Search results for: Russell Fowler

Authors: Stanley Russell

Abstract:

Until the end of the 19th century, European painting dealt almost exclusively with the realistic representation of objects and landscapes, as can be seen in the work of realist artists like Gustav Courbet. Architects of the day typically made reference to and recreated historical precedents in their designs. The curriculum of the first architecture school in Europe, The Ecole des Beaux Artes, based on the study of classical buildings, had a profound effect on the profession. Painting exhibited an increasing level of abstraction from the late 19th century, with impressionism, and the trend continued into the early 20th century when Cubism had an explosive effect sending shock waves through the art world that also extended into the realm of architectural design. Architect /painter Le Corbusier with “Purism” was one of the first to integrate abstract painting and building design theory in works that were equally shocking to the architecture world. The interrelationship of the arts, including architecture, was institutionalized in the Bauhaus curriculum that sought to find commonality between diverse art disciplines. Renowned painter and Bauhaus instructor Vassily Kandinsky was one of the first artists to make a semi-scientific analysis of the elements in “non-objective” painting while also drawing parallels between painting and architecture in his book Point and Line to plane. Russian constructivists made abstract compositions with simple geometric forms, and like the De Stijl group of the Netherlands, they also experimented with full-scale constructions and spatial explorations. Based on the study of historical accounts and original artworks, of Impressionism, Cubism, the Bauhaus, De Stijl, and Russian Constructivism, this paper begins with a thorough explanation of the art theory and several key works from these important art movements of the late 19th and early 20th century. Similarly, based on written histories and first-hand experience of built and drawn works, the author continues with an analysis of the theories and architectural works generated by the same groups, all of which actively pursued continuity between their art and architectural concepts. With images of specific works, the author shows how the trend toward abstraction and geometric purity in painting coincided with a similar trend in architecture that favored simple unornamented geometries. Using examples like the Villa Savoye, The Schroeder House, the Dessau Bauhaus, and unbuilt designs by Russian architect Chernikov, the author gives detailed examples of how the intersection of trends in Art and Architecture led to a unique and fruitful period of creative synergy when the same concepts that were used by artists to generate paintings were also used by architects in the making of objects, space, and buildings. In Conclusion, this article examines the extremely pivotal period in art and architecture history from the late 19th to early 20th century when the confluence of art and architectural theory led to many painted, drawn, and built works that continue to inspire architects and artists to this day.

Keywords: modern art, architecture, design methodologies, modern architecture

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Authors: Lam Pham, Peter Hubber, Russell Tytler

Abstract:

Students’ conceptual understandings of chemistry concepts/phenomena involve capability to coordinate across the three levels of Johnston’s triangle model. This triplet model is based on reasoning about chemical phenomena across macro, sub-micro and symbolic levels. In chemistry education, there is a need for further examining inquiry-based approaches that enhance students’ conceptual learning and problem solving skills. This research adopted a directed inquiry pedagogy based on students constructing and coordinating representations, to investigate senior school students’ capabilities to flexibly move across Johnston’ levels when learning dilution and molar concentration concepts. The participants comprise 50 grade 11 and 20 grade 10 students and 4 chemistry teachers who were selected from 4 secondary schools located in metropolitan Melbourne, Victoria. This research into classroom practices used ethnographic methodology, involved teachers working collaboratively with the research team to develop representational activities and lesson sequences in the instruction of a unit on solution chemistry. The representational activities included challenges (Representational Challenges-RCs) that used ‘representational tools’ to assist students to move across Johnson’s three levels for dilution phenomena. In this report, the ‘representational tool’ called ‘cross and portion’ model was developed and used in teaching and learning the molar concentration concept. Students’ conceptual understanding and problem solving skills when learning with this model are analysed through group case studies of year 10 and 11 chemistry students. In learning dilution concepts, students in both group case studies actively conducted a practical experiment, used their own language and visualisation skills to represent dilution phenomena at macroscopic level (RC1). At the sub-microscopic level, students generated and negotiated representations of the chemical interactions between solute and solvent underpinning the dilution process. At the symbolic level, students demonstrated their understandings about dilution concepts by drawing chemical structures and performing mathematical calculations. When learning molar concentration with a ‘cross and portion’ model (RC2), students coordinated across visual and symbolic representational forms and Johnson’s levels to construct representations. The analysis showed that in RC1, Year 10 students needed more ‘scaffolding’ in inducing to representations to explicit the form and function of sub-microscopic representations. In RC2, Year 11 students showed clarity in using visual representations (drawings) to link to mathematics to solve representational challenges about molar concentration. In contrast, year 10 students struggled to get match up the two systems, symbolic system of mole per litre (‘cross and portion’) and visual representation (drawing). These conceptual problems do not lie in the students’ mathematical calculation capability but rather in students’ capability to align visual representations with the symbolic mathematical formulations. This research also found that students in both group case studies were able to coordinate representations when probed about the use of ‘cross and portion’ model (in RC2) to demonstrate molar concentration of diluted solutions (in RC1). Students mostly succeeded in constructing ‘cross and portion’ models to represent the reduction of molar concentration of the concentration gradients. In conclusion, this research demonstrated how the strategic introduction and coordination of chemical representations across modes and across the macro, sub-micro and symbolic levels, supported student reasoning and problem solving in chemistry.

Keywords: cross and portion, dilution, Johnston's triangle, molar concentration, representations

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