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VICTORIA UNIVERSITY OF WELLINGTON / SCHOOL OF DESIGN

Culture+Context

2010 Trimester 1

COURSE OUTLINE

CCDN271 DESIGN IDEAS IN CONTEXT [DESIGN AS INQUIRY]

GENERAL

Core; Trimester One, 20pts

ASSESSMENT

100% internal by assignment

CLASSTIMES AND LOCATIONS

LECTURES: Wed. 11:30 pm – 1:10 pm Room: VS LT1 TUTORIALS: Fri. 10:30 am – 11:20 am Room: VS 3.08 Stream A Fri. 11:30 am – 12:20 pm Room: VS 2.04 Stream B Fri. 12:40 pm – 1:30 pm Room: VS 1.27 Stream C Fri. 1:40 pm – 2:40 pm Room: VS 3.08 Stream D Fri. 4:40 pm – 5:40 pm Room: VS 3.08 Stream E Fri. 5:40 pm – 6:40 pm Room: VS 3.08 Stream F

COORDINATOR AND TUTORS

Coordinator Tutors Margaret Maile Petty

Room: Wigan 4.10

Phone:463-6239

Office Hours: Mon. 9:00 am – 10:30 am

or by appointment

Email: margaret.petty@vuw.ac.nz

Course website:

http://designasinquiry.blogspot.com/

(Stream A,B) Craig Johnson; craig@studiobureau.org (Stream C, D) Nan O‘Sullivan; nan-o@xtra.co.nz (Stream E, F) Jason Petty; instrumentorium@gmail.com Room: 3.02 Office Hours: to be confirmed with tutors

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COURSE SYNOPSIS

As the twenty-first century unfolds we find ourselves in a world characterised by rapid innovations, expanding technologies, and an increasingly voracious consumer culture—all situated within unstable economic, political, social, and ecological conditions. Considering this context, it is more important than ever that design as a profession and designers as individuals integrate reflection and criticism into the practice of design. This course asks students to approach the study and practice of design critically and provacatively from a multi- disciplinary perspective. CCDN271 explores a diversity of approaches and themes integral to the framing of design as a social, cultural, political, and economic agent and artifact, process and product.

AIMS OF THE COURSE CCDN 271: Design Ideas in Context [Design as Inquiry] will build upon the knowledge and skills that students acquired in DSDN 171. Through the increasing sophistication of this intellectual framework, students will apply new ideas to the examination and critique of design across a variety of historical and contemporary processes and practices, situations and cultures, objects and environments. Principle aims of this course are increased proficiency in critical thinking and analysis, lucid and convincing academic writing—particularly the capacity to clearly and concisely express a unique point of view in written or verbal form—and an expanded appreciation of the role of design as a cultural agent.

COURSE LEARNING OBJECTIVES

Knowledge By the end of the course, students will have learned to:

utilize a critical methodology in the analysis and practice of design ―thinking‖;

demonstrate understanding of the broader social, cultural, political, economic, and ecological implications and interactions of design historically, today, and in the future;

and hone discursive techniques to explore and express original ideas and arguments.

Creative & Critical Thinking By the end of the course, students will have learned to:

differentiate between primary and secondary sources, and academic and popular research materials and the place of each in constructing an analytical research paper;

utilize the university library system and databases to conduct proper research; recognize the importance of research and critical thinking and writing to the future of design; and engage with key concepts and methodologies to develop original perspectives and

arguments about the role of design today. Communication By the end of the course, students will have learned to:

Verbal communication clearly present independent and original analysis and critique in a group setting; articulate critical perspectives on lecture themes, concepts, and assigned readings; and confidently contribute and respond within a dynamic group discussion.

Written Communication proficiently articulate an original written argument (thesis statement); develop, structure and compose a cohesive analytical research paper to support the principle

argument; and express design objectives and methodologies in precise written language.

Leadership By the end of the course, students will have learned to:

take responsibility for individual thought and analysis and to share this with a group of peers; engage and respond thoughtfully to discussion of his or her own work; and respect the ideas, arguments, and work of other students and faculty and to engage in

thoughtful debate and discussion.

