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A case study in classroom management and school involvement:

Designing an art room for effective learning

Article  in  Art Education · January 2013

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 Considering that the physical space
where art is taught can have an
essential impact on the learning and
creating experience, there are many
practical options that educators
may consider when arranging or
reorganizing their classrooms.

A Cas^tudy in Classroom Management and School Involvement:

De^ígning an Art Room
Effective Learning JEFFREY L. BROOME

W
hile teachers and the general public continue to report that perhaps
educators' most difficult task remains the management of student
behavior (Küster, Bain, Newton, & Milbrandt, 2010; Langdon & Vesper,
2000), the issue of classroom management has rarely been examined through
the direct observation of art educators. In consideration of the specialized nature
of art instruction, additional attention is needed to address management issues
in this context.

Literature suggests that effective classroom managers
take greater measures to prevent misbehavior from
occurring (Emmer, Evertson, & Anderson, 1980) and
that such measures should be emphasized before and
during the first days of the school year (Wong & Wong,
2009). These preventative measures include the creation
of (1) classroom rules, (2) consequences, (3) student
routines, and (4) the design of classroom environments.
The purpose of this research project is to investigate this
latter preventative measure through the lens of a uniquely
selected art educator. More specifically, the purpose is
to use case study methodology (Stake, 1995) to charac-
terize the resulting instructional experiences for an art
educator who had the unique opportunity to collaborate
with a school renovation committee in designing a new
art room with particular attention paid to the subsequent
effects in classroom management.
While few teachers may have the opportunity to
collaborate with classroom design committees in such
a way, this article may aid art educators in considering
the rearrangement of their art rooms as a way to address
classroom management and will also provide suggestions
to preservice and first-year art teachers considering the
organization of their rooms for the first time. By sharing
the experiences of those in unique educational situations,
researchers add to the resources that may be used by
others in collective decision-making (Donmoyer, 1990).
Furthermore, and unexpectedly, emerging data from this
case study pointed to the importance of the art teachers
high levels of school involvement that may have unin-
tentionally helped her to build social capital (Bourdieu,
1986) among her colleagues, leading to the support of
her respected voice during school renovation committee
meetings.
Background
Until the last half of the 20th century, organized
investigations on the subject of classroom management
were rare and Kounin's (1970) study of the behaviors of
primary students and teachers has been described as a
seminal moment ushering in an era of systematic research
on the subject (Marzano, 2003). As educational inquiries
into classroom management became more prevalent,
different researchers concentrated on different factors

