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Bachelor of Design Innovation
First Year Design COURSE OUTLINE TRIMESTER 2, 2011
DSDN 141 EXPERIMENTING WITH MATERIALS
GENERAL
Core for industrial specialisations (Elective for C+C and Media); Trimester Two; 15 points
ASSESSMENT
100% internal by assignment
CLASSTIMES AND LOCATIONS
LECTURES: Section A & B Monday 8:30am – 9:20am Room: VS LT1 Wednesday 10:30 – 11:20am Room: VS LT1 STUDIO: Section A Wednesday 11:30am – 14:20pm Room: WIG 101 & VS 001 Section B Wednesday 14:30pm – 17:20pm Room: WIG 101 & VS 001
COORDINATOR AND TUTORS
Coordinator Tutors Section A &B Bernard Guy
Room: VS 2.33
Phone:463-6291
Office Hours: Monday 10:00 – 11:00am or by
appointment
Email: [email protected]
Alex Keegan - Section Leader B
Lisa Scott [email protected]
Earl Stewart [email protected]
Room: 3.02 Office Hours and e-mail: to be
confirmed with tutors
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COURSE SYNOPSIS
DSDN 141 is an introduction to technologies, materials and processes used in 3-dimensional design disciplines. Emphasis includes the application of both physical and digital explorative methods relevant to the discovery of design attributes in material properties and aesthetic meaning.
AIMS OF THE COURSE The central aim of the course is to introduce you to materials, processes and technologies as related to design. Materials are the substance and physical manifestation of our built environment and as such are all-pervasive. In terms of design their implications are far reaching; on one hand materials impose limitations, on the other they offer enormous potential for innovation. Implicit in the understanding of materials are also the processes which allow materials to be utilised and the technologies with which materials can be modified. The aim of this course is to explore, understand and ultimately to celebrate the materials of our built environment as a resource to be valued, with properties to be respected and to engage them as a source of inspiration and poetic expression in design.
COURSE LEARNING OBJECTIVES
By the end of the course, students will have learned: COMMUNICATION Modelling
convincingly model preliminary design ideas
explore materials in the workshop using manual workshop tools
acquire basic understanding of a range of methods of inquiry specific to analysis and representation of 4D form and space
Verbal Communication
express a clear focused design position
establish a personal priority and respond with a statement of intent
respond to general design questions with clarity and insight
focus and define the scope of an argument CREATIVE & CRITICAL THINKING Discipline-Specific Knowledge and Professional Skills
develop a general knowledge of materials, processes and technologies as related to design
understand the implications of materials as the all-pervasive substance and manifestation of our physical environment
Research, Analysis & Problem-Solving Abilities
interpret a brief and research appropriate precedents
have a basic understanding of experimentation, innovation and critical enquiry
understand the limitations imposed by materials as well as their enormous potential for innovation Innovation, Imagination and Lateral Thinking
think, observe, explore, challenge, make, reflect, and above all commit to design ideas and their realisation in a concrete language of design elements.
engage the nature of materials as a source of inspiration and expression
engage technologies as a source of design inspiration.
experiment (testing and retesting) using a range of physical and/or digital applications. Critical Judgement and Accountability
understand and celebrate the materials of our built environment as a resource to be valued with properties to be respected.
