DSDN141 Course Outline T2 2011 by firstyear design

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 Wednesday

8:30am – 9:20am 10:30 – 11:20am

Room: VS LT1 Room: VS LT1

STUDIO:

Section A Section B

Wednesday Wednesday

11:30am – 14:20pm 14:30pm – 17:20pm

Room: WIG 101 & VS 001 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: bernard.guy@vuw.ac.nz

Alex Keegan - Section Leader B alex@firstyeardesign.com Lisa Scott scottlisa@myvuw.ac.nz Earl Stewart find.earlstewart@gmail.com Room: 3.02 Office Hours and e-mail: to be confirmed with tutors

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 allpervasive. 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

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 problemsolving 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.

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.

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: 27th July 17th August

Project 1 Reveal Project 2 Relate

3 weeks: 3 weeks:

due due

Project 3 Part A Activate Part B Document

4 weeks: 2 weeks:

due 28th September due 12th October Total:

25% 25%

35% 15% 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.

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 1st 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.

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 Wednesday

8:30am – 9:20am 10:30 – 11:20am

Room: VS LT1 Room: VS LT1

STUDIO:

Section A Section B

Wednesday Wednesday

11:30am – 14:20pm 14:30pm – 17:20pm

Room: WIG 101 & VS 001 Room: WIG 101 & VS 001

Trimester 2 Planner Week Month Week 28

July

Week 29

Day

Date

Item

Assignment Tasks

Introduction to DSDN 141 Introduce Course and the Labs Intro Lab 1 Draw

Lab 1

Introduction to Project One. Reveal Materials and surface. Introduction to material manipulation, tectonics, and research

Review and Abuse collected materials. Group/individual instruction

T W

12 13

TH F M

14 15 18

Assignment for studio: Collect materials for Project 1

Upload Lab 1 Review Lab 1 Draw

Lab 2 Assignment for studio: Project experiments

Intro Lab 2

Failure

July

Week 30 July

Week 31 August

Week 32

T W

19 20

TH F M

21 22 25

T W TH F M

26 27 28 29 1

T W

2 3

TH F M

4 5 8

Exploration in Detail Properties: What is a property?

Group/Individual instruction Upload Lab 2

Review Lab 2 Failure

Assignment for presentation

Project One Review

Hand in and Presentation 25%

Intro Lab 3 Make

Lab 3 Assignment for studio; collect materials from list for Project 2

Introduction to Project Two. Relate Modifying Materials: What is a Process? Additive, subtractive and formative

Group/Individual instruction

Upload Lab 3 Review Lab 3 Make

Lab 4 Assignment for studio. Project experiments

Intro Lab 4 Wear What Wear?

August

Week 33 August

Week 34 August

Week 35 August

Week 36 Sept

Week 37 Sept

T W

9 10

TH F M

11 12 15

T W TH F M T W TH F M T W TH F M

16 17 18 19 22 23 24 25 26 29 30 1 2 3 5

T W

6 7

TH F M

8 9 12

T W

13 14

TH F

15 16

Touchy-feely The tactile qualities of materials. Forms, Materials, Making and Aesthetics

Group/Individual instruction

Upload Lab 4 Review Lab 4 Wear What Wear?

Assignment for presentation

Project Two Review

Hand in and Presentation 25%

Mid Trimester Break

Intro Lab 5 Stop Motion Vs Stop Action

Lab 5

Introduction to Project Three. Activate Sensory activation of Materials. Contemporary technologies. Material in a circuit

Group/Individual instruction Collect your Kit

Upload Lab 5 Review Lab 5 Ideas Stop Motion Vs Stop Action

Lab 6

Materials, Processes and technologies as a source of innovation.

Group/Individual instruction Upload Lab 6

Week 38

Sept

T W

20 21

TH F M T W TH F M T W

22 23 26 27 28 29 30 3 4 5

TH F M T W TH F M T W TH F M T W TH F M T W TH F M T W TH F M T W TH F

6 7 10 11 12 13 14 17 18 19 20 21 24 25 26 27 28 31 1 2 3 4 7 8 9 10 11 14 15 16 17 18

Week 39 Sept

Week 40 Oct

Week 41 Oct

Week 42 Oct

Week 43 Oct

Week 44 Nov

Week 45 Nov

Week 46 Nov

Review Lab 6 Stop Motion Vs Stop Action

Assignment for studio

Introduction to Project Four. Document Material and Sensory documentation

Prepare for Presentation

No Lecture Project 3 Part A Review

Hand in and Presentation 35%

No Lecture Superior sincere or sham. Future materials

Group/Individual instruction Documentation - Methods and storyboard

No Lecture Project 3 Part B Review LT1

Group Viewing and Critique 15%

READINGS AND REFERENCE MATERIAL The following readings are also recommended for this course:

Author Amato, Ivan Antonelli, Paola.