May2013/ARTEDUCATION 39
 that influenced student behavior, including a group of publica-
tions on the impact of classroom arrangements (Kritchevsky &
Prescott, 1977; Schwebel & Cherlin, 1972; Weinstein, 1977). With
new awareness on the relationship between space and manage-
ment, some authors began to suggest frameworks that teachers
could use to evaluate their own class spaces (Araca, 1990; Steele,
1973; Weinstein, 2007). Over time, the information from these
publications was used by Susi (1986, 1989, 1990, 1996, 1999) to
make suggestions for art teachers in arranging their own class
space, yet data sets were rarely collected through the observation
of art classrooms.
The Case
I first met the subject of this case study, Ms. Nancy (a pseud-
onym), during the spring of 2007 when I was working as a univer-
sity supervisor in charge of evaluating a preservice student teacher
assigned to her art room. During our interactions, I learned that
the art room I was observing was just a temporary space that
Ms. Nancy was using for an interim period. The entire popula-
tion of her elementary school had been moved to this temporary
facility while the original school site was being renovated with new
construction. It was this construction that allowed Ms. Nancy the
opportunity to collaborate with a school renovation committee in
creating a new art room.
Plans for renovating the school began in earnest when Special
Purpose Local Option Sales Tax (SPOLST) money was allo-
cated to the school district approximately 5 years before my first
meeting with Ms. Nancy. Administration from Ms. Nancys school
asked for volunteers to form an internal committee that would
provide suggestions to a school district project manager assigned
to the renovation. The project manager relayed the wishes ofthe
committee to architects, and then returned with plans and blue-
prints to show the committee for additional feedback. In this way,
suggestions and revisions were passed back and forth in reitera-
tive cycles, with the district project manager serving as a liaison
between the two parties.
In the beginning of this process, the voluntary renovation
committee had many members. "It took so long for them to finalize
the plans," Ms. Nancy' told me, "that we lost lots of members along
the way." Due to her interest and concern for the school, Ms. Nancy
decided to remain on the committee throughout the duration of its
3- to 4-year existence, even though there were no initial plans to
include the art room in the renovation. However, when changes
in construction plans suddenly called for the demolition of the
existing art room, Ms. Nancy's role as a consistent contributor to
committee meetings expanded to one that involved her specific
consultation in designing a new art room. Ms. Nancy approached
her new task both logically and with vested determination. "If they
were going to tear down a perfectly functioning art room," she
explained, "I didn't want them to put in a poorly designed room
like I had seen at other schools; it had to be better." As Ms. Nancy
put forth suggestions and provided feedback to the architects, she
found her wishes consistently supported by her colleagues on the
committee and the school district project manager.
40 ART EDUCATION/May 2013
Once construction was completed in 2008,1 made an appoint-
ment to take photographs of the new art room before it had
received significant student use. I then waited a year, allowing Ms.
Nancy and her students time to get acclimated to their new space
before I returned to the art room in the spring of 2009 to collect
qualitative data. My case study research incorporated approxi-
mately 20 hours of field observation spread out over several visits,
and also three interviews with Ms. Nancy. Other than my role as an
observer, I had no significant involvement or affiliation with Ms.
Nancy's school. At the time of my observations for this case study,
I was no longer employed with a university that had any direct
interaction with Ms. Nancy's school as I had accepted a position at
another university in a different state. The findings for this study
are presented thematically, first by prefigured foci (Eisner, 1998)
suggested by frameworks for evaluating workspaces (Steele, 1973;
Weinstein, 2007) and then by an unexpected emergent finding
related to Ms. Nancy's school involvement.
Findings
Security and Shelter
Due to the unique and potentially dangerous materials used in
art instruction (Qualley, 2005), issues of physical security should
receive the highest priority. Unlike art teachers who inherit spaces
that were not originally created as art rooms, Ms. Nancy's room was
designed with a large kiln room attached to the main instructional
area. Entrance into the kiln room was limited by a key-accessed
door as a way to prevent children from venturing near unsafe hot
surfaces. The room was equipped with proper ventilation (see
Figure 1) and shelving approved to withstand high temperatures.
Ms. Nancy also asked classroom designers to include space
for a large storage room. She wisely limited student access to this
space and stored potentially harmful equipment, such as her paper
cutter, in this area. The storage room was designed with large sets
of windows that faced the instructional area ofthe class. The visi-
bility provided by these windows added a sense of security that
Ms. Nancy had not anticipated. "Atfirst,I thought I wasn't going to
like those windows," said Ms. Nancy. "But I quickly realized I can
go in there and still see the entire class."
Overall, the main instructional area in the classroom was very
spacious and was used advantageously in providing a safe envi-
ronment. Materials that were not age-appropriate were put out of
reach, and furniture and materials were arranged in a logical order
for clear paths of travel.
Psychological Security and Pleasure
While most classrooms are created to address physical security,
many designers fail to provide psychological security in the form of
inviting and comforting environments. Like most art rooms, Ms.
Nancy's classroom could be described as a hard place (Weinstein,
2007) without textured wallpaper, and with hard classroom desks
and fioor tiles. Having predominantly hard surfaces can be advan-
tageous during cleanup, but can be unappealing to children who
"feel more secure and comfortable in environments that contain
items that are soft or responsive to their touch" (Weinstein, 2007,
p. 34). Ms. Nancy attempted to balance the hard cleanable surfaces
in her room with softer surfaces, such as a large colorful carpet
 Many designers
fail to provide
4SPi psychological
security in the
form of inviting
and comforting
environments.
left
Figure 1. One corner of Ms. Nancy's kiln room,
showing appropriate ventilation.
below
Figure 2. The carpeted area added a sense of
softness and color to the room.