The content, structure and sequence of the projects and lectures have been formulated to encourage the investigation and understanding of: 3D composition engaging the tectonics of materials The physical nature of materials (organic and inorganic) is concrete and perceivable. Their distinct tectonic properties derived from their chemical structure allow them to be formed, connected and arranged in some ways but not others. We will be particularly exploring how such tectonic properties invite opportunities for
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clarifying and enriching a visual composition at different scales, from the overall design to smallest detail. You will be required to reflect critically on issues such as function, appropriateness, elegance and economy. Empirical enquiry A true understanding of materials and their properties requires more than theoretical knowledge. This course will teach you to observe and enquire, to recognize potential and to realize that potential by physically experimenting with materials and technologies, exploring new possibilities. This empirical approach will establish an intuitive understanding of materials and processes that will provide a basis for the discipline specific theory and knowledge of subsequent papers. The process of craft and craft as a process An empirical design approach requires a high level of craft – not as an end in itself but as a means of exploration. Craft is a process, a means of manipulating and modifying materials, establishing empathy and gaining a sense of working “with” rather than “against” the material. The concepts and ideas relating to materials explored while engaging the process of craft can be extrapolated to, and facilitate the understanding of more sophisticated technologies and processes. Invention and lateral thinking The basis of invention involves lateral thinking, integrating the abstract with the real and inviting problem-solving and opportunistic thinking without preconception of means or presumption of form. Successful invention must integrate aesthetics and judgement with accountability, poetic interpretation and craft. Poetic interpretation Poetic interpretation provides an invaluable opportunity to evidence multiple layers of meaning, to invite abstract or critical inquiry, to move design beyond the pragmatic to the meaningful, to engage the symbolic, to provoke thought and to illustrate intent. It raises design above the decorative to the conceptual and the intellectual, invoking implications beyond the particular to the universal. Critical judgement The bases of critical judgement are directly linked with ideas and practices of three-dimensional composition and aesthetics. Judgement is based on informed and discerning analysis of existing aesthetic ideas and practices in relation to contemporary contextual conditions. Judgement involves a firm foundation in these basic aesthetic ideas and practices, while extending one‟s knowledge beyond the shared and formal to include the intuitive, forming a working personal attitude beyond the prescriptive. It is ultimately based on the critical reading and evaluation of intuitive response, and as such is intimately linked to personal accountability. Accountability and responsibility The bases of accountability require that a design solution successfully acknowledges explicit starting points or limitations, resolves a fundamental problem(s), and adheres to ideas and practices of three-dimensional composition and aesthetics and critical judgement. Accountability ultimately requires that a solution is capable of being manifested three-dimensionally according to the limitations of its materials, its context and its intent. Accountability also has implications beyond the immediate design solution to encompass a much broader universal context where resources are finite and materials are not to be taken for granted. Within this context an understanding of the social implications of technology, both positive and negative, and an ethical commitment to concepts of economy and sustainability are the designer‟s responsibility.
COURSE CONTENT
Introduction to technologies, materials and processes used in 3-dimensional design disciplines. Emphasis includes the application of both physical and digital explorative methods relevant to the discovery of design attributes in material properties and aesthetic meaning. This course will introduce you to:
What materials are used to make design forms and spaces; and
How design forms and spaces are made (virtual and real, hard and soft , static and dynamic, technologies and processes)
The effects these materials, processes and technologies have on the designed forms and spaces, in terms of design philosophy and approach, and on the users (functionality; aesthetics; social/environmental impact; etc).
These aims will be developed and applied in a multi-disciplinary approach that is particularly relevant to the professional disciplines of Industrial Design, Digital Design, and other related 3-dimensional disciplines.
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COURSE DELIVERY
DSDN 141 is both studio and lecture based. Lectures provide direct guidance and support for your studio projects as well as introducing you to some of the broader theoretical and social issues relating to Experimenting with Materials. Studio content is primarily about the empirical investigation of materials and processes with particular reference to the ideas and practices of tectonic composition.
Lab sessions consist of 6 small assignments linked to the learning objectives of each project. Students are required to upload and present experiments online for review. Labs will be introduced at Mondays Lecture and uploaded by students before Midnight Thursday of the same week. These will be reviewed at the following Monday lecture. Submission of students work will be recorded and is a mandatory course requirement.
