This course examines how the design of objects mediates the relationship between our bodies and architectural spaces, influencing human activities and behaviours. Through hands-on studio practice, students will engage with a range of design skills and fabrication processes, including generative and iterative design methods, material experimentation, and project management. Projects are contextualised through relevant theory and concepts, such as materiality, structures, affordances, and critical design. By interrogating archetypal furniture forms, the course challenges students to design and fabricate objects that support human activities while questioning and shaping social behaviour and cultural norms. Participants will develop innovative solutions that extend beyond utility, exploring how design can convey personal narratives, disrupt expectations, and offer cultural critiques within the built environment.
Topics offered in this course currently occur in alternating years and include the following:
- The Elevated Surface: Design for wood table structures
- Supporting Bodies: Now that we’re here, where do we sit?
The course is taught by a combination of readings, lectures, discussions, demonstrations, and supervised practice that exposes students to a combination of technology, theory, history, and design and making processes. Workplace health and safety instruction is an integral part of this course.
Learning Outcomes
Upon successful completion, students will have the knowledge and skills to:
- develop and refine project concepts using generative and iterative design processes to create innovative design propositions that challenge archetypal forms and consider a plurality of functions (utilitarian, social, narrative, aesthetic, etc);
- practice and experiment with relevant materials and techniques to develop and execute design ideas, resulting in samples, models, prototypes, and finished works;
- effectively plan, manage, and complete design projects in response to the project briefs, demonstrating competency in project organisation and execution;
- investigate and integrate relevant theories and contextual examples from design, architecture, art and other disciplines to inform and substantiate creative projects; and
- demonstrate criticality by articulating rationale for intentional compositional choices in design projects and through reflective evaluation of their own work and that of other creative practitioners.
Research-Led Teaching
The distinctive research-led features of this course are the integrations of Critical Design theory into Studio Furniture practices, understanding the media beyond structural, technical and functional considerations and extending into the capacities for the media to engage with the delivery of narrative, critique and discursive responses. Within this, students are required to evaluate and determine their own aesthetic and functional solutions appropriate to the problem of creating an elevated surface, taking into account but not constrained by traditional examples and techniques.
Additional Course Costs
Student contribution amounts under the Higher Education Support Act 2003 (HESA) and tuition fees support the course described in the Class Summary and include tuition, teaching materials, and student access to the workshops for the stated course hours.
The Material Fee is payable to the School of Art & Design to supply consumables and materials that become your physical property. The Additional Materials Fee is payable for materials you use in
addition to those supplied as part of the course. You can purchase additional material from the Workshop and take advantage of the GST-free status. These materials are also WHS and workshop process compliant.
For further information and to Pay Materials and Access Fees go to: https://soad.cass.anu.edu.au/required-resources-and-incidental-fees
Examination Material or equipment
For scheduled assessments, reviews and critiques, students will present their work to date, completed works, support material and tests, folios, relevant contextual research. All materials will be set up ahead of assessment sessions, and presented to staff over the course of scheduled assessment. All assessments requirements will be presented in class and via Wattle.
Required Resources
Sketchbook and pencil/pen; Students will be provided Personal Protective Equipment (PPE), but have the option of supplying their own personal ear and eye protection.
Recommended Resources
Readings and additional resources will be added to the Wattle page for this class.
Staff Feedback
Students will be given feedback in the following forms in this course: in the form of verbal comments during tutorials and verbal feedback to the whole class during group critiques. Written comments will be given on written research assignments. Students are expected to take notes and/or to arrange for a classmate to take notes during presentations.
Student Feedback
ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). Feedback can also be provided to Course Conveners and teachers via the Student Experience of Learning & Teaching (SELT) feedback program. SELT surveys are confidential and also provide the Colleges and ANU Executive with opportunities to recognise excellent teaching, and opportunities for improvement.
Class Schedule
Week/Session | Summary of Activities | Assessment |
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1 | Tutorials (9-11am & 2-4pm): General WHS and Workshop Orientations; Materials Fees; Activity ‘Stick Together’; Lecture (11am-1pm): Review Class Summary; ‘Idea into Object’ presentation/discussion on concept generation; Introduce Task 1: Drawing Folio and distribute paper rolls for Part A: Scroll; | Class Prep/ Due for Week 1:
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2 | Tutorials (9-11am & 2-4pm): Task 1 (Part A): Drawing Folio (Scroll) progress check-ins; Confirm Materials Fees payments & distribute materials; Introduce Task 2: Wood Joinery Samples; WHS Sharp Hand Tools; Half-Lap joinery by hand: Demo & Practical; Lecture (11am-1pm): ‘Wood properties, Joinery and Structures’ presentation/discussion; Introduce Task 3: Group Presentation; | Past Due:
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3 | Tutorials (9-11am & 2-4pm): Task 2: Wood Joinery Samples progress check-ins for half-laps; Mortise & Tenon joinery by hand: Demo & Practical; WHS Drill Press; Lecture (11am-1pm): ‘Japanese Joinery & Temple Construction’ presentation/discussion; Select groups for Task 3: Group Presentation; | Class Prep/Due for Week 3:
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4 | Tutorials (9-11am & 2-4pm): Group Critique on Task 1 (Part A): Drawing Folio (Scroll); Identify 'key words' and select 3 concepts for Task 1 (Part B): Drawing Folio (Refined Concepts); Continue work on joinery samples (time permitting); Lecture (11am-1pm): ‘Connecting Concepts to Processes & Table Anatomy’ presentation/discussion on refining concepts and detailing specifications; Task 3: Group Presentation groups short meet-ups to establish communications; | Class Prep/Due for Week 4:
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5 | Tutorials (9-11am & 2-4pm): Task 2: Wood Joinery Samples progress check-ins; Machine joinery demo; WHS for relevant machines Hollow Chisel Mortiser, Saw Stop; Hitachi Resaw); Lecture (11am-1pm): Introduce Task 4: Elevated Surface; ‘Orthographic Projections & Scale Drawing’ presentation/discussion; Task 3: Group Presentation groups short meet-ups for presentation planning; | Class Prep/Due for Week 5:
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6 | Tutorials (9-11am & 2-4pm): Review Task 1 (Part B): Drawing Folio (Refined Concepts) and select one concept for Introduce Task 4: Elevated Surface; Supervised work on Task 1 (Part C): Drawing Folio (Scale Drawings); Machine WHS and check-outs; Lecture (11am-1pm): ‘Project Management: Cut Lists, Order of Operations & Time Management’ presentation/discussion; Task 3: Group Presentation groups short meet-ups for presentation planning; | Class Prep/Due for Week 6:
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7 | Tutorials (9-11am & 2-4pm): Review & approve Task 1 (Part C): Drawing Folio (Scale Drawings; Check Cut Lists and Order of Operations; Receive permission to proceed with project; Select timber, mark it and chop it to length, and begin marking out joinery for Task 4: Elevated Surface; WHS on Compound Mitre Saw; Lecture (11am-1pm): Task 3: Group Presentations 1-4; Task 3: Group Presentations 'Self & Peer Evaluations'; | Class Prep/Due for Week 7:
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8 | Tutorials (9-11am & 2-4pm): Task 4: Elevated Surface check-ins on updates to Order of Operations and any revisions to Cut Lists &/or Scale Drawings; Marking & cutting timber joinery for Task 4: Elevated Surface; WHS support and check-outs on relevant machines; Lecture (11am-1pm): Task 3: Group Presentations 5-8; Task 3: Group Presentations 'Self & Peer Evaluations'; | Class Prep/Due for Week 8:
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9 | Tutorials (9-11am & 2-4pm): Task 4: Elevated Surface check-ins on updates to Order of Operations and any revisions to Cut Lists &/or Scale Drawings; Cutting & fitting timber joinery for Task 4: Elevated Surface; WHS support and check-outs on relevant machines; Lecture (11am-1pm): ‘Making, Floating & Attaching Panels’ presentation/discussion; | Class Prep/Due for Week 9:
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10 | Tutorials (9-11am & 2-4pm): 'Panel Factory': panel production working in teams for Task 4: Elevated Surface; WHS for Bobbin, Disc, & Orbital Sanders, and Bandsaw;Lecture (11am-1pm): ‘Surface Prep: Sanding & Finishing’ presentation/discussion; WHS for sawdust, chemical storage and oily rag disposal; | Class Prep/Due for Week 10:
