School of Design
Te Kura Hoahoa
Industrial Design, Bachelor of Design Innovation
2011 Trimester 1
COURSE OUTLINE
INDN 211 OBJECT BASED EXPERIMENTS GENERAL Trimester One; 20 points
ASSESSMENT 100% internal by assignment
CLASSTIMES AND LOCATIONS LECTURES:
Tuesday
9:30am – 10:20am
Room: VS 221
STUDIO:
Tuesday Friday
10:30am – 12:20pm 9:30am – 12:20pm
Room: VS303 Room: VS303
COORDINATOR AND TUTORS Coordinator Tim Miller Room: V237 Phone:463-6266 Office Hours: Tuesday 2:30 – 4:00 Email: tim.miller@vuw.ac.nz
Tutors Lisa Scott: Room: W303 Office Hours: Thursday 1:00 – 2:00 Email: scottlisa@myvuw.ac.nz Earl Stewart Room: W303 Office Hours: Tuesday 2:00 – 3:00 Email: earlthedon@hotmail.com Richard Borrett Room: W303 Office Hours: Thursday 11:00 – 12:00 Email: rich.borrett@paradise.net.nz 1
COURSE SYNOPSIS A sequence of experiments introduces students to the vocabulary of industrial design by engaging a variety of static, dynamic, mechanical, and digital design considerations in the expression of performance, aesthetics, and meaning. The course introduces the notion of the object as a vehicle of industrial design exploration.
AIMS OF THE COURSE This is a core course for the Bachelor of Design Innovation (BDI) degree. The central aim of the course is to teach students how to translate the issues (composition, aesthetics, identity, meaning, perception, sensitivity to context and response to needs) explored in DESN 111 and DESN 112 into discipline-specific language of Industrial Design. Students will be introduced to the social and technical conventions of the discipline, the responsibilities of the profession, and the potential these afford for creative design, innovative problem-solving, and the poetic expression of personal convictions. Industrial Design is based on the concept that the values, ideals and aspirations of a culture are present through that culture’s material objects. Industrial Design is defined inclusively as an encompassing field dealing with all the aspects of the design, production and criticism of material culture resulting from the processes of conceptualisation and making. Concerned with all aspects of the culture of material objects, we broaden the scope of Industrial Design beyond its roots in corporate problem solving and extend it widely into creative and academic arenas. We also acknowledge the historical evolution of Industrial Design, starting in prehistoric times (tools and implements) rather than with the industrial revolution of the 18th and 19th centuries, or the modernism of the 1920’s. Our long-term objective is to improve the synergies between Industrial Design and our culture. By learning to recognise those objects and processes which are positive material expressions and producers of that culture we intend to educate scholars and professionals who contribute substantively and imaginatively to those critical junctures.
COURSE LEARNING OBJECTIVES Knowledge IDDN 211 is studio-based and fundamentally visual in nature. It has a three-dimensional emphasis, extending into explorations of four-dimensional opportunities. This core course encourages the student to investigate, to experiment and to develop a personal position in response to theoretical design enquiries. IDDN 211 is an explicit introduction to the field of Industrial Design, reinforcing critical explorations of First Year Design with discipline-specific ideas/precedents and foundations that build up complexity. Form and function are privileged, becoming the primary media of artistic expression. IDDN 211 challenges traditional preconceptions of Industrial Design, while introducing students to the requisite skills, realities, limitations, and potentials of the discipline. The primary learning objectives of IDDN 211, therefore, involve fully understanding the skills, realities and precedents associated with the profession, such that Industrial Design as a medium of expression can be wielded with insight and adeptness. The strength of such expression results from how deftly these skills, realities and precedents are integrated with three-dimensional composition and aesthetics, critical judgement, invention and lateral thinking, accountability, poetic interpretation and craft. 1. Skills, Realities and Precedents Associated with the Profession For Industrial Design to raise itself above the whimsical, the decorative or the purely theoretical, it must effectively address a need, be responsive to limitations of materials and the human condition, and acknowledge realities, precedents and aesthetic ideas and practices. With a firm grasp on the skills, realities and precedents of the discipline of Industrial Design, students may move well beyond contemporary preconceptions of Industrial Design without sacrificing credibility. Students will ultimately become more highly effective at problem solving. It is essential therefore to fully understand the relationship of Industrial Design to materials, processes, structure, ergonomics, codes and regulations, as well as to perception, history, culture and social conscience. 2. Three-Dimensional Composition and Aesthetics Successful Industrial Design results from the conscious integration of three-dimensional composition and aesthetics with effective solutions to a problem. Once fully understood, compositional ideas and practices can be readily translated into discipline-specific language of Industrial Design; they can also be reconceived based on personal conviction, intuition, cultural evolution, contextual imperatives and conceptual intent. In Industrial Design, ideas and practices of aesthetics and composition should never be diminished or subjugated in response to functional challenges of a design inquiry; at every stage of design development, the basic ideas and practices of aesthetics should be conscientiously challenged and reaffirmed, from the overall image to the finest detail. 3.