ASSIGNMENTS / PROJECTS ASSIGNMENTS Assignment work in DSDN 141 is all project-based. You will be asked to complete three intensive projects. The projects build systematically on one another; projects 1-3 address different aspects of materials, processes and technologies in the form of specific design challenges. The intention is to strengthen your skill in the creative crafting of materials and technologies, your understanding of the potential of properties and processes and your awareness of materials as a source of inspiration and innovation in design. To provide a general overview, a brief description of each project follows: Project 1: Reveal The outward expression of materiality. 3 weeks (includes 2 Labs) Project 1 explores materials and processes on an intimate level – surface as the visual and tactile interface between mankind and material, investigating surface as the visual expression of materiality. You will be required to make three surfaces that not only engage but also visually and dynamically communicate the unique properties of a material of your choice, using texture, finish, surface treatment, colour or opacity. To do this you will use an empirical process of physical investigation, analysis and experimentation. The main aim of Project 1 is to demonstrate the expressive power of surfaces in communicating materiality. Project 2: Relate The Vocabulary of Material: exploring the poetic potential of materials 3 weeks (includes 2 Labs) The real value of a material is often only revealed in combination with other materials. Such combinations often provide a vehicle or possibly just a reference point whereby the unique characteristics of one material are made evident by the other. In this project you will be required to explore two materials; one natural the other synthetic (e.g. sand/steel), engaging the properties of one to express and celebrate the qualities of the other in the form of an abstract 3D composition. While both materials may seem commonplace and inexpensive that does not mean they have little potential to inspire your composition. The real challenge of this project is to reveal the worth and value inherent in “everyday” materials in a compositional statement that goes beyond the pragmatic to encompass poetic interpretation, eloquence and meaning. Project 3 part A: Activate Materials Response to Activation 4 weeks (includes 2 Labs) Experimenting with materials offer enormous potential as a catalyst for inspiration and innovation in design. Either in the form of new and unexpected uses of traditional materials, or in the timely and creative application of new technologies. An awareness and understanding of this process is essential to the successful pursuit of innovative design solutions. The premise of project 3 is to encourage enquiry and exploration in revealing the hidden properties of materials. Therefore you will be asked to fulfil a specified task activating one or two materials in a dynamic interaction utilising contemporary technology. To do this you will not only have to research and find potential materials but you will also have to modify them and your chosen technology appropriately to perform the required task. The objective of the project is to integrate all the lessons of the previous two projects into a single project that invites lateral thinking and the application of craft in a spirit of invention and experimentation.
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Project 3 Part B: Document Material and Sensory documentation 2 weeks Essential to design enquiry and creative advancement, is the capability to defend your design solution through a variety of media. Part B aims to present the physical and poetic evidence of a digital enquiry - to reveal the emotions of a physical representation.
ASSESSMENT REQUIREMENTS
Assessment Criteria specific to individual projects will be listed in each Project Outline. Overall Assessment Criteria for this course are:
evidence of a clear understanding of tectonic ideas and concepts as related to materials and processes quality and coherence in the design concepts clarity in the articulation of design intentions evidence of active and energetic exploration of materials and processes evidence of creative and innovative application of materials and processes high level of craft evident in drawing, modelling, photography and presentation
Lab assessment
evidence of engagement, research, and commitment to craft and presentation. DSDN 141 is internally assessed by assignment work in the form of 3 projects. Each is assessed and graded A+, A, A-, B+, B, B-, C+, C, D, E, (where C is a PASS). Grades only are issued to students. The final grade for the course is based on the aggregation of the percentage marks for each of the projects, and a final grade of C or better is required to pass the course. The 3 projects contribute towards the final course grade as follows: Project 1 Reveal 3 weeks: due 27
th July 25%
Project 2 Relate 3 weeks: due 17th August 25%
Project 3 Part A Activate 4 weeks: due 28th September 35% Part B Document 2 weeks: due 12
th October 15%
Total: 100% Your work will be reviewed on the basis of the degree to which it meets the assessment criteria. Although visitors may be involved in some of the reviews, only the Course Coordinator and tutors will conduct the assessment. The Course Coordinator is finally responsible for the individual grades issued. The School has a long tradition of providing critical review of student work as it progresses especially in design projects. This is part of feed-back for learning purposes. Such reviews must not be misunderstood as indicators of standards and they are different from assessment. Students have a responsibility to attend critical reviews at the appointed time as part of the learning process. Review panels are often composed of internal and external members for the appointed times and cannot be re-composed to consider late submissions. Consequently late work will not receive a critical review, though it will be assessed subject to any penalties as set out below.
Critical Review: May take place during the development phases of a project as well as at the time of the final submission. Its purpose is to identify strengths and weaknesses in the work and to offer suggestions to generally encourage the student. An encouraging critical review does not necessarily mean a good assessment result.
Assessment: May take place at a stage in a project or on final submission (or both). Its purpose is to value the work in terms of the objectives stated in the handout and to express this as a grade. Moderation of all assessment in design is undertaken at the end of the Trimester after critical reviews, involving a wider group of staff than the immediate lecturers in the course. This process ensures fairness.
All work submitted for assessment must be accompanied by an Assessment Declaration Form unless advised otherwise by the Course Co-ordinator. All grades posted during this course are only provisional results until confirmed by the School Examiners Committee which meets after the examination period.
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ATTENDANCE AND PARTICIPATION Attendance and participation is an important aspect of the learning process, and you are required to attend all the lectures and studios. If extraordinary circumstances arise that require you to be absent from some class sessions, you should discuss the situation with the Course Coordinator as soon as possible.
MANDATORY COURSE REQUIREMENTS
In addition to achieving an average of at least „C‟ across all assessments, in order to pass the course you must also satisfy the following mandatory course requirements:
Attend at least 80% of the studio sessions; an official attendance role will be kept.
Submit all 6 Labs
Hand in and present all projects
COURSE EXPECTED WORKLOAD You should expect to spend a total of around 150 hours on this course, including both scheduled class time and independent study. Typically this involves around 12-14 hours per week during the twelve teaching weeks, with the balance during the mid trimester break, http://www.victoria.ac.nz/home/about_victoria/avcacademic/publications/assessment-handbook.pdf
MATERIALS AND EQUIPMENT REQUIRED
Students will need to provide all materials and equipment as necessary for the completion of required drawings, models, and photographic representations. The 1
st year workshop has a good supply of tools, please be considerate when borrowing these. All tools
MUST be signed out.
It is recommended that you have your own laptop although computer facilities are available at the School. If you are purchasing a laptop and would like information on the minimum requirements please contact the Student Administration Office. While digital cameras are available at the school, it is also recommended that students consider purchasing a mid-range digital camera with macro function (5.0mpxl minimum) and a small tripod. Note: The Student Loan, administered by StudyLink, allows students to claim up to $1,000 for course related costs for each year of study. There is a free safety kit available from the reprographic shop on the ground floor of the School of Design.
COMMUNICATION OF ADDITIONAL INFORMATION
Important information and updates will be available on the course website therefore students are strongly recommended to visit www.firstyeardesign.com regularly and read the posts carefully.
SUBMISSION OF WORK SUBMISSION OF WORK Each student is responsible for ensuring their work is submitted to their course tutor on time and in the required format. Late submissions will be penalised as set out below, unless an extension is approved by the Course Coordinator. Extension forms are available from the admin office.
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EXTENSIONS In the event of illness or other extraordinary circumstances that prevent you from submitting a piece of work on time, or that you feel adversely affect the quality of the work you submit, it is important that you discuss your circumstances with the Course Coordinator as soon as possible so that appropriate arrangements may be made. You should complete an Application for Extension form (available from the Faculty Office) for the Course Coordinator to approve. You will also need to provide suitable evidence of your illness or other circumstances. In an emergency, or if you are unable to contact the Course Coordinator, you should advise the Faculty Office of your situation. Work submitted late must be submitted to the Course Coordinator.
RECORDING OF WORK AND PORTFOLIO
You are strongly encouraged to respect and care for your work, making and recording a visual summary of each project in this course. This may be in digital and/or hard copy. The principal purpose of this is to maintain a record of your work for incorporation into your own personal „Design Portfolio‟. Recording a summary of your work also means it is available if needed for you or the School to exhibit or publish.
PENALTIES
Students are required to personally present their work on time at all scheduled reviews and in the location and specified format as set out in project outlines. Failure to personally present work at any scheduled graded review will result in an automatic failing grade of D for the work being reviewed, unless an extension has been approved in writing in advance by the course coordinator.
Late submissions will not be penalised in the event of illness or other extraordinary circumstances provided students have submitted a request for an extension in advance of the scheduled review or hand-in and approved in writing by the Course Co-ordinator (see the Student Administration Office for an Application for Extension form). Work submitted late without the prior agreement of the Course Co-ordinator will be penalised by a failing grade of D.
Work submitted late must be submitted directly to the relevant tutor or Course Co-ordinator. Any project work left on the project shelves or elsewhere will be entered on the grade sheet as a no-submission.
SCHEDULE OF SESSIONS & ASSESSMENTS
Students must be seated in class no later than 5 minutes prior to the start of lectures. Mobile phones must be turned off. LECTURES: Section A & B Monday 8:30am – 9:20am Room: VS LT1 Wednesday 10:30 – 11:20am Room: VS LT1 STUDIO: Section A Wednesday 11:30am – 14:20pm Room: WIG 101 & VS 001 Section B Wednesday 14:30pm – 17:20pm Room: WIG 101 & VS 001
Trimester 2 Planner Week Month
Day Date Item Assignment Tasks
Week 28 M 11 Introduction to DSDN 141 Introduce Course and the Labs Intro Lab 1 Draw
Lab 1 Assignment for studio: Collect materials for
Project 1
July T 12
W 13 Introduction to Project One. Reveal Materials and surface. Introduction to material
manipulation, tectonics, and research
Review and Abuse collected materials. Group/individual instruction
TH 14 Upload Lab 1
F 15
Week 29 M 18 Review Lab 1 Draw Intro Lab 2
Lab 2 Assignment for studio: Project experiments
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Failure
July T 19
W 20 Exploration in Detail Properties: What is a property?
Group/Individual instruction
TH 21 Upload Lab 2
F 22
Week 30 M 25 Review Lab 2 Failure
Assignment for presentation
July T 26
W 27 Project One Review Hand in and Presentation 25%
TH 28
F 29
Week 31 M 1 Intro Lab 3 Make
Lab 3 Assignment for studio; collect materials from list for Project 2
August T 2
W 3 Introduction to Project Two. Relate Modifying Materials: What is a Process? Additive, subtractive and formative
Group/Individual instruction
TH 4 Upload Lab 3
F 5
Week 32 M 8 Review Lab 3 Make Intro Lab 4 Wear What Wear?
Lab 4 Assignment for studio. Project experiments
August T 9
W 10 Touchy-feely The tactile qualities of materials. Forms, Materials, Making and Aesthetics
Group/Individual instruction
TH 11 Upload Lab 4
F 12
Week 33 M 15 Review Lab 4 Wear What Wear?
Assignment for presentation
August T 16
W 17 Project Two Review Hand in and Presentation 25%
TH 18
F 19
Week 34 M 22 Mid Trimester Break
August T 23
W 24
TH 25
F 26
Week 35 M 29
August T 30
W 1
TH 2
F 3
Week 36 M 5 Intro Lab 5 Stop Motion Vs Stop Action
Lab 5
Sept T 6
W 7 Introduction to Project Three. Activate Sensory activation of Materials. Contemporary technologies. Material in a circuit
Group/Individual instruction Collect your Kit
TH 8 Upload Lab 5
F 9
Week 37 M 12 Review Lab 5 Ideas Stop Motion Vs Stop Action
Lab 6
Sept T 13
W 14 Materials, Processes and technologies as a source of innovation.
Group/Individual instruction
TH 15 Upload Lab 6
F 16
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Week 38 M 19 Review Lab 6 Stop Motion Vs Stop Action
Assignment for studio
Sept T 20
W 21 Introduction to Project Four. Document Material and Sensory documentation
Prepare for Presentation
TH 22
F 23
Week 39 M 26 No Lecture
Sept T 27
W 28 Project 3 Part A Review Hand in and Presentation 35%
TH 29
F 30
Week 40 M 3 No Lecture
Oct T 4
W 5 Superior sincere or sham. Future materials
Group/Individual instruction Documentation - Methods and storyboard
TH 6
F 7
Week 41 M 10 No Lecture
Oct T 11
W 12 Project 3 Part B Review LT1 Group Viewing and Critique 15%
TH 13
F 14
Week 42 M 17 Oct T 18 W 19 TH 20 F 21 Week 43 M 24 Oct T 25 W 26 TH 27 F 28 Week 44 M 31 Nov T 1 W 2 TH 3 F 4 Week 45 M 7 Nov T 8 W 9 TH 10 F 11 Week 46 M 14 Nov T 15 W 16 TH 17 F 18
READINGS AND REFERENCE MATERIAL
The following readings are also recommended for this course:
Author
Title
Call No.
Amato, Ivan Stuff: the materials the world is made of New York: Avon Books, Inc
TA403.2 A488 S
Antonelli, Paola.
Mutant materials in contemporary design New York : The Museum of Modern Art
NK1390 A634 M
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Beech, Rick Origami. The complete guide to the Art of Paperfolding. London. Lorenz Books, 2001
*TT870 B414 O
Beylerian, George M. Osborne, Jeffrey J.
Mondo materials : materials and ideas for the future New York: Harry N. Abrams, Inc
NA680 B573 M
British Council, The
Reclaimed. Recycling in Contemporary British Craft and Design The British Council. Exhibition Catalogue. 1999
NK1390 R299 R
Byars, Mel 50 chairs : innovations in design and materials Hove, U.K. : RotoVision, [1996?]
*NK2715 B993 F
Byars, Mel 50 lights : innovations in design and materials Crans-Pres-Celigny, Switzerland : RotoVision, c1997
*TK4310 B993 F
Byars, Mel 50 tables : innovations in design and materials Crans-Pres-Celigny, Switzerland : RotoVision SA ; New York, NY :c1997.