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COURSE CONTENT

This course will employ a variety of critical approaches and themes through which we can examine design as a social, cultural, political, and economic agent, as well as an object, process and act. This exploration of design will be framed by a number of scales, including: individual and personal; social and political; surface and symolic; and collective and swarm. These scales serve to situate and foreground such key concepts as the everyday, design ethics, aura and authenticity, critical visualization, emergence, generative design processes and ‗design thinking‘. Through lecture and seminar discussion, written tests and research assigments, students will be asked to consider how design may question social values, suggest alternatives to dominant cultural practices, and assist in a deeper, more thoughtful appreciation of the role of design as a mediator between ourselves and the world.

COURSE DELIVERY

CCDN 271 is comprised of three primary learning modules—lecture, tutorial seminar, and independent reading. The weekly lecture will introduce key themes, ideas, and arguments that will form the core of that week‘s study. The weekly tutorial seminar will provide a forum for exploration and discussion of the week‘s assigned readings and lecture topics. The close relationship between the lecture, readings, and seminar discussion requires that students complete weekly assigned readings before lecture sessions and be prepared to participate in active discussion in tutorials. The information and knowledge acquired in lecture and seminar will provide the platfrom from which students will be asked to respond in two written test, both of which will be administered in-class. These tests will allow students to demonstrate their knowledge of course themes and illustrate their ability to critically sythesize these ideas in the context of critical design. Additionally, there will be two research assignments (outlined below) that offer students an opportunity to critically and creatively engage in the concepts and approaches introduced over the course of the trimester. Weekly readings, instructions for tutorials, assignments briefs and other important resources and course updates will be posted on the CCDN 271 website, and it is expected that all students regularly check the course website as well as their preferred email for updates and detailed course instructions: http://designasinquiry.blogspot.com/

ASSIGNMENTS / PROJECTS There are five principle assements for CCDN 271. Full descriptions and instructions for each of these assements will be posted on the course website and individually distributed via email during the term. A brief description of each assesment is provided below. Test one: weeks 1 – 5 Assessment: 25% of the final grade Date: Wed. 21 April For the first written test students will be expected to demonstrate a fluid and thorough knowledge of the themes, issues and ideas covered in roughly the first half of the course. This test will ask that students respond to a series of questions in multiple-choice and short essay format. Students will be allowed to use their notes from lecture and seminar, as well as weekly readings. Emphasis will be given to original and critial analysis as well as the use of specific references as supporting evidence. Test two: weeks 9 – 13 Assessment: 25% of the final grade Date: Wed. 26 May The second test, like the first, will ask students to demonstrate the knowledge and analytical skills they have gained throughout the trimester in CCDN 217. While emphasis will be placed on themes and issues discussed since the midterm, students will be expected to call upon concepts covered in the first half of the trimester as well. As in the first test, students will be allowed to use their notes from lecture and seminar, as well as weekly readings. Original and critical analysis and the use of specific references as evidence will be expected and required. The test will include a combination of multiple choice and short essay questions.

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Assignment one: abstract + bibliography Deliverables: 300 word abstract, thesis statement and annotated bibliography of 5 sources [properly cited following APA style**] Submission format: word document or word compatible Assessment: 15% of final grade Due: Fri. 30 April Project two is intended as preparation for the final research paper and will assist students in formulating an original and thoughtful research question and to determine the scope of their inquiry. This project will also allow tutors to work closely with students to refine their supposition and research prior to beginning their final research paper. In addition to composing a thoughtful and concise abstract and thesis statement, students will compile an annotated bibliography describing 5 sources, 4 of which must be scholarly sources. This bibliography will serve two purposes: firstly, it will help students develop their research skills and prepare for the composition of their final research paper; and secondly, it will assist students in defining an individual methodology of critical design—a primary assessment requirement for this course. Assignment two: Final research paper Deliverables: research paper of 2000 words [properly cited following APA style**] Submission format: word document or word compatible Assessment: 25% of the final grade Due: Fri. 18 June An essential component of this course is the development of independent critical thinking and sophisticated research skills, both of which will be necessary for the production of a successful final research paper. Students will be asked to build upon the skills and knowledge they have gained over the first two–thirds of the course to propose an original argument, which they will expand and explore in an academic research paper. The final paper should address a primary interest of the student and should challenge his or her understanding of this topic. This assignment also offers students the opportunity to improve their ability to express themselves clearly and concisely in written form. Submitted final papers are expected to be correctly formatted, including proper citations and bibliography, and must include a readily identifiable original thesis argument. Seminar attendance and participation Deliverables: attendance and active participation in weekly discussion Assessment: 10% of final grade The seminar tutorials are an essential component of this course, providing a vital opportunity to engage in critical discourse with fellow students and academic faculty. Participation in seminar discussion is mandatory and will contribute directly to the student‘s final grade. If extraordinary circumstances arise that require you to be absent from one or more class sessions, you should discuss the situation with the Course Coordinator as soon as possible. **Please note that all written assignments must follow the APA citation style (6