Critical Judgement 2
Perceptive critical judgement results from a firm foundation in skills, realities and precedents associated with the profession, integrated with a firm foundation in basic aesthetic ideas and practices. Critical judgement challenges three-dimensional composition and aesthetics against responsiveness to needs, expression of identity, function and realisation, sensitivity to the individual and acknowledgement of the greater context or community. It relies on analysis of need, sensitively weighed against aesthetic, personal or societal imperatives. 4. Invention and Lateral Thinking Lateral thinking explores all the different ways of considering a problem, without presumption. Lateral thinking is therefore intimately linked with invention and innovation. Invention and lateral thinking invite problem-solving without preconception of form or function. Successful invention and lateral thinking integrate aesthetics and critical judgement with accountability, poetic interpretation and craft. 5. Design Accountability The discipline of Industrial Design invariably demands that a problem be solved, whether that problem involves functional requirements, safety parameters, material or process limitations, structural limitations, acknowledgement of an individual or sensitivity to a greater context. Design accountability requires that a design successfully resolve fundamental problems, while adhering to ideas and practices of three-dimensional composition and aesthetics, innovation and critical judgement. Design accountability also demands that a design solution must take form in such a way as to facilitate critical discourse and impart intent. 6. Poetic Interpretation Through sensitive application of poetic interpretation, Industrial Design can evidence multiple layers of meaning, invite abstract or critical enquiry, move beyond the pragmatic to the meaningful, engage the symbolic, provoke thought and illustrate intention. Poetic interpretation raises the discipline of Industrial Design beyond the decorative to the conceptual and the intellectual, invoking implications beyond the particular to the universal. 7. Craft and Tools of Expression Traditional tools of expression (drawing, modelling, etc.) play an inherent role in conveying design intentions within the discipline of Industrial Design; as such, students must develop substantial adeptness in the skilful wielding of these tools, for a design is only successful when its intention can be clearly imparted to others. Only once these traditional tools are fully understood can their use be transposed or transformed, merging them with nontraditional means of expression or even consciously denying these tools altogether as a means of conveying personal conviction. Ultimately, high resolution of craft in the application of these tools enables even the most intimate elements of a design to participate effectively in poetic intent, evidencing compositional integrity even at the most subtle and sophisticated levels. The highest standards of craft should therefore be assiduously maintained in both the representing and the creating of an evocative design. Creative & Critical Thinking By the end of the course, students will have learned to: Discipline-Specific Knowledge and Professional Skills • •
Exploration of design issues to be translated and developed into an understanding of form, surface materiality and texture. Engage complex form language as a means of expressing and challenging design language.
Research, Analysis & Problem-Solving Abilities • • •
Identify specific and significant conditions of context. Analyse and develop all aspects and elements in your design process. Develop both an intuitive and personal response to design problem solving.