*NK2740 B993 F
Byars, Mel 50 products : innovations in design and materials Hove : RotoVision, 1998.
*NK1390 F B993 F
Jackson, Albert. Day, David
Complete Woodworkers Manual London: Harper Collins 1996
TT180 J12 C 1996
Jackson, Paul The Pop-up Book; 100 original paper projects London. Lorenz Books, 1993
*TT870 J13 P 2000
Lefteri, Chris Plastic. Materials for Inspirational Design Rotovision SA. 2001
TP1120 L495P
Lefteri, Chris Ceramics : materials for inspirational design RotoVision, c2003.
TP407 L495 C
Lefteri, Chris Metals : materials for inspirational design RotoVision, 2002
TT205 L495 M
Lefteri, Chris Glass RotoVision, 2004.
NA4140 L495
Lefteri, Chris Wood RotoVision, 2002
TA419 L495W
Lefteri, Chris Making It Laurence King 2007
TS183L495M
Maloney, Terence F.J
Glass in the Modern World. A study in materials development. London, Aldus Books
TP857 M257G
Midgley, Barry
The complete Guide to Sculpture, Modelling and ceramics. England: Grange Books c.1986
NB1170 C737
Pye, David The Nature and Art of Workmanship London: Cambridge U.P.
NK 1510 P995 N2
Sarajas-Korte, Salme
The Language of Wood Museum of Finnish Architecture
NK9771 F5 L287
Shadmon, Asher
Stone, an introduction London: Intermediate Publications Ltd. 1996
TA426 s524 s 2ed
Shannon, Faith
The Art and Craft of Paper Reed International Books Ltd. 1994
TT870 S528 A
Sparke, Penny
The Plastics Age: from modernity to post-modernity Victoria and Albert Museum,1990
*TP1120 P715
Topham, Sean
Blowup. Inflatable art, architecture and design. Munich. Prestel-Verlag 2002
TS171 T647 B
Uchida, Mitsuhashi, Nishioka & Studio 80
Interior Design Koln, Benedikt Taschen Verlag GmbH
*NK2115 U17 I
Untracht, Oppi
Metal techniques for craftsmen London: R. Hale 1975
TT205 U61 M1975
Schafer, Robert.
Materialien / Materials Munchen, Germany: Callwey, 2000.
SB469 T675 32
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Schafer, Robert.
Designing with stone Munchen, Germany: Callwey, 2000.
SB469 T675 43
Topos
Stucco, stone and steel : new materials in open space design Boston : Birkhauser Verlag, 2001
NA9053 S6 S932
Cooper, Paul
The new tech garden London: Mitchell Beazley, 2001
SB472.45 C778 N
Reiser Jesse Atlas of novel tectonics New York 2006
NA2760 R375 A
Stevens, Ross
Worn out or worn in?
Closed Reserve Only
AS741 VUW TDes 7
Frampton, Kenneth
Studies in Tectonic Culture: the Poetics of Construction in Nineteenth and Twentieth Century Architecture Cambridge: MIT Press 1995
*NA642 F813 S
Mackenzie, Dorothy
Green Design: Design for the Environment London: Laurence King Publishing
*NK1520 M156 G 2ed
Manzini, Enzio
The Material of invention: materials and design Milano:Arcadia srl
*TS171 M296 ME
Sass, Stephen L.
The Substance of Civilization New York: Arcade Publishing, Inc.
TA403 S252 S
Main library
Lucie-Smith, Edward
The Story of Craft. The Craftsman’s Role In Society Oxford:Phaiden Press Ltd. 1981
TT15 L937 S
Main library
Amato, Ivan Stuff: the materials the world is made of New York: Avon Books, Inc
TA403.2 A488 S
Main library
Frampton, Kenneth
Studies in Tectonic Culture: the Poetics of Construction in Nineteenth and Twentieth Century Architecture Cambridge: MIT Press 1995
*NA642 F813 S
Mackenzie, Dorothy
Green Design: Design for the Environment London: Laurence King Publishing
*NK1520 M156 G 2ed
Manzini, Enzio
The Material of invention: materials and design Milano:Arcadia srl
*TS171 M296 ME
Sass, Stephen L.
The Substance of Civilization New York: Arcade Publishing, Inc.
TA403 S252 S
Main library
Lucie-Smith, Edward
The Story of Craft. The Craftsman’s Role In Society Oxford:Phaiden Press Ltd. 1981
TT15 L937 S
Main library
Useful web resources
http://www.ponoko.com/
http://www.core77.com
http://www.o2.org/
http://www.designinsite.dk/
http://www.transstudio.com/
http://www.youtube.com
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STUDENT REPRESENTATIVES
The Faculty of Architecture and Design operates a system of Class Representatives in 100-level courses, and Year Representatives in each of the professional disciplines. Student Representatives are elected during a class session in the first week of teaching. All student representatives will be listed on the STUDiO notice board in the Atrium, and the relevant Representatives are also listed on studio notice boards. Student Representatives have a role in liaising between staff and students to represent the interests of students to academic staff, and also in providing students with a communication channel to STUDiO and VUWSA.
ACADEMIC INTEGRITY AND PLAGIARISM
Academic integrity means that University staff and students, in their teaching and learning are expected to treat others honestly, fairly and with respect at all times. It is not acceptable to mistreat academic, intellectual or creative work that has been done by other people by representing it as your own original work. Academic integrity is important because it is the core value in which the University‟s learning, teaching and research activities are based. Victoria University‟s reputation for academic integrity adds value to your qualification. The University defines plagiarism as presenting someone else‟s work as if it were your own, whether you mean to or not. „Someone else‟s work‟ means anything that is not your own idea. Even if it is presented in your own style, you must acknowledge your sources fully and appropriately. This includes:
Material from books, journals or any other printed source
The work of other students or students or staff
Information from the internet
Software programs and other electronic material
Designs and ideas
The organisation or structuring of any such material Find out more about plagiarism, how to avoid it and penalties, on the University‟s website: www.victoria.ac.nz/home/studying/plagiarism.html
USE OF TURNITIN
Student work provided for assessment in this course may be checked for academic integrity by the electronic search engine http://www.turnitin.com. Turnitin is an online plagiarism prevention tool which compares submitted work with a very large database of existing material. At the discretion of the Head of School, handwritten work may be copy-typed by the School and subject to checking by Turnitin. Turnitin will retain a copy of submitted material on behalf of the University for detection of future plagiarism, but access to the full text of submissions is not made available to any other party.
WHERE TO FIND MORE DETAILED INFORMATION
Find key University dates, explanations of grades and other useful information at www.victoria.ac.nz/home/study. Find out about academic progress requirements and restricted enrolment at www.victoria.ac.nz/home/study/academic-progress. The University‟s statutes and policies are available at www.victoria.ac.nz/home/about/policy, except qualification statutes, which are available via the Calendar webpage at www.victoria.ac.nz/home/study/calendar (See Section C). Further information about the University‟s academic processes can be found on the website of the Assistant Vice-Chancellor (Academic) at www.victoria.ac.nz/home/about_victoria/avcacademic/default.aspx
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Students with Impairments Refer to the Meeting the Needs of Students with Impairments Policy, available on the University’s policy website http://www.victoria.ac.nz/home/about/policy Information regarding support is available from the Faculty Office reception desk. Student Support Staff at Victoria want students to have positive learning experiences at the University. There are a number of support services available to help you directly if your academic progress is causing concern or if there are elements in your life that are affecting your ability to study. These include:
Your course coordinator or programme director;
Staff in your Faculty Student Administration Office; Student Dedicated learning support through Student Learning Support Service; Te Ropu Awhina; Kaiwawao Māori ;Maanaki Pihipihanga; Disability Support Services and Victoria International;
Wider holistic support through the Health Service; Counselling Service; Financial Support and Advice; Accommodation Service and Career Development and Employment. Find out more at www.victoria.ac.nz/st_services/ or email [email protected];
VUWSA employs a Student Advocate who deals with academic problems and provides support, advice and advocacy services, as well as training and supporting class representatives and faculty delegates. The Education Office is located on the ground floor, Student Union Building. Email [email protected] or tel. 463-6716 or 463-6984.