th edition). Review

APA guidelines at: http://aut.ac.nz.libguides.com/APA6th and be sure download the APA Style Sheet provided on the course website.

ASSESSMENT REQUIREMENTS

CCDN 271 is internally assessed by course work in the form of two tests and two written research assignments, as well as an individual assessment for attendance and participation. 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 assessments for CCDN 271 collectively contribute towards the final course grade as follows: Test one: weeks 1 – 5 Wed. 21 April 25% Test two: weeks 9 – 13 Wed. 26 May 25% Assignment one: research abstract + bibliography Fri. 30 April 15% Assignment two: final research paper Fri. 18 June 25% Attendance and participation cumulative assessment 10% Total: 100%

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Assessment Criteria specific to the tests and written assignments will be distributed in class or through the course website. Overall Assessment Criteria for this course are:

regular participation in seminar discussion demonstrating independent and original analysis; ability to articulate an original point of view regarding the broader social, cultural, political,

economic, and ecological implications of design, historically, today, and in the future; creative and critical exploration of key course topics and themes in tests, assignments, and

discussions; and development of individual analysis skills and their application to a methodology of critical

design. Your work will be reviewed on the basis of the degree to which it meets the assessment criteria. The assessment of the course is carried out by the Course Coordinator in consultation with the tutors. 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 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 in class is an essential aspect of the learning process, and students are expected to attend all class sessions—both lectures and tutorials. Additionally, all weekly assigned readings must be completed prior to lecture as these readings provide crucial context and information and will assist in seminar discussion and on tests one and two. Participation in seminar discussion is mandatory and represents 10% of the student‘s grade for the course.

COURSE EXPECTED WORKLOAD Students 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. This means that in addition to scheduled class sessions you are expected to spend approximately 7-9 hours per week reading, writing and generally pursuing independent research and study for this course. http://www.victoria.ac.nz/home/about_victoria/avcacademic/publications/assessment-handbook.pdf

READINGS AND REFERENCE MATERIAL

Please refer to the course website for an up-to-date list of assigned and suggested readings. Also be sure to review the list of suggested readings at the end of this document.

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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 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 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 in on time and in the location and format as set out in the assignment brief. Any assignment not submitted in the specified manner will be treated as a no-submission. 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 in advance of the hand-in date. You should complete an Application for Extension form (available from the Faculty Student Administration Office) for the Course Coordinator to approve. You will also need to provide suitable evidence of your illness or special circumstances. In an emergency, or if you are unable to contact the Course Coordinator, you should advise the Faculty Student Administration Office of your situation. Work submitted late must be submitted to the relevant tutor or Course Coordinator.

PENALTIES

Students are required to personally submit their work on time and in the location and specified format as set out in assignment outlines. Failure to personally present or submit work at any scheduled test or hand-in may 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 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 one grade step by calendar day including weekends (i.e. an A will become A-) and may result in a failing grade of E.

Work submitted late must be submitted directly to the Course Coordinator.

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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 tutorial seminar sessions;

sit both tests one and two;

and submit a completed final research paper fulfilling bibliographic and word count

requirements as stated in assignment brief.

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.

