Visual Problem:
Students will create and combine two low level reliefs based on the structure of their house. One view is of the front; the other is of the back of their house. These low level relief house structures will reflect the simplicity and influence of the design qualities seen in the work of Piet Mondrian. These reliefs will be combined cooperatively into a series of large mobile structures.

Materials:

• varied amount of leftover colored mat board
• exacto knives / metal edge rulers
• 10-lb. nylon fishing line
• no. 1 fishing swivels (one per student)
• 20-inch wooden dowels ( number dependent on size of mobile structures)
• Three to five 5-foot steel 3/16" rods (for top level of mobile)

This process offers the student a visual understanding of the human-made structure and the organic forms that interrupt the view of that structure. It does not matter if the student lives in a townhouse or a large suburban home; they are looking at the overall relationship of shapes.

Acquire a quantity of leftover mat board. This can be obtained free from a local frame shop because they cut out the middle shape of the matted work and usually throw it away . The more diverse the color range, the better for student selection.

Share information about artist Piet Mondrian (1872-1944) who offers the viewer a visual understanding of rhythm. He developed images with mathematical configurations which reflected his love of jazz music. At the height of his career Mondrian "used only straight lines, meeting at right angles, and rectangles in one of three colors" (Art and Man Scholastic magazine, 1987, volume 7). He carefully used these elements to create cleanly designed, asymmetrically balanced paintings. His work was in response to the excitement of the city and human-made structures.

Process:
Have students transpose the linear drawing of the front of their house into the basic shapes seen in its structure. Students should choose a color scheme using three colors, and cut the mat board for each shape found on the house structure. Begin by cutting the main shape of the house (front and back) before the smaller shapes for windows and doors are cut. These shapes are stored in reusable envelopes before the relief process is started. When the front shapes are complete, repeat this process for the back of the house. Students choose three colors for the front and can choose another three other colors for the back since the viewer will only see one side at a time.

A relief will be developed using the varied shapes found on the front of the house and on the reverse side which is the back of the house. Small cut pieces of foam core board are used to create levels. White glue is the best bonding agent for the mat board and foam core. The two directional reliefs will, in essence, form a three-dimensional structure. The white color seen on the edge of the mat board and the foam core will be seen by the viewer, from the side. Mondrian also used three colors and white in his compositions.

The overall size is limited to 12" wide, 8" high and 4" in overall depth. This relatively small size serves to focus the viewer and ensures that no structure will dominate the overall collection. The challenge is to focus on the simplification of the shapes seen in their original drawing, repeating chosen colors, and creating a rhythm with the placement of the shapes.

Students make decisions about spatial relationships of design and balance which do not need to be consistent with the exact shape or color of their house. Things like shutters, drain gutters or outside lights can be eliminated and rectangular shapes can be squares if so desired.

Craftsmanship is very important for clean presentation. Edges of mat board and foam core board must be smooth. Some students needed to use fine sand paper to accomplish smooth edges. Pencil lines must erased and glue should not be showing in the final presentation. 10-pound nylon fishing line was attached to the top of each house structure, through a strip of foam core glued between the two mat board reliefs. For balance, two holes were used to create a triangle when threaded with nylon thread. This was more workable than trying to find one exact point of balance for the overall structure.

The final result is to cooperatively connect the collection of houses in large mobiles, resulting in a community of artistic house structures floating in space. Each student's work will be hung from 10 lb. nylon fishing line from wooden dowels and 15 lb. nylon line from the main 5-ft. long steel rods. A brass fishing swivel is glued on the end of each dowel and medal rod using 5-minute epoxy, so that the form floats easily.

Student Choices:

• color scheme
• use of organic form along with man made forms

• Has your work captured the essence of Piet Mondrian?
• How has the visual form of your house changed through this process?
• What kind of balance does the geometry of your structure show?

Students showed some frustration in creating clean edges of both the mat board and foam core board. Excellent results are consistently achieved only by using a very sharp exacto knife. Blades must be replaced frequently if a large number of students are using them. It is also recommended that students stand while cutting for better control, and use two to three strokes. To add even more control, a metal straight edge is used as a guide. The overall project size did add to the problem of cutting small shapes accurately.

Students were given the option of using geometric shapes to represent shrubs and trees. The majority felt the project was complicated enough and most focused on the architectural elements of the house.

Through the process, students understood that Mondrian simplified form and color to create clean design. The students' houses also reflected the simplified geometric qualities seen in this artist's work. I did feel the work could have become a little more simplified and visually abstract. Yet some might have oversimplified for the sake of expediency and missed the opportunity to fully understand the structure in which they live.

Time Frame:
15 Class periods (46 min. periods)

• 1 period to introduce the project and review the homework
• 12 to construct the individual units
• 2 to critique and hang the mobile structures

There is greater understanding of art history when we as artist/educators take the time to develop personalized projects that make a definite connection between the student and a famous artist's style. When learning is put into a context, the student is better able to see the significance of the historical reference.