TE ARO CAMPUS BUILDING RULES AND FACILITIES
Students on the Te Aro Campus are required to comply with the Faculty Guidelines relating to the safe use, access and care of the Architecture and Design technical resources and building facilities. These are available on the School website, and in the following documents available from the student R drive: R:\Student Health and Safety Information FAD Health & Safety info – available to all students at R:\Student Health and Safety Information, covering:
Workshop and campus safety
Safety training and safety precautions for the workshops
FAD Hazard Register
Te Aro Campus floor plans FAD Technical Services and Facilities Handbook – issued to all staff and available to all students on the student R drive, covering various local practices, including information on:
Information for new staff and students
Access and booking of teaching / studio spaces, and technical resources
Studio etiquette and rules pertaining to exhibitions, critiques and storage of models/drawings
Housekeeping/cleaning within the studios and workshops
Information on Te Aro IT systems and support
Te Aro campus floor plans General information on Faculty/School Technical Facilities including technical staff and their associated areas - http://www.victoria.ac.nz/fad/facilities/technical-resource-centre.aspx
WHERE TO GET HELP Vivian Street – Faculty of Architecture and Design Student Administration Office The Faculty‟s Student Administration Office is located on the first floor. The first floor counter is the first point of contact for general enquiries and Faculty of Architecture and Design forms. Student Administration Advisors are available to discuss course status and give further advice about Faculty of Architecture and Design qualifications. To check for opening hours call the Faculty Student Administration Office on (04) 463 6200.
HEALTH AND SAFETY Students are reminded that they must comply with any health and safety instructions given by staff members in charge of work places and instructions and signs posted around the campus. All students should familiarise themselves with the FAD Health & Safety Manual and Notices around the Workshops and Laboratories. Students are advised to refer to the Student R drive for safety and other relevant information.
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R:\Student Health and Safety Information
WITHDRAWAL DATES Information on withdrawals and refunds can be found at: http://www.victoria.ac.nz/home/admisenrol/payments/withdrawlsrefunds.aspx
VICTORIA UNIVERSITY OF WELLINGTON
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Te Whare Wananga o te Upoko o te Ika a Maui
Faculty of Architecture and Design
Work Submitted for Assessment Declaration Form
Student‟s full name : Course : Assignment/project : (number and title) Date submitted : _____________________________________________________________________ Refer to the information on Academic Integrity, Plagiarism and Copyright on the back of this form. I confirm that:
I have read and understood the University‟s information on academic integrity and plagiarism contained at http://www.victoria.ac.nz/home/study/plagiarism.aspx and outlined below:
I have read and understood the general principles of copyright law as set out below:
This project/assignment is entirely the result of my own work except where clearly acknowledged otherwise:
Any use of material created by someone else is permitted by the copyright owner. Signed: Date:
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Academic Integrity, Plagiarism and Copyright ACADEMIC INTEGRITY Academic integrity is important because it is the core value on which the University‟s learning, teaching and research activities are based. University staff and students are expected to treat academic, intellectual or creative work that has been done by other people with respect at all times. Victoria University‟s reputation for academic integrity adds value to your qualification. Academic integrity is simply about being honest when you submit your academic work for assessment
You must acknowledge any ideas and assistance you have had from other people.
You must fully reference the source of those ideas and assistance.
You must make clear which parts of the work you are submitting are based on other people‟s work.
You must not lie about whose ideas you are submitting.
When using work created by others either as a basis for your own work, or as an element within your own work, you must comply with copyright law
(Summarised from information on the University‟s Integrity and Plagiarism website: www.victoria.ac.nz/home/studying/plagiarism.html)
PLAGIARISM The University defines plagiarism as presenting someone else‟s work as if it were your own, whether you mean to or not. „Someone else‟s work‟ means anything that is not your own idea. Even if it is presented in your own style, you must acknowledge your sources fully and appropriately. This includes:
Material from books, journals or any other printed source
The work of other students or staff
Information from the internet
Software programs and other electronic material
Designs and ideas
The organisation or structuring of any such material Find out more about plagiarism, how to avoid it and penalties, on the University‟s website: www.victoria.ac.nz/home/studying/plagiarism.html COPYRIGHT Copyright law regulates the use of the work of an author, artist, designer or other creator.
Copyright applies to created work including designs, music, computer programs, artistic and literary work.
The work can be in printed, digital, audio, video or other formats.
Normally the author or creator of a work owns the copyright for their lifetime and for 50 years after their death, (although sometimes someone other than the creator of a work owns the copyright to the work, such as the creator‟s employer, or a person who commissions the creator‟s work).
You must have permission from the copyright owner to copy, alter, display, distribute or otherwise use created work.
If the creator has applied a Creative Commons licence to a work, this permits others to use the work but only in accordance with that licence.
Further information on copyright is available on the Creative Commons Aotearoa FAQ website: http://www.creativecommons.org.nz/frequently_asked_questions#III1