Innovation, Imagination and Lateral Thinking •
Explore industrial design well beyond 3D objectives, actively engaging 4D or perceptually-based opportunities: time/space, memory, ritual, the five senses (see, feel, smell, hear, taste), emotion, imagination, human perception, identity, symbolism, narrative, and/or cultural references.
Critical Judgement and Accountability • •
Consider, question, and determine design issues that address cultural memory and social meaning. Develop critical judgement towards industrial design at large and towards one’s own design.
Communication 3
By the end of the course, students will have learned to: Drawing (Free-Hand, Technical & Digital) • •
Incorporate high level of craft in representing design through drawing. Understand and engage mechanical and technical relationships in drawing.
Modelling (Physical and Digital) • • •
Quickly and convincingly communicate design concepts in models. Incorporate high levels of craft in representing design through modelling. Apply unique modelling methods to exploring and evidencing new design ideas.
Visual Communication •
Develop an understanding of the relationship of design and its visual representation used to communicate ie photography and graphics.
Verbal Communication •
Present design ideas in a clear and succinct manner.
Written Communication •
Write clearly and concisely about project related design themes.
Leadership By the end of the course, students will have learned to: Individual Leadership Skills • •
Investigate, experiment, and develop a personal position in response to theoretical industrial design enquiries. Be willing to share your ideas in discussion and debate.
Collegial / Group Leadership Skills •
Understand your own strengths and limitations in a group and be willing to learn from others.
Professional Leadership Skills •
Critically address issues and challenge conventions in what is typically classified as industrial design.
Social Leadership Skills •
Make a positive contribution to the discipline.
COURSE CONTENT In IDDN 211, a sequence of four progressively more challenging design enquires will teach students to translate tectonic ideas and practices into the language of Industrial Design, while explicitly introducing students to ideas and practices of the Industrial Design discipline, discipline-specific theoretical bases and precedents of the profession. These projects challenge students to incorporate technical factors, human factors, contextual factors, poetic factors and compositional/aesthetic factors with critical judgement, personal intuition and accountability, thereby encouraging students to extend their perceptions into the intuitive and develop a working personal attitude to Industrial Design. Throughout the sequence of design projects in this course, students are expected to have an evolving yet firm commitment towards design, and to demonstrate that commitment through a willingness to explore design concepts, develop design skills, and produce coherent and expressively potent products.
COURSE DELIVERY IDDN 211 is a studio-based course taught through lectures, seminars, demonstrations and studio tutorial. Attendance and participation in all scheduled sessions is expected.
ASSIGNMENTS / PROJECTS 4
Assignment work in IDDN 211 will be all project-based. Four short but intensive design projects will be undertaken during the course. These projects systematically build upon one another, strengthening the student’s ability to successfully engage progressively more complex and sophisticated design challenges. Each of the projects offers an important opportunity to begin translating the lessons learned in DESN 111 and DESN 112 into discipline-specific language of Industrial Design. IDDN 211 introduces students to the basic elements that are the physical manifestations of the product such as surfaces, materials and components, as well as investigating the physical, mechanical and digital ideas and practices that are integral to how the product works or is constructed. The projects are structured as finely tuned experiments encouraging students to focus on specific design issues, the intention being that students physically investigate and discover the potential of these elements, ideas and practices beyond the merely pragmatic – that they also be understood as compositional elements that offer expressive potential and are not interpreted simply as “constraints”. As an aid to fully realising this potential the concept of creative thinking is addressed directly in a series of short projects. Learning how to differentially manipulate “pragmatic” requirements from the perspective of three-dimensional composition and aesthetics and perceptual intent requires a firm understanding of the problems and needs of the discipline and the manners in which they may be addressed. Such a level of understanding ultimately lends credibility to both aesthetic manipulation and to conceptual expression. The ultimate goals of these four projects are to learn the specific skills, realities and precedents associated with the profession of Industrial Design, to develop personal insights and sophisticated levels of critical judgment intimately responsive, to the discipline, to challenge preconceptions, to learn to resolve needs while upholding aesthetic ideas and practices, to convey meaning, to express identity, and to evidence sensitivity to contextual conditions beyond individual needs. To provide a general overview, a brief description of each project follows: Project 1: Composing with Form, Surface, Material and Texture (4 weeks) Project 1 