Title Stuff: the materials the world is made of New York: Avon Books, Inc Mutant materials in contemporary design New York : The Museum of Modern Art

Call No. TA403.2 A488 S NK1390 A634 M

Beech, Rick Beylerian, George M. Osborne, Jeffrey J. British Council, The Byars, Mel Byars, Mel Byars, Mel

Byars, Mel Jackson, Albert. Day, David Jackson, Paul Lefteri, Chris Lefteri, Chris Lefteri, Chris Lefteri, Chris Lefteri, Chris Lefteri, Chris Maloney, Terence F.J Midgley, Barry Pye, David SarajasKorte, Salme Shadmon, Asher Shannon, Faith Sparke, Penny Topham, Sean Uchida, Mitsuhashi, Nishioka & Studio 80 Untracht, Oppi Schafer, Robert.

Origami. The complete guide to the Art of Paperfolding. London. Lorenz Books, 2001 Mondo materials : materials and ideas for the future New York: Harry N. Abrams, Inc

*TT870 B414 O NA680 B573 M

Reclaimed. Recycling in Contemporary British Craft and Design The British Council. Exhibition Catalogue. 1999 50 chairs : innovations in design and materials Hove, U.K. : RotoVision, [1996?] 50 lights : innovations in design and materials Crans-Pres-Celigny, Switzerland : RotoVision, c1997 50 tables : innovations in design and materials Crans-Pres-Celigny, Switzerland : RotoVision SA ; New York, NY :c1997. 50 products : innovations in design and materials Hove : RotoVision, 1998. Complete Woodworkers Manual London: Harper Collins 1996

NK1390 R299 R

The Pop-up Book; 100 original paper projects London. Lorenz Books, 1993 Plastic. Materials for Inspirational Design Rotovision SA. 2001 Ceramics : materials for inspirational design RotoVision, c2003. Metals : materials for inspirational design RotoVision, 2002 Glass RotoVision, 2004. Wood RotoVision, 2002 Making It Laurence King 2007 Glass in the Modern World. A study in materials development. London, Aldus Books The complete Guide to Sculpture, Modelling and ceramics. England: Grange Books c.1986 The Nature and Art of Workmanship London: Cambridge U.P. The Language of Wood Museum of Finnish Architecture Stone, an introduction London: Intermediate Publications Ltd. 1996 The Art and Craft of Paper Reed International Books Ltd. 1994 The Plastics Age: from modernity to post-modernity Victoria and Albert Museum,1990 Blowup. Inflatable art, architecture and design. Munich. Prestel-Verlag 2002 Interior Design Koln, Benedikt Taschen Verlag GmbH

Metal techniques for craftsmen London: R. Hale 1975 Materialien / Materials Munchen, Germany: Callwey, 2000.

*NK2715 B993 F *TK4310 B993 F *NK2740 B993 F *NK1390 F B993 F TT180 J12 C 1996 *TT870 J13 P 2000 TP1120 L495P TP407 L495 C TT205 L495 M NA4140 L495 TA419 L495W TS183L495M TP857 M257G NB1170 C737

NK 1510 P995 N2 NK9771 F5 L287 TA426 s524 s 2ed TT870 S528 A *TP1120 P715 TS171 T647 B *NK2115 U17 I

TT205 U61 M1975 SB469 T675 32

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

Reiser Jesse

Atlas of novel tectonics New York 2006 Worn out or worn in?

Stevens, Ross

SB472.45 C778 N

NA2760 R375 A AS741 VUW TDes 7

Closed Reserve Only

Mackenzie, Dorothy Manzini, Enzio Sass, Stephen L.

Studies in Tectonic Culture: the Poetics of Construction in Nineteenth and Twentieth Century Architecture Cambridge: MIT Press 1995 Green Design: Design for the Environment London: Laurence King Publishing The Material of invention: materials and design Milano:Arcadia srl The Substance of Civilization New York: Arcade Publishing, Inc.

Lucie-Smith, Edward

The Story of Craft. The Craftsman’s Role In Society Oxford:Phaiden Press Ltd. 1981

Amato, Ivan

Stuff: the materials the world is made of New York: Avon Books, Inc

Frampton, Kenneth Mackenzie, Dorothy Manzini, Enzio Sass, Stephen L.

Lucie-Smith, Edward

The Story of Craft. The Craftsman’s Role In Society Oxford:Phaiden Press Ltd. 1981

Frampton, Kenneth

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

*NA642 F813 S *NK1520 M156 G 2ed *TS171 M296 ME TA403 S252 S Main library TT15 L937 S Main library TA403.2 A488 S Main library *NA642 F813 S *NK1520 M156 G 2ed *TS171 M296 ME TA403 S252 S Main library TT15 L937 S Main library

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

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 student-services@vuw.ac.nz;  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 education@vuwsa.org.nz 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.

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

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:

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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:

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 http://www.creativecommons.org.nz/frequently_asked_questions#III1

website: