DSDN141: Course Outline 2010 by firstyear design

Bachelor of Design Innovation

2010 Trimester 2 COURSE OUTLINE

DSDN 141 EXPERIMENTING WITH MATERIALS GENERAL Core for industrial and media specialisations; Trimester Two; 15 points

ASSESSMENT 100% internal by assignment

CLASSTIMES AND LOCATIONS LECTURES:

Section A & B

Monday and Wednesday 8:30am – 9:20am

STUDIO:

Section A Section B

Wednesday Wednesday

9:30am – 12:20pm 12:40pm – 3:30pm

Room: VS LT1

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: TBA or by appointment Email: bernard.guy @vuw.ac.nz

Alex Keegan - Section Leader B alex@firstyeardesign.com Jordan Wisniewski jwgtnz@gmail.com Paul Stevenson paul@firstyeardesign.com Alex Ramaekers alexramaekers@hotmail.com Jamie Mayne jamiemayne@gmail.com Holly Beal hollybeals@gmail.com Room: 3.02 with tutors

Office Hours and e-mail: to be confirmed

SYNOPSIS DSDN 141 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 DSDN 141 is both studio and lecture based. The studio content is primarily about the empirical investigation of materials and processes with particular reference to the ideas and practices of tectonic composition. The lectures will 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. 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 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.

COURSE DELIVERY 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 addressing different aspects of materials, processes and technologies in the form of specific design challenges, while part B of project 3 explores the documentation of lessons learned in the previous three. 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. Lab Sessions. The 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 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 Part A. Reveal the emotions of your physical project in a short video documentation, an accumulation of the interactions and responses within the experiment. You will be required to evaluate and edit the corresponding outcomes in ways that elicit dialogues both visually and emotionally as a screen based documentation.

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 4 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: 28th July 18th 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 29th September due 13th 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

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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 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 tutorials. The design studio operates at three levels of instruction: the whole class, the tutorial group, and the individual. The studio thus involves both collective and individual participation from individuals in the group. Tutors will be in the studio at all scheduled times undertaking group and individual instruction and reviewing project work. Ongoing discussion will be critical to the development of your design work. Therefore, for the studio to operate effectively, students are expected to arrive on time, to be present for the whole studio session, (unless there are reasons why they cannot) and to actively participate in group and one-to-one discussions with your tutor. It is also expected that students will bring to the studio sessions the appropriate equipment and supplies needed to work productively on the design projects and to complete this project work on time. The intensity and regularity of participation in the studio is unerringly reflected in the understanding and quality expressed in the resulting work. 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.

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

READINGS AND REFERENCE MATERIAL Please refer to the list enclosed at the end of this document.

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 purchase a 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 digital camera suitable for course related work. Note: The Student Loan, administered by StudyLink, allows students to claim up to $1000 for course related costs for each year of study.

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.

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.

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.

PENALTIES •

•

Students are required to personally present their work on time at all scheduled reviews and submissions, 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 requested an extension of time in writing in advance of the scheduled review, and the course coordinator has similarly approved this in writing (see the Student Administration Office for an Application for Extension form). Work submitted late without the prior agreement of the course coordinator will be penalised by a failing grade of D. Work submitted late must be submitted directly to the relevant section leader or course coordinator. Any project work left on the project shelves or elsewhere will be entered on the grade sheet as a no-submission.

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 The final grade for the course is based on the aggregation of the percentage marks for each of the assignments. All projects (including labs) must be submitted in order to complete the course. A final grade of C or better is required to pass the course. Failure to meet mandatory requirements results in a Fail grade.

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 the lecturers, 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.

COMMUNICATION OF ADDITIONAL INFORMATION Any changes or additions to this Course Outline will be discussed and agreed with the class, and conveyed in writing to all students enrolled in the course.

GENERAL UNIVERSITY POLICIES & STATUTES Students should familiarise themselves with the University’s policies and statutes, particularly the Assessment Statute, the Personal Courses of Study Statute, the Statute on Student Conduct and any statutes relating to the particular qualifications being studied; see the Victoria University Calendar or the University’s policy website http://www.victoria.ac.nz/home/about/policy Student and staff conduct The Statute on Student Conduct together with the Policy on Staff Conduct ensure that members of the University community are able to work, learn, study and participate in the academic and social aspects of the University’s life in an atmosphere of safety and respect. The Statute on Student Conduct contains information on what conduct is prohibited and what steps are to be taken if there is a complaint. For information about complaint procedures under the Statute on Student Conduct, contact the Facilitator and Disputes Advisor or refer to the statute on the Victoria policy website at: http://www.victoria.ac.nz/home/about/policy The Policy on Staff Conduct can also be found at: http://www.victoria.ac.nz/home/about/policy