May 2013 / ART EDUCATION

 Figure 3.
Significant wall
space was devoted
to windows for
allowing natural
light.
where students often sat for direct instruction (see Figure 2), and
symbolic soft items, such as a displayed teddy bear dressed in
typical artists' garb.
Ms. Nancy also felt that the provision of natural light, or trans-
parency, and elements of nature (Fraser & Gestwicki, 2002) were
important components of creating a psychologically pleasing
classroom. Ms. Nancy was fond of gardening and I counted over
a dozen plants in the art room that she felt created a pleasing
ambiance. In terms of transparency, three tall windows and a door
constructed of transparent panes had been installed on the far wall
of the classroom (see Figure 3). The door led to an outside patio
that Ms. Nancy used when allowing students to work outdoors or
with specific materials. (Since my observations, Ms. Nancy has
involved the local community in establishing a garden adjacent to
her patio.) Overall, it was the provision of natural light that Ms.
Nancy valued the most in having large windows. "I think it affects
the mood," she told me. "The room has a sense of place. You are
not closed in and you can see outside and always know what the
weather is like."
Social Contact
Ms. Nancy's classroom encouraged social contact and interac-
tion on several levels, beginning with her selection of large tables
that each seated three or four children. While many art teachers
prefer to sit students at larger tables as simply a means for sharing
art supphes, Ms. Nancy also used group seating to encourage peer
assistance and collaboration throughout studio production and
cleanup periods. During my observations, cooperative learning
was most evident when small groups of students collaborated on
creating treasure boxes as part of a club activity that supported a
field day event largely coordinated by the school's physical educa-
tion instructor.
42 ART EDUCATION/May 2013
In arranging the larger tables, Ms. Nancy considered how her
classroom might allow for her own interaction with students as
well. By placing the tables in an angular horseshoe configuration,
Ms. Nancy created empty space in the center of the horseshoe for
her large carpet, and most classes began by sitting in this area first.
"I like a place with a rug, where you can convene and talk inti-
mately," explained Ms. Nancy. She used this space effectively at the
beginning of class for instruction, demonstration, and conversa-
tion, without the distraction of tempting art materials at students'
fingertips.
To further infiuence interaction with students, Ms. Nancy
placed her own teacher's desk in a corner (Weinstein, 2007), rather
than front and center as in many traditional arrangements, and
she did not sit at her desk during instructional time. Instead, Ms.
Nancy circulated the classroom to assist and monitor activities,
often sitting with students in this process. Her teacher's desk was
not useless. She used it for storage and professional computer
usage when students were not in her room.
Symbolic Identification
Work environments are often bare and offer poor symbolic
representation of the people that use such spaces and the tasks
that are completed there (Weinstein, 2007). This was not the case
in Ms. Nancy's room, as her display of student work, prints, and
materials clearly demarked the classroom as a space for art educa-
tion. Displayed books and prints from diverse cultures related to
class activities, school demographics, and thematic instruction.
Sometimes the exhibition of work also symbolized school pride;
one particular bulletin board featured student drawings commem-
orating the opening of the newly renovated school and was embla-
zoned with the title, "We Love Our New School."
 right
Figure 5. Ms. Nancy
selected sinks with deep
and wide basins.

below
Figure 4.The computer
station was far away from
the sinks and wet areas of
the room.

While many art teachers

prefer to sit students at
Interestingly, the documentation of written and visual work
permeated every hallway of the school even far away from the art
larger tables as simply
room. Faculty were actively installing displays for their annual
poetry picnic evening, an open-house and outdoor celebration of
a means for sharing art
heritage and poetry that was one of many school events that Ms.
Nancy was involved with during my observations.
supplies, Ms. Nancy also
Within the art room, other items were on display that symboli-
cally represented Ms. Nancys personal interests and her relation-
used group seating to
ships with students. These items included photographs of her pets
and numerous potted plants. (Nearly all of Ms. Nancy's students
encourage peer assistance
knew of her love for gardening, as she was the faculty co-sponsor
of the Green Club that was involved in ecological projects and and collaboration
cared for several gardens to create a greener campus in the wake of
the recent renovation.) Teachers who share appropriate informa- throughout studio
tion about their lives may actually help students to perceive them
as "real people" and build positive foundational rapport in that
process. Ms. Nancy's caring relationship with students was also
production and cleanup
symbolically represented through several displayed photographs,
including photos of a fieldtrip to a museum and of two students
periods.
that Ms. Nancy worked with and ate lunch with regularly as their
faculty mentor.