explores opportunities offered by surfaces, materials and textures (which by definition implicate colour, light and shadow, contrast, transparency, reflectivity, etc.) in manipulating and transforming visual qualities that affect perception of form. Each student will consciously transform the intention or focus of an object through manipulation of surfaces. To make such transformations meaningful, they must intimately engage and convey personal intent. To make such transformations successful, they must respond to ideas and practices of threedimensional composition and aesthetics and critical judgement. The ultimate objective of Project 1 is to learn to translate basic ideas and practices of three-dimensional composition and aesthetics into the language of Industrial Design, challenging the manipulation of surfaces, materials, and textures to impart meaning and transform perception of form. Project 2: Composing with Materials (2 weeks) Project 2 explores the physical properties of materials and the implications of these in determining form. The project will provoke an investigation of different materials by taking them out of their usual context into applications with which they are not traditionally associated. To successfully resolve the problem students will have to determine the specific and unique properties of each material and reinterpret an object based on the implementation of the properties rather than a preconceived notion of form. The ultimate objective is threefold: to take students beyond the discovery of properties and the physical manipulation of materials into the visual expression of these properties engaging poetic intent and confronting students with issues of appropriateness, elegance, economy, honesty etc. To demonstrate that the unexpected use of traditional materials or the timely application of new materials (technology) can be consciously implemented to generate innovative product concepts. To encourage and intuitive understanding of how materials can be manipulated – this will lead to a greater understanding of manufacturing processes (Year 3) based not on detailed technical knowledge but an understanding of basic ideas and practices. Project 3: Composing with Physical and Mechanical Ideas and Practices (5 weeks) Project 3 is an introduction to the physical and mechanical world as it relates the way products are constructed and how they work. As with the previous project the intention is not to provide detailed technical knowledge but an intuitive and experimental approach to the investigation of basic physical and mechanical ideas and practices. The project is structured to invite innovation and inventiveness in problem solving by setting an “impossible” goal while providing “inadequate” means to solve the problem. As with the previous project emphasis is not only on quantitative success but also qualitative judgments. The ultimate intention is to give students an appreciation of lateral thinking in its simplest form while demonstrating that meeting the requirements of physical and mechanical ideas and practices has immediate repercussions in terms of composition and form.
Project 4: Composing with plastic form (3 weeks)
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Project 4 explores the issues related to working freely in three-dimensional form. Contrary to the idea of freedom of choice being easier than restriction the ability to create any form requires massive design discipline to create a specific and intentional form rather than an un-intentional shape. The students are required to explore the overall form of the design, the forms within the shape and the positive and negative shapes created. To this they are required to add another layer of resolution to explore and apply surface pattern, texture and to examine how these can best be revealed through light and shadow. This process borrows from the other disciplines such as art sculpture but requires a higher degree of purpose and function to explain the object through its form to achieve a comprehension of it as a designed object. This could include areas and ways of touching the object, the visual and physical balance of the object or the tradition or cultural function the object performs.
ASSESSMENT REQUIREMENTS Assessment Criteria specific to individual projects will be listed in each Project Outline. Overall Assessment Criteria for this course are: • • • • • •
Creativity and clarity in the articulation of appropriate design intentions Quality and coherence in the design concepts Consistent and knowing use of explicit design language and ordering devices Functional, expressive and symbolic use of design elements Evidence of a successful understanding of design precedents High level of craft evident in both drawing and modelling
IDDN 211 is internally assessed by assignment work in the form of 4 projects and 6 graded submissions. 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 4 projects contribute towards the final course grade as follows: Project 1 Project 1 Project 2 Project 3 Project 3 Project 4
Part A Part B Part A Part B
2 weeks: due 11th March th 2 weeks: due 29 March th 2 weeks: due 8 April rd 3weeks: due 3 May th 2weeks: due 13 May th 3 weeks: due 14 June Subject to confirmation of exam timetable Total:
15% 15% 15% 10% 20% 25% 100%
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 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. Students are expected to maintain an acceptable level of cleanliness and tidiness in the studio as outlined in the Studio Culture Policy which is displayed in all studios.
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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 200 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, study week and examination period. 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 work. 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 simple digital camera (3.2mpxl minimum). 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 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 E for the work being reviewed, unless an extension has been approved in writing in advance by the Course Co-ordinator.
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•
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 E. Furthermore if work is not handed in within 5 working days of the review without the prior agreement of the Course Co-ordinator it will be recorded as a non submission.
• 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
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: • • •
Discuss your project progress with your tutor or the Course Coordinator at least weekly Attend and present your project work at all scheduled critical reviews Complete the Workshop Orientation. For additional information on times of the Workshop Orientation, see the Workshop Technical staff
CLASS 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. Representatives are elected during a class session in the first week of teaching. All Representatives will be listed on the STUDiO notice board in the Atrium, and the relevant Representatives are also listed on studio notice boards. 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
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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.
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 ViceChancellor (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 If you have a disability and require advice/information/support, please visit the Faculty Student Administration Office on the first floor. 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 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 9
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 (Faculty Architecture & Design) 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 (Faculty Architecture & Design) Hazard Register • Te Aro Campus floor plans FAD (Faculty Architecture & Design) 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. Opening hours of the Faculty Student Administration Office are posted at the reception on the first floor.
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 (Faculty Architecture & Design) 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
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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. Week
Date
Venue
Session
9
Tues 1 March Book in Book in
VS 221 VS 303 VS 226 VS 002 VS 002
Seminar/Lecture: Project 1 Composing with Form, Surface, Material & Texture Individual instruction: Hand-out and discuss Project 1 Group instruction: Computer Lab 11:00 -12:20 (Tim Miller) Group instruction: Machine Tool demonstration (Technician) Group instruction: Laser cutting (Technician)
Fri 4 March
VS 303
Class design concept review (5 x SolidWorks images) Individual instruction: development of design concept
Tues 8 March
VS 221 VS 303
Seminar/Lecture: Composing with Form, Surface, Material & Texture 2 Individual instruction: development of design concept
10
11
12
13
14
15
P 1
Fri 11 March VS 303
Hand-in and class review of PROJECT 1 Part A
Tues 15 March
Seminar/Lecture: Digital Making Group instruction Computer Lab 10:30 -11:30 (Tim Miller) Individual instruction: design development
VS 221 VS 226 VS 303
Fri 18 March VS 303
Individual instruction: final detailing and model making
Tues 22 March
Seminar/Lecture: Project 2 Composing with Materials Group instruction Vacuum forming & Laser cutting demonstration (Technician) Individual instruction: model making
VS 221 VS 002 VS 303
Individual instruction: model making / P2 development of design concept / material tests
Tues 29 March
TBA
Hand-in and class review of PROJECT 1 Part B
Fri 1 April
VS 303
Individual instruction: P2 development of design concept / material tests
Tue 5 April
VS 221
Fri 8 April
VS 303 TBA
Seminar/Lecture: Project 3 Composing with Physical and Mechanical Ideas and Practices Individual instruction: P2 final vac formings and photography Hand-in and class review of PROJECT 2
Tue 12 April
VS 221 VS 303
Seminar/Lecture: Composing with Physical and Mechanical Ideas and Practices 2 Individual instruction: Idea generation
Fri 15 April
VS 303
Individual instruction: Idea generation and test samples
Mon 18 April
Mid Trimester Break
17
Mon 25 April
Mid Trimester Break
18
Tue 3 May
VS 303
Hand-in and class review of PROJECT 3 Part A
Fri 6 May
VS 303
Individual instruction: design development
Tue 10 May
VS 221 VS 303
Seminar/Lecture: Composing with Physical and Mechanical Ideas and Practices 3 Individual instruction: design resolution
Fri 13 May
TBA
Hand-in and class review of PROJECT 3 Part B
Tue 17 May
VS 221 VS 303
Seminar/Lecture: Project 4 Composing with Plastic Form Individual instruction: Hand out and discussion project 4 Idea generation
Fri 20 May
VS 303
Individual instruction: concept development
Tue 24 May
VS 221 VS 303
Seminar/Lecture: Composing with Plastic Form 2 Individual instruction: design development
Fri 27 May
VS 303
Individual instruction: design development
Tue 31 May
VS 221
Seminar/Lecture: Course Conclusion and General Discussion Individual instruction: design resolution
Fri 3 June
VS 303
Individual instruction: design resolution
20
21
22
P 2
Fri 25 March VS 303
16
19
15%
23
Mon 7 June
Queen’s Birthday – holiday Mid-year study period begins
24
Tue 14 June TBA
Hand-in and class review of PROJECT (subject to confirmation of exam timetable)
11
15% P 3
15%
10%
20%
25%
P 4
READINGS AND REFERENCE MATERIAL The following readings are recommended for this course: Author Block, Jonathan & Leisure, Jerry.
Title Understanding Three Dimensions Englewood Cliffs, N.J.: Prentice-Hall, c1987.
Call No. NK1510 B651 U
De Bono, Edward
Lateral Thinking: A Textbook of Creativity Harmondsworth: Penguin 1977
BF455 D287 L 1977
Lauer, David A.
Design Basics Ft. Worth: Holt, Rinehart, and Winston, c1990.
NK1510 L372 D 3ed
Mustienes, Carlos
1000 extra/ordinary objects. Taschen. 2000.
AG243 O58
Russell, Dale.
Colour in industrial design. London : Design Council, c1991.
TS171.4 R962 C
Rawson, Philip.
Color in Design New Jersey: Prentice_HallInc. 1987.
NA1510 R262D
Vickers, Graham.
Style in Product Design. The Design Council. 1995.
HD69 N4 V637 S
Guidot Raymond
Industrial design : techniques and materials
TS171 I42 D
Lefteri, Chris
Materials for inspirational design. Mies, Switzerland; M RotoVision,2006
TS171 L495 M
Lefteri, Chris
Materials for inspirational design. Plastics Mies, Switzerland; M RotoVision,2006
TP1122 L495 P
Droog Design: spirit of the nineties Rotterdam : 010 Publishers, 1998.
NK1454 A1 D786
Ramakers, Renny.
Droog and Dutch Design
NK1454 A1 D786 D
Sweet, Fay
Frog : form follows emotion
NK1450 Z9 F927 S974 F
Vihma, Susann
Semantic Visions in Design Helsinki, Finland : The University, 1990.
NK1510 S989 S
Iwamiya, Takeji
Katachi Classic Japanese Design San Francisco : Chronicle Books, 1999.
NK1071 I96 K
Pye, David
The Nature and Art of Workmanship London, Studio Vista; New York, Van Nostrand Reinhold, 1971.
NK1510 N2 1971
Castelli, Clinto T
Transitive Design Milan : Electa, c1999.
NK1390 T832 T
P995
It is worth looking in the AVERY index as much of the most recent material is in magazines. The Architecture and Design library has an extensive selection of books about architecture, and design, materials that are not listed here and that are on order currently. If students require specific information not listed here discuss with tutors or with the Course Coordinator. Any additional specific reading and reference material will be outlined in project / assignment hand outs or may be specified by guest lecturers and speakers.
NOTE Please consider the environment before printing this document. If printing is required please set print properties to ‘black and white’ and ‘2 sided print’.
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