Academic grievances If you have any academic problems with your course you should talk to the tutor or lecturer concerned; class representatives may be able to help you in this. If you are not satisfied with the result of that meeting, see the Head of School or the relevant Associate Dean; The VUWSA Student Advocate is available to assist in this process. If, after trying the above channels, you are still unsatisfied, formal grievance procedures can be invoked. These are set out in the Academic Grievance Policy which is published on the Victoria website at: http://www.victoria.ac.nz/home/about/policy There is also a leaflet explaining the grievance process available from the AVC (Academic) website at: http://www.victoria.ac.nz/home/about_victoria/avcacademic/Publications.aspx#grievances 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 The University has a policy of reasonable accommodation of the needs of students with impairments. The policy aims to give students with disabilities the same opportunity as other students to demonstrate their abilities. If you have a disability, impairment or chronic medical condition (temporary, permanent or recurring) that may impact on your ability to participate, learn and/or achieve in lectures and tutorials or in meeting the course requirements, please contact the course coordinator as early in the course as possible. Alternatively, you may wish to approach a Student Adviser from Disability Support Services (DSS) to discuss your individual needs and the available options and support on a confidential basis. DSS are located on Level 1, Robert Stout Building: telephone 4636070 email: disability@vuw.ac.nz Martin Hanley is the Disability Liaison Person for the Faculty of Architecture and Design: telephone 463 6280 email. martin.hanley@vuw.ac.nz 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; Kaiwawao Māori ;Maanaki Pihiphipinga; 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 Handbook – available to all students, 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.vuw.ac.nz/architecture/facilities/index.aspx

WHERE TO GET HELP Vivian Street Wing – Faculty of Architecture and Design Student Administration Office The Faculty’s Student Administration Office is located on the first floor of the Vivian Street Wing. The first floor counter is the first point of contact for general enquiries and FAD forms. Student Administration Advisors are available to discuss course status and give further advice about FAD 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

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. LECTURE Section A & B Room LT1 Time 8:30-9:20 Days Mon & Wed STUDIO Week

Section A 9:30-12:20

Section B 12:40-3:30

day date Lecture Topics and Project Schedules

Room Wig 101

Assignment Tasks

month week 29

July

week 30

TU W

13 14

TH F M

15 16 19

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

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 TU

week 31

TH F M

22 23 26

July

week 32

W TH F M

28 29 30 2

August

TH F M

5 6 9

July

week 33

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

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 Lab 4

Review Lab 3 Make

Assignment for studio. Project experiments Intro Lab 4 Wear What Wear?

August

TH F

12 13

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

Group/Individual instruction Upload Lab 4

week 34

August

W TH

18 19

M TU

23 24

August

W TH F M TU

25 26 27 30 31

week 37

W TH F M

1 2 3 6

September

TH F M

9 10 13

TU W

14 15

TH F M

16 17 20

TU W

21 22

TH F M TU W TH F M TU W

23 24 27 28 29 30 1 4 5 6

TH F M TU W TH F M TU

7 8 11 12 13 14 15 18 19

week 35

August

week 36

week 38

September

week 39

September

week 40 September

week 41 October

week 42 October

week 43 October

Review Lab 4 Wear What Wear?

Assignment for presentation

Project Two Review

Hand in and Presentation

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

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

No Lecture Superior sincere or sham. Future materials

Group/Individual instruction Documentation - Methods and storyboard

No Lecture Group Viewing and Critique

Project 3 Part B Review LT1

Study Break Begins

week 44 October

week 45 November

week 46 November

week 47 November

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

20 21 22 25 26 27 28 29 1 2 3 4 5 8 9 10 11 12 15 16 17 18 19

Exams Begin Labour Day

Exams End Sat 13 Nov

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

Author Amato, Ivan Antonelli, Paola. 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,

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 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

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 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.

Call No. TA403.2 A488 S NK1390 A634 M *TT870 B414 O NA680 B573 M NK1390 R299 R *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

Sean Uchida, Mitsuhashi, Nishioka & Studio 80 Untracht, Oppi Schafer, Robert.

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.

TT205 U61 M1975

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

Stevens, Ross

Worn out or worn in?

Frampton, Kenneth 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

SB469 T675 32

SB472.45 C778 N NA2760 R375 A AS741 VUW TDes 7

Closed Reserve Only

Useful web resources

• • •

T647 B *NK2115 U17 I

http://www.ponoko.com/ http://www.core77.com/materials_processes/ http://www.o2.org/

*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

• • •

http://www.designinsite.dk/ http://www.kingston.ac.uk/~kx19789/rematerialise/html_and_flash/ http://www.transstudio.com/

NOTE