May2013/ART EDUCATION 43
 Task Instrumentality
Teachers can arrange classrooms in ways that help facilitate the
numerous tasks expected of students (Weinstein, 2007). Some
of Ms. Nancys efforts in this regard have been discussed above,
such as the separation of presentation space from workspace at
the tables. But these weren't the only incompatible activities that
Ms. Nancy separated in her art room. She kept wet or messy areas
consisting of paint supplies, drying racks, and sinks far away from
dry supply tables and her computer center consisting of three new
terminals (see Figure 4) that students used for research and typing
poetry to accompany projects for the upcoming poetry celebra-
tion. At her wet area, Ms. Nancy's three sinks were selected for
uniquely wide and deep basins that prevented spills and allowed
elbow room for children (see Figure 5).
To further facilitate task instrumentality, Ms. Nancy subscribed
to the philosophy that certain materials should be accessible and
organized so that students could responsibly retrieve and return
such supplies. "As much as students can do on their own, the
better," said Ms. Nancy. "It gives the class a studio feeling." During
my observations, I watched students retrieve a variety of supplies,
aprons, sketchbooks, clipboards, and books from various centers
throughout the room.
Some aspects of task instrumentality are determined by the
initial design of classrooms, and teachers have to recognize these
limitations and arrange space accordingly. Ms. Nancy recog-
nized that the focal points of her instruction were often deter-
mined by the placement of her white board, LCD projector, and
touch-detection SMART board. She also realized that the limited
number and location of electrical outlets in her room restricted
the placement of some equipment (Weinstein, 2007), presenting
one of the few flaws in her classroom design. "That is definitely
one thing that I would change," admitted Ms. Nancy. "There
aren't many outlets in the room and they are hard to get to. You
would have to run extension cords from behind the computers if
you needed something somewhere else."
The art room went from being excluded from
the original renovation to being "at the heart or
epicenter of the school, along with the media center,
music room, and the other areas that the whole
school uses. We wanted to be visible and in the
center as a collective valued vision, and not tacked
on to the end of the building like at other schools."
44 ART EDUCATION / May 2013
Growth
While classrooms can be arranged with rows of desks suited
for the completion of worksheets and technical exercises, space
can also be arranged to allow for the introduction of provocative
material that may stimulate cognitive growth (Fraser & Gestwicki,
2002; Steele, 1973). Ms. Nancy provided some resources in her
room that students could use for self-exploration, often when they
had finished their primary instructional objectives for the day.
"There is enough space in the room," explained Ms. Nancy, "that I
can provide multiple activities operating at the same time." During
different situations, students were given opportunities to work
freely in their sketchbooks, with extra clay, blocks, manipulatives,
or at a literature area. Each activity was designated a specific space
in the room and the rug was often used to explore manipulatives
away from students still working at larger tables.
School Involvement as an Emergent Finding
During data analysis, an unexpected result related to Ms.
Nancy's levels of school involvement emerged that deserves further
discussion. Art educators reading this article may misinterpret this
case to be that of an art teacher who was merely fortunate to have
been at the right place when school renovations were occurring
and designers were receptive to suggestions from teachers. While
the opportunity to make such suggestions is undeniable, it would
oversimplify the situation to say that Ms. Nancy was merely the
benefactor of circumstance. Even Ms. Nancy had to resist this
temptation in characterization and once began by saying, "This
situation just kind of came to me. It kind of fell... " She then hesi-
tated momentarily and upon refiection, began again. "No... I don't
think it fell in my lap at all. I was a volunteer on the renovation
committee for years. The committee started out with lots of volun-
teers. We lost many members over time. Originally, the art room
wasn't even included in the plans for renovations since we were
just trying to compensate for overcrowding and wanting not to
use portable trailers for classrooms. I put a lot of effort into this
process."
 As the primary instrument for interpreting the qualitative Condusions
data (Eisner, 1998) for this project, I agree with Ms. Nancys self-
Considering the lack of field research on classroom manage-
assessment and would amplify her remarks by speculating that her
ment for art teachers and the specialized needs of management
leadership, involvement, and care for school issues may have unin-
in that context, the purpose of this study was to investigate the
tentionally helped her to build social capital (Bourdieu, 1986) that
resulting experiences for an art educator who had the opportunity
gave her a respected voice during committee meetings. Too often,
to collaborate with a school renovation committee in creating a
arts teachers experience isolation on their campuses and feel as
new art room with specific foci paid to the subsequent benefits
if their efforts are not supported (Barrett, 2006; Chapman, 2005).
in classroom management. The findings were presented in rela-
This did not seem to be the case for Ms. Nancy, as my findings have
tionship to the following functions of art rooms: (1) security and
already indicated her high levels of involvement in various school-
shelter, (2) social contact, (3), symbolic identification, (4) task
related events including work with student teachers, field day, the
instrumentality, and (5) growth. The results offer practical options
poetry picnic, the Green Club, as a mentor to students, during
that preservice and first-year art teachers, as well as veteran art
field trips, and in establishing a school art garden. My field notes
educators, can consider when arranging or reorganizing their
also indicated her additional involvement in the school musical
classrooms.
and art show, partnerships with a university preservice education
program, the school 4-H Club, and other events involving the An unexpected finding emerged within the data related to the
decoration of bricks from the torn-down portions ofthe building benefits that Ms. Nancy may have reaped as a result of her high
and the featuring of student artwork on school T-shirts. levels of involvement and care for her school. It is possible that she
would not have had as strong a voice in the creation of her new
It is possible that Ms. Nancy's commitment to the renovation
art room if she had not built such significant social capital within
committee and the high levels of school involvement from her and
the school community. The findings not only offer suggestions
other specialist teachers played a factor in the consideration of
related to classroom management, but also remind art teachers of
their specific needs during renovation. As Ms. Nancy explained,
the importance of being involved members within their schools
the art room went from being excluded from the original renova-
and to proactively take steps to avoid the isolation experienced by
tion to being "at the heart or epicenter of the school, along with
many teachers ofthe arts.
the media center, music room, and the other areas that the whole
school uses. We wanted to be visible and in the center as a collec-
tive valued vision, and not tacked on to the end ofthe building like Jeffrey L. Broome is Assistant Professor of Art Education at
at other schools. I felt like the committee valued the arts enough to Florida State University, Tallahassee, Florida. F-mail:
make it central in the building and to listen to my specific needs. jbroome@fsu.edu
But that wasn't why I joined the committee. I joined the committee
because I care about the school. I was interested in the project and AUTHOR NOTE
I love our school." This research was supported in part by a facufty research grant from the
While further longitudinal observations may be needed to University of North Texas. The author wishes to acknowledge the assistance
of Dawn Stienecker, board member of Grassroots: Art in Action (Houston,
verify whether or not Ms. Nancy's vision of the arts as the heart Texas), in transcribing qualitative data.
or epicenter of the school came to be a reality, my sense of the
qualitative data that I collected at the renovated facility provided
evidence that this may already be the case. During my brief obser- REFERENCES
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ENDNOTE
' AU personal communications with
Ms. Nancy were collected through
interviews on the dates of April
24th, May 1st, or June 17th of 2009.

MEMBER NEEDS rCALL for PAPERS

ASSESSMENT SURVEY Violence and Art Education | Spedallssue of Art Education
The topic of violence has been addressed by art educators in numerous ways: as a component of
popular visual culture (Freedman, 2000); as a form of expression in child art (Wilson & Wilson, 1982;
Duncum, 1986); and as a form of political resistance. Duncum (2006) outlines the numerous forms of
media violence relevant to art educators describing forms of violence as comic, transgressive, retalia-
tory, and gratuitous.
In the wake of recent high-profile school shootings and the ongoing public debate over violent media,
Make your mark! art educators are once again caught between calls for awareness\safety and free expression. What
current discussions about violence are taking place in art classrooms, museums, community centers,
Shape your national professional and prisons? How are art educators responding to forms of violence that are expressed in the spaces
association by completing the of learning? Are forms of symbolic violence, expressed as art, being read in ways that shut down
dialogue?
NAEA member needs
This special issue of Art Education looks to open up a space for debate and discussion. Authors may
assessment survey. wish to respond to one of the questions listed above, or to one of the topics listed below:
Art History and Violence • Dangerous Play • Bullying • Symbolic Violence • Violence in Media •
Take the survey today at: Institutionalized Violence • Violence in/Through/to Language • Agency and Catharsis
www.arteducators.org Robert W. Sweeny, Editor oí Art Education, invites manuscripts that address the topic of'Violence and
Art Education." Authors should submit articles to arteducation@gmail.com, following the established
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+ ENTER TO WIN Deadline submission: June 15,2013

$500 References
Duncum, P. (1986). Children's unsolicited drawings of violence as a site of social contradiction. Studies
IN BLICK ART MATERIALS in Art Education, 4(30), 249-256.
Duncum, P. (2006). Attractions to violence and the limits of education. TTie journal of Aesthetic
OR Education, 4(40), 21-38.
r Q C C (CONVENTION Freedman, K. (2000). Social perspectives on art education in the US: Teaching visual culture in a
democracy Studies in Art Education, 4(41), 314-329.
r n t t REGISTRATION! Wilson, M.. & Wilson, B. (1982). Teaching children to draw: A guide for teachers and parents. Englewood
WHEN YOU COMPLETE THE SURVEY Cliffs, NJ: Prentice-Hall.

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