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COMMUNICATION OF ADDITIONAL INFORMATION

Any changes or additions to this Course Outline will be discussed with the class, and conveyed in writing to all students enrolled in the course through the course website and blog. In order to assure that you receive such course announcements, please be sure to advise the Course Coordinator of your current contact details and be certain to check the course website regularly. http://designasinquiry.blogspot.com/

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 463-6070 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:

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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

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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

month

day

date

item

location

time

comments

M 22

February TU 23

W 24 Orientations week

TH 25

F 26

week 1 M 1 Trimester 1 Begins

March TU 2

W 3 Lecture: introduction VS LT 1 11:30am – 1:10pm

TH 4

F 5 Tutorials

week 2 M 8

March TU 9

W 10 Lecture: the everyday VS LT 1 11:30am – 1:10pm Library tutorial

TH 11

F 12 Tutorials

week 3 M 15

March TU 16

W 17 Lecture: “Placebo” 11:30am – 1:10pm VS LT 1

TH 18

F 19 Tutorials

week 4 M 22

March TU 23

W 24 Lecture: Design Ethics 11:30am – 1:10pm VS LT 1 Library tutorial

TH 25

F 26 Tutorials

week 5 M 29

March TU 30

W 31 Lecture: Massive

Change

11:30am – 1:10pm VS LT 1 Assignment 1 brief

distributed + Library

tutorial

April TH 1

F 2 No tutorials--holiday Good Friday – holiday

week 6 M 5 Easter Monday – holiday

April TU 6 Easter Tues– VUW

holiday

W 7

TH 8

F 9 Mid trimester break

week 7 M 12

April TU 13

W 14

TH 15

F 16

week 8 M 19 Trimester 1 continues

April TU 20

W 21 Test One 11:30am – 1:10pm VS LT 1 TEST ONE

TH 22

F 23 Tutorials: review

assignment one brief

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7

week 9 M 26

April TU 27

W 28 Lecture: Manufacturing

Aura

11:30am – 1:10pm VS LT 1

TH 29

F 30 Tutorials Hand-in: Assignment 1

week 10 M 3

May TU 4

W 5 Lecture: Critical

Visualisation

11:30am – 1:10pm VS LT 1

TH 6

F 7 Tutorials

week 11 M 10

May TU 11

W 12 Lecture:

Morphogenesis

11:30am – 1:10pm VS LT 1 Library tutorial

TH 13

F 14 Tutorials Assignment 2 brief

distributed

week 12 M 17

May TU 18

W 19 Lecture: Emergence 11:30am – 1:10pm VS LT 1

TH 20

F 21 Tutorials

week 13 M 24

May TU 25

W 26 TEST TWO 11:30am – 1:10pm VS LT 1 TEST TWO

TH 27

F 28 Tutorials

week 14 M 31

June TU 1

W 2 Lecture: Futurologists 11:30am – 1:10pm VS LT 1 Library tutorial

TH 3

F 4 Tutorials: Assign. 2

review

week 15 M 7 Queen‘s Birthday

June TU 8 Mid-year study period

W 9

TH 10

F 11

week 16 M 14

June TU 15

W 16

TH 17

F 18 Assignment 2:

Research Paper Due

Assignment 2:

Research Paper Due

week 17 M 21

June TU 22

W 23

TH 24

F 25

week 18 M 28

June TU 29

W 30 Exams end

July TH 1 Mid- year break begins

F 2

week 19 M 5

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READINGS AND REFERENCE MATERIAL In order to realize the objectives of this course and fulfil assessment requirements students must read broadly and extensively throughout the term. Each week one to two required readings will be assigned to the class as a whole. Every student is expected to complete these readings prior to lecture. These readings, in conjunction with weekly lectures and seminar discussions, will be invaluable in preparation for both test one and two. Beyond the weekly assigned readings, students will be expected conduct research and develop a personal reading list in accordance with individual interests while maintaining a close relationship to the principle themes of the course. The required weekly readings will be made available each week on the course website. Please check the course blog and website regularly for updates on readings, assignments, and other course-related information.

SUGGESTED READING * indicates highly recommended Agrest, Diana, Patricia Conway, and Leslie Kanes Weisman, eds. The Sex of Architecture. New York: Harry N. Abrams, 1996. *Appadurai, Arjun, ed. The Social Life of Things: Commodities in Cultural Perspective. Cambridge: Cambridge University Press, 1986. Attfield, Judy. Wild Things. Oxford; New York: Berg, 2000. *Baker, Nicholson. The Mezzanine. New York: Vintage Books, 1986. Barlow, John Perry. "The Economy of Ideas: A Framework for Rethinking Patents and Copyrights in the Digital Age."Wired, March, 1994: 84-90, 126-129. Digital access: http://www.ifla.org/documents/infopol/copyright/jpbarlow.htm Baudrillard, Jean. The System of Objects. Trans. James Benedict. London: Verso, 1996. Beeby, Thomas. ―Grammar of Ornament/Ornament as Grammar.‖ Via v.3 (1977): 11-28. Benjamin, Walter. The Arcades Project. Cambridge, Mass.; London: Harvard University Press, 2002. --------. ―The Work of Art in the Age of Mechanical Reproduction (1923),‖ in Illuminations. New York: Harcourt, Brace and World, 1968. pp.211-244. --------. ―The Flâneur.‖ Charles Baudelaire: a lyric poet in the era of high Capitalism. London: Verso, 1997. pp. 35 -66. Binkley, Sam. ―Kitsch as a Repetitive System: a problem for the theory of taste hierarchy.‖ Journal of Material Culture v.5, n.2 (2000): pp. 131-1. Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste [1979]. Trans., Richard Nice. London and New York: Routledge, 1989. Buchanan, Richard. ―Children of the Moving Present: The Ecology of Culture and the Search for Causes in Design.‖ Design Issues v.17, n.1 (Winter 2001): pp. 67-84 Burke, Edmund. ―A Philosophical Enquiry into the Origin of Our ideas of the Sublime and the Beautiful (1756)‖ reprinted in Aesthetics: a comprehensive anthology (Oxford: Blackwell Publishing, 2008): 113-122. Burke, Peter. What is Cultural History? Cambridge: Polity, 2004. Busch, Akiko. The Uncommon Life of Common Objects. New York: Metropolis Books, 2005. Chapman, Jonathan. Emotionally Durable Design: objects, experiences and empathy. London: Earthscan, 2005. Charney, Leo and Vanessa R. Schwartz, eds. Cinema and the Invention of Modern Life. Berkeley: University of California Press, 1995.

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Crary, Jonathan. Techniques of the Observer: on vision and modernity in the nineteenth century. Cambridge, Mass.: MIT Press, 1990. Colomina, Beatriz, ed. Sexuality and Space. Princeton: Princeton Papers on Architecture, 1992. Corn Joseph J. ed. Imagining Tomorrow: History, Technology, and the American Future. Cambridge, Mass.: MIT Press, 1986. *Cowan, Ruth Schwartz. More Work For Mother: The Ironies of Household Technology from the Open Hearth to the Microwave. London: Free Association Books, 1989. Dilnot, Clive. Design Discourse: History, Theory, Criticism. Chicago: University of Chicago Press, 1989. Doordan, Dennis P. Design History: an Anthology. Edited by. Cambridge: MIT Press, 1995. Dunne, Anthony and Fiona Raby. Hertizan Tales: Electronic products, aesthetic experience, and critical design. Cambridge, Mass.: MIT Press, 2005. *--------. Design Noir: the secret life of electronic objects. London: August; Basel: Birkhäuser, 2001. *Forty, Adrian. Objects of Desire: Design and Society Since 1750. Great Britain: Thames and Hudson, 1986. Gage, John. Colour and Culture: Practice and Meaning from Antiquity to Abstraction. London: Thames and Hudson, 1993. *Hall, Peter. ―Critical Visualization.‖ Design and the Elastic Mind. New York: Museum of Modern Art; London: Thames & Hudson, 2008. pp.120-131. Hansen, Mark. ―Framing the Digital Image: Jeffrey Shaw and the Embodied Aesthetics of New Media.‖ New Philosophy for New Media. Cambridge, Mass.: MIT Press, 2003. pp. 47-70. *Harris, Daniel. Cute, Quaint, Hungry and Romantic: The Aesthetics of Consumerism. New York: De Capo Press, 2001. Kankinsky, Wassily. ―Concerning the Spiritual in Art‖ in The Philosophy of the Visual Arts. Edited by Philip Alperson. New York: Oxford University Press, 1992. 129-143. *Kirkham, Pat. ed. The Gendered Object. Manchester, UK; New York: Manchester University Press ; New York : Distributed exclusively in the USA and Canada by St. Martin‘s Press, 1996. Kubler, George. The Shape of Time: Remarks on the History of Things. New Haven: Yale University Press, 1962. Lubar, Steven. ―Learning from Technological Things.‖ Learning from Things: Method and Theory of Material Culture Studies. Ed. W. David Kingery. Washington; London: Smithsonian Institution Press, 1996. 31-34. *Lubbock, Jules. The Tyranny of Taste: The Politics of Architecture and Design in Britain 1550-1960. New Haven: Yale University Press, 1995. *Lupton, Ellen. Mechanical Brides: Women and Machines: From Home to Office. Princeton: Princeton Architectural Press, 1993. -------- and J. Abbott Miller. The Bathroom, the Kitchen, and the Aesthetics of Waste (A Process of Elimination), New York: Kiosk, 1992. Marling, Karal Ann. As Seen on TV: The Visual Culture of Everyday Life in the 1950s. Cambridge, Mass.: Harvard University Press, 1994. McCracken, Grant. ―The Making of Modern Consumption‖ in Culture and Consumption. Indianapolis: Indiana University Press, 1990. McDonough, William. Cradle to Cradle: remaking the way we make things. New York: North Point Press, 2002.

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*McLuhan, Eric and Frank Zingrone, eds. Essential McLuhan. London: Routledge, 1997. Morse, M. Virtualities, Television, Media Art and Cyberculture. Bloomington: Indiana University Press, 1998. *Mulvey, Laura. ―Visual Pleasure and Narrative Cinema.‖ Feminist Film Theory. Ed. Sue Thornham. New York: NYU Press, 1999. pp. 58-69. *Nichols, Bill. ―The Work of Culture in the Age of Cybernetic Systems.‖ Screen 21 (Winter 1988): 22-46; as reprinted in The New Media Reader pp.628-640. Shaw, Debra Benita. Technoculture. Oxford, UK; New York: Berg, 2008. Shove, Elizabeth. Comfort, Cleanliness and Convenience: the Social Organization of Normality. Oxford: Berg, 2003. * Simmel, Georg. ―The Problem of Style (1908).‖ Theory Culture Society 8, 63 (1991): pp.63-71. *Sparke, Penny. As Long as its Pink: The Sexual Politics of Taste. London: Harper Collins, 1995. Schwartz, Frederic. ―Ornament and Spirit, Ornament and Class.‖ Harvard Design Magazine, v.11 (Summer, 2000): 76-84. Sterling, Bruce. Shaping Things. Cambridge, Mass.: MIT Press, 2005. *Tufte, Edward. ―The fundamental principles of analytical design.‖ Beautiful Evidence. Cheshire, Conn.: Graphics Press, 2006. pp.122-139. Wardrip-Fruin, Noah and Nick Montfort, eds. The New Media Reader. Cambridge, Mass.: MIT Press, 2003. Wigley, Mark. White Walls, Designer Dresses: The Fashioning of Modern Architecture. Cambridge, Mass.; London: MIT Press, 1995. REFERENCE GUIDES Booth, Wayne, Gregory Colomb, and Joseph Williams. The Craft of Research, 2

nd edition. Chicago: University

of Chicago Press, 2003. Strunk, William Jr., and E. B. White. The Elements of Style. Fourth Edition. New York: Longman, 2000.

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QUICK GUIDE TO COURSE DATES+THEMES

Section one [scale: individual, personal] Week 1: design as inquiry [introduction] Week 2: the everyday [interrogating the obvious] Week 3: placebo [expectation + interaction] Section two [scale: social, political] Week 4: design ethics [social + environmental + political]

Week 5: massive change [―design thinking‖ + the business of design] WEEK 6-7: MID-TRIMESTER BREAK WEEK 8: TEST ONE Section 3 [scale: surface, symbolic] Week 9: manufacturing aura [steampunk + e-baroque]; ASSIGNMENT 1 [DUE FRIDAY 30 APRIL] Week 10: critical visualization [information as ideology] Section 4 [scale: collective, swarm] Week 11: morphogenesis [generative form] Week 12: emergence [swarm intelligence + bottom-up design] WEEK 13: TEST TWO [WED. 26 MAY] Week 14: futurologists + review for final hand-in Week 15: exams week WEEK 16: ASSIGNMENT TWO [DUE FRIDAY 18 JUNE]