Etiquette Guidelines All tours are free Students should be at least 5 years of age 1 adult chaperone per 10 students Please call to cancel field trip at least 5 days in advance No food or drinks in galleries Please ask before taking any photographs in the galleries as permissions change from exhibition to exhibition. No pens, or other indelible instruments in museum galleries; pencil only. Backpacks, portfolios, briefcases etc. should be left on the bus or at the front desk of the museum. Museum staff reserves the right to intervene if students do not observe museum etiquette. *Please contact us for special arrangements.

Exhibit Information Exhibit Dates: The NAU Art Museum and the Cosanti Foundation will present an exhibition of architect Paolo Soleri’s renderings and models created over his forty-year career. This exhibition, titled “Paolo Soleri: Think. Draw. Build. Sustain.” will be open to the public from February 19 to April 13, 2013. About the Exhibit: Paolo Soleri: Think. Draw. Build. Sustain. One of the most imaginative thinkers of our time, Paolo Soleri has dedicated his life to addressing the ecological and social concerns raised by modern urban existence. Soleri’s career contains significant accomplishments in the fields of architecture and urban planning, and his groundbreaking philosophical writings on arcology, the co-presence of architecture with ecology, continues to garner interest globally. Born in 1919 in Turin, Italy, Soleri spent his earliest years absorbing the European landscape, culture, and architecture. He received his Ph.D. in Architecture from Torino Polytechnico in 1946. Soon after graduating, Dr. Soleri moved to the United States to attend Frank Lloyd Wright’s apprenticeship program at Taliesin West in Arizona. Soleri returned to Italy in 1950, where he was commissioned to design a large ceramics factory, Ceramic Artistica Solimene, which is now an Italian historical landmark. During this time he began working as a ceramic artist, acquiring the ceramics knowledge he would later apply to producing windbells. Over the next fifty years, these ceramic windbells, along with his explorations in metal casting with bronze windbells and sculptural commissions, would serve as the major source of funding for the construction that would test his theoretical works. Together with his wife Colly and their two daughters, Kristine and Daniela, Soleri moved to Scottsdale, Arizona in 1956. There they established the not-for-profit Cosanti Foundation and began work on the group of buildings that bears the same name, Cosanti. It is at Cosanti where Soleri began his initial architectural experiments with various earth-casting techniques. In 1970, Paolo Soleri embarked on what is his most ambitious work, Arcosanti. Located in the high desert of central Arizona, Arcosanti is being constructed as a prototype arcology. Arcosanti is a materialization of arcology theoretics; the community embodies Soleri’s vision for a sustainable urban alternative. Since its inception in 1970, the development and construction of Arcosanti has been at the center of Soleri’s life and work. Soleri currently resides at Cosanti in Paradise Valley, AZ He continues his work with architectural commissions and writing for a book that will be published by Princeton Architectural Press in March, 2012. His numerous honors include the AIA Craftsmanship Medal for Excellence in Design (1963), and the Golden Lion Award at La Bienale di Venizia (2000). In the fall of 2005, Soleri was the subject of a major exhibition in Rome on his life and work, titled Paolo Soleri: Ethics

© Cosanti Foundation

and Urban Inventiveness. Soleri was awarded the 2006 Cooper Hewitt, National Design Museum, N ational Design Award for Lifetime Achievement. On July 14, 2011, at age 92, Paolo Soleri announced his retirement as President and CEO of the Cosanti Foundation saying, "There are other things that I want to accomplish. I am ready to leave the management of the Foundation and its primary project -- the urban laboratory Arcosanti—to the next generation." That generation will now be led by Boston architect Jeff Stein, AIA, a longtime Soleri collaborator, who has been elected by its Board of Trustees. Stein leaves his post as dean of the Boston Architectural College to accept the position in Arizona.

© Cosanti Foundation

Timeline of Paolo Soleri’s Career and Accomplishments 1919, June 21

st- Born in Turin Italy

1946- Graduated from Politecnico di Torino, with a PhD degree with hightest honors (“laurea”) in architecture

1946- Fellowship with Frank Lloyd Wright at Taliesin West in Arizona, and at Taliesin in Spring Green Wisconsin 1950- Commissioned to build ceramics factory “Ceramica Artistica Solimene”, Vietri Italy

1956- Moved to Scottsdale, Arizona with family 1956- Established the Cosanti Foundation

1963- American Institute of Architects Gold Medal for Craftsmanship 1969- Published “Arcology: The City in the Image of Man” proposing his theories on Arcology,

1970- Founded the Paolo Soleri Amphitheater in Santa Fe, New Mexico located at the Santa Fe Indian School 1970- “The Architectural Visions of Paolo Soleri” travelling exhibition was organized by the Corcoran Gallery of Art in Washington

DC, and travelled to both the US and Canada 1976- “Two Suns Arcology, A Concept for Future Cities” opened at the Xerox Square Center in Rochester, New York

1979- Participated in UN Habitat I, the first UN forum on human settlements 1981- Gold Medal at the World Biennial of Architecture held by the International Academy of Architecture in Sofia, Bulgaria

1984- Participated in The International Architecture Symposium “Mensch und Raum” (Man and Space) at the Vienna University of Technology (Technische Universitat Wien)

1984- Silver Medal of the Academie d’ Architecture in Paris 1989- “Paolo Soleri Habitats: Ecologic Minutiae” exhibition was presented at the New York Academy of Sciences on arcologies, spa ce

habitats and bridges 1993- “Soleri’s Cities: Architecture for the Planet Earth and Beyond” opened at the Scottsdale Center for the Arts

1996- Honorary Fellow, Royal Institute of British Architects 2000- Leone d’oro at the Mostra di Architettura di Venezia (Venice Architecture Biennale) for his lifelong achievement

2004- Soleri bell is utilized in the fi lm “What the Bleep Do We Know?” 2005- “Soleri Retrospective: Ethics and Urban Inventiveness” opened at the Instituto Nasionale per la Grafica in Rome, Italy

2006- Cooper Hewitt National Design Award for lifetime acheivement 2007- Interviewed for Leonardo DiCaprio’s documentary, “The 11

th Hour”, on the state of the natural environment

2010- Soleri’s “Lean Linear City” design was featured at the exhibition “Three Dimensional City: Future China” at the Bejing Center of the Arts

2010- Soleri Bridge and Plaza was completed by Scottsdale Public Art, which connects retail areas of Scottsdale Waterfront with Old Town Scottsdale

Glossary of Terms and Techniques Arcology- The theory proposed and popularized by Paolo Soleri combining “architecture” and “ecology” is a set of architectural design principles aimed toward the design of enormous habitats (hyperstructures) of extremely high human population density. These largely hypothetical structures would contain a variety of residential, commercial and agricultural facilities and minimize individual human environmental impact. Color - Is light reflected off of objects. Color has three main characteristics: hue(the name of the color, such as red, green, blue, etc.), value (how light or dark it is), and intensity (how bright or dull it is). Encaustic- Also known as “hot wax painting”, involves using heated beeswax to which colored pigments are added. The liquid/paste is then applied to a surface—usually prepared wood, though canvas and other materials are often used. Metal tools and special brushes can be used to shape the paint before it cools, or heated metal tools can be used to manipulate the wax once it has cooled onto the surface. Forms- Three-dimensional shapes expressing length, width, and depth. Balls, cylinders, boxes, and pyramids are forms. Hatching - A technique of modeling, indicating tone and suggesting light and shade in drawing or tempera painting, using closely set parallel lines. Iconography - Loosely, the “story” depicted in a work of art; people, places, events, and other images in a work, as well as the symbolism and conventions attached to those images by a particular religion or culture. Line- A mark with greater length than width. Lines can be horizontal, vertical, or diagonal; straight or curved; thick or thin. Medium - The material used to create a work of art. Also, a term used for the binder for paint, such as oil. Mixed Media - Descriptive of art that employs more than one medium – e.g., a work that combines paint, natural materials (wood, pebbles, bones), and manmade items (glass, plastic, metals) into a single image or piece of art. Representational - Works of art that closely resemble forms in the natural world. Synonymous with naturalistic Perspective - The representation of three-dimensional objects on a flat surface so as to produce the same impression of distance and relative size as that received by the human eye. In one-point linear perspective, developed during the fifteenth century, all parallel lines in a given visual field converge at a single vanishing point on the horizon. In aerial or atmospheric perspective, the relative distance of objects is indicated by gradations of tone and color and by variations in the clarity of outlines. Scale - Size in relation to some “normal” or constant size. Compare with proportion. Shape- A closed line. Shapes can be geometric, like squares and circles; or organic, like free-form or natural shapes. Shapes are flat and can express length and width. Space -The area between and around objects. The space around objects is often called negative space; negative space has shape. Space can also refer to the feeling of depth. Real space is three-dimensional; in visual art, when we create the feeling or illusion of depth, we call it space. Study - A detailed drawing or painting made of one or more parts of a final composition, but not the whole work. Style - A characteristic, or a number of characteristics that we can identify as constant, recurring, or coherent. In art, the sum of such characteristics associated with a particular artist, group, or culture, or with an artist’s work at a specific time.

Sustain- To give support or relief; to keep in existence and maintain. Symbol - An image or sign that represents something else, because of convention, association, or resemblance. Texture- The surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures do not always feel the way they look; for example, a drawing of a porcupine may look prickly, but if you touch the drawing, the paper is still smooth. Value - The relative lightness or darkness of a hue, or of a neutral varying from white to black.

Sample Questions for You and Your Students Questions for Yourself: How do material and form make the theme or visual impact of the work possible? How does the piece change your ideas about the subject matter for the media used? What iconography, if any, is used? (Iconography can be designs, words, diagrams, or symbols in a piece of artwork that metaphorically refer to something else.) Questions for Your Students: Grades K-6 What personal associations or stories does the piece make you think of? What do you see? How would you describe the work of art? What materials do you think were used? Are there lines/what kind of lines do you see? What shapes do you see? What colors are used? What is the texture? Is there depth? Do you see a story or do you see shapes? Are some parts of the piece more important that others? Why is that part more important? What did the artist do to make it more important? If any part of the piece were taken away, how would it change the way you see the piece? What is the artist expressing in the work of art? What is your emotional response to this piece? Does the artwork evoke any emotion in you in any way? If so, in what way? How do the materials and form work together to make the piece powerful? Grades 7-12 What personal associations or stories does the piece make you think of? What do you see? How would you describe the work of art? What materials do you think were used? Are there lines/what kind of lines do you see? What shapes do you see? What colors are used? What is the texture? Is there depth? Do you see a story or do you see shapes? Are some parts of the piece more important that others? Why is that part more important? What did the artist do to make it more important? If any part of the piece were taken away, how would it change the way you see the piece? What is the artist expressing in the work of art? What is your emotional response to this piece? Does the artwork evoke any emotion in you in any way? If so, in what way? How do the materials and form work together to make the piece powerful? Are there cultural or political elements that you perceive? *There are reference images after Suggested Activities for Your Field Trip.

Suggested Activities for Your Field Trip Investigating Art and What Stories Can It Tell Grades 7-12 Activity Overview Students will visually investigate a work by Paolo Soleri, engaging in worksheets (both before and after their visit) which will present questions about the difference between looking at picture of artwork and observing the artwork in person. Then the student will be challenged to utilize the object in a historic story. Activity Objectives Speculate an artworks importance and function Properly identify the various components of the artwork Write a historical story using the object they examined during their visit

Your Name ______________________________________________________________

Object Investigation Report Search the Image Gallery and then select a piece of artwork or a detail of a piece of artwork. Follow

the steps below and answer the questions about the artwork. When you visit the Northern Arizona University Art Museum you will find and observe this object in person as part of your visit activity.

1. What object did you choose?

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2. Look closely and observe the object for 30 seconds.

3. What do you see that makes you curious or interested?

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4. What is most surprising about this artwork?

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5. Record your observations:

a. Medium (What is it made with?)

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b. Do you think it depicts an actual object or an idea? __________________________________________________________________

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c. How do you think this artwork was utilized?

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d. Other observations, information or a sketch of the artwork :

Your Name _______________________________________________________________

Writing Assignment

Use your research, experiences, notes and drawings from your visit to the Northern Arizona University Art Museum to write a historical story. Before you begin writing take a moment to fill out

the exercise below to guide you through your story.

1. Which object have you selected for your story? __________________________________________________________________

2. Name three people who may have interacted with, created or influenced this object throughout history. After, select one of the people you have listed.

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You will write your historical story from the point-of-view of the person who interacted with the object you selected. (You may also choose to write from the point-of-view of the object itself.)

Be sure to address the following:

The name of artwork

Whose story is it? What does their voice sound like?

The setting of the story

What special quality or characteristics does your main character have?

What role does the artwork play in the story?

What is revealed by the main character/artwork that no one else would know?

What other details will you add to the story?

How are you going to hook your readers or listeners?

On the following pages write your story. Remember you are telling the story as if you were that

person or object so put yourself in the place of the person or object and think how you would feel or respond. Use the type of words the character might use. Stay true to the voice of the character and

your object’s history.

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White you are visiting the Northern Arizona University Art Museum find the object that you chose for

your pre-visit activity. Look closely at the object and observe it from different angles. Then stand back and observe. What

do you notice? What is different between looking at a picture of this object and seeing it in person? Write your responses in the space below. If you want you can include a drawing as well.

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Extreme Home Makeover: Paolo Soleri Edition Grades K-6 Activity Overview Students will examine structures designed by Paolo Soleri , focusing on its style, use of space and design. They will then create a sketch of their own home or an imagined home which utilizes some of his ideas. This sketch should reflect some innovative ideas presented by Paolo Soleri’s designs. Activity Objectives Discuss and analyze the designs by Paolo Soleri Consider how different or similar his designs are in relation to their own home Articulate through their drawings the innovations they have adopted from the exhibit

Your Name ______________________________________________________________

Your Home/Your Dream Home Exploration

Describe the important parts of your home or your dream home. Where are the doors? Where are the windows? Where is the bathroom? Where do you sleep, eat and visit with your family? Is there

an outside area? What is each room used for?

When you visit the Northern Arizona University Art Museum you will find and observe many different living structures and use some new ideas to re-imagine your home/dream home.

1. What are some of the important things to include in your drawing? __________________________________________________________________

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2. Name four things you will have in your drawing before and after you visit the museum.

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3. Name four rooms that you will have in your drawing before and after you visit the museum.

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4. What are your outdoor spaces used for?

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5. Draw your home or your dream home below. Be sure to include all of the elements you

described before.

Your Name ______________________________________________________________

Object Investigation Report

Search the Northern Arizona University Art Museum and then select a piece of artwork that describes a living space. Follow the steps below and answer the questions about the artwork.

1. What object did you choose?

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2. Look closely and observe the object for 30 seconds.

3. What about the design for this space is different than your design?

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4. What about the design for this space is the same as your design?

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5. What does each space function as? A living room? A bedroom? A garden? __________________________________________________________________

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6. What do you like best about this design?

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7. Draw the design below:

Your Name ______________________________________________________________

Redesign Your Home or Your Dream Home

After seeing how Paolo Soleri designed his living spaces think about how you might redesign your home or your dream home. Think about what some of the differences and similarities were between

your design and Paolo Soleri’s designs.

1. What parts would you change from your original design? __________________________________________________________________

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2. What parts would you not change from your original design? __________________________________________________________________

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3. Would you include more or less indoor space or outdoor space? __________________________________________________________________

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4. Would you rather live in your first design or your re-imagined design? __________________________________________________________________

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1. Draw your new re-imagined design below:

Images Gallery

"Basket Makers Plan", 1948, colored ink on vellum, 22" x 13.5" © Cosanti Foundation

"Macro Cosanti Bowl," 1964, colored pastel, pencil, and china ink on paper, gauze backed, 180" x 36" © Cosanti Foundation

"Solar Radiation" 1950, ink on tissue paper, 23.75" x 14" © Cosanti Foundation

"Helium Bridge", 1958, silkscreen, 45.1" x 13.6" © Cosanti Foundation

"Babel Canyon" 2002, acrylic and wax on paper, 12.75" x 13.5" © Cosanti Foundation

"Double Cantilev er Bridge" 1978, silkscreen, 41.9" x 21" © Cosanti Foundation

"Nudging Space Model" 2001, foamcore and cardboard, 37" x 31" x 14" © Cosanti Foundation

Babel Canyon Model, 1969, plexiglass, 48" x 48" x 48" © Cosanti Foundation

Arcosanti Masterplan, 2005, cardboard, 43" x 43" x 43" © Cosanti Foundation