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11 | Tutorials (9-11am & 2-4pm): Task 4: Elevated Surface progress check-ins with Scale Drawings, Cut lists and Order of Operations; Cutting, shaping and sanding panel edges/profiles for Task 4: Elevated Surface; WHS support and check-outs for Bobbin, Disc, & Orbital Sanders, and Bandsaw; Taping off joinery surfaces and pre-finishing surfaces with Osmo sealing finish); Lecture (11am-1pm): ‘Assembly: Dry clamping, gluing and clamping . . . with a mate!’ presentation/discussion; | Class Prep/Due for Week 11:
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12 | Tutorials (9-11am & 2-4pm): Task 4: Elevated Surface progress check-ins with Cut lists and Order of Operations; Assembly; Glue-ups; Attaching tops with panel fastening hardware; Lecture (11am-1pm): ‘Critique guidelines and critical reflection’ presentation/discussion; | Class Prep/Due for Week 12:
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13 | Exam Period: Final Assessment: Details on Wattle; | Prep/Due for Exam Period/Final Assessment:
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Tutorial Registration
ANU utilises MyTimetable to enable students to view the timetable for their enrolled courses, browse, then self-allocate to small teaching activities / tutorials so they can better plan their time. Find out more on the Timetable webpage.Assessment Summary
Assessment task | Value | Due Date | Learning Outcomes |
---|---|---|---|
Drawing Folio | 20 % | 17/04/2025 | 1, 5 |
Wood Joinery Samples | 20 % | 27/03/2025 | 2, 5 |
Group Presentation | 20 % | 17/04/2025 | 3, 4 |
Elevated Surface | 40 % | 29/05/2025 | 2, 3, 4, 5 |
* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details
Policies
ANU has educational policies, procedures and guidelines , which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Integrity Rule before the commencement of their course. Other key policies and guidelines include:
- Academic Integrity Policy and Procedure
- Student Assessment (Coursework) Policy and Procedure
- Extenuating Circumstances Application
- Student Surveys and Evaluations
- Deferred Examinations
- Student Complaint Resolution Policy and Procedure
- Code of practice for teaching and learning
Assessment Requirements
The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the Academic Skills website. In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Wattle’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.
Moderation of Assessment
Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.
Participation
Consistent and active participation is expected in this course, and is required to engage in and complete the WHS and hands-on activities that are central to this course. If a student is not in attendance, inattentive or disengaged, they will be at risk for being able to fully participate or to adequately complete the required assessment tasks.
Examination(s)
Final assessments will occur in the Assessment Period according to guidelines presented in class and on the course Wattle site.
Assessment Task 1
Learning Outcomes: 1, 5
Drawing Folio
Drawing Folio: A series of annotated drawings documenting generative and iterative design processes. Full guidelines for tasks and submissions on course Wattle site.
Folio comprised of:
- Part A: The Scroll. Due start of Tutorial, Week 4;
- Part B: Expanded and Refined Drawings. Due start of Tutorial, Week 6;
- Part C: Scale Drawings. Due start of Tutorial, Week 7;
Value: 20% of total mark
Linked LO's:
(1) develop and refine project concepts using generative and iterative design processes to create innovative design propositions that challenge archetypal forms and consider a plurality of functions (utilitarian, social, narrative, aesthetic, etc); and
(5) demonstrate criticality by articulating rationale for intentional compositional choices in design projects and through reflective evaluation of their own work and that of other creative practitioners.
Rubric
Criteria | HD (80%-100%) | D (70%-79%) | CR (60%-69%) | P (50%-59%) | F (0%049%) |
---|---|---|---|---|---|
Generative Design Process and Ideation (LO 1, 5) | o Scroll presents 100 or more distinct concepts demonstrating a high degree of originality and diversity o Sketches flow organically, reflecting the emergent nature of the design process o Visually legible sketches with comprehensive annotations o On-time presentation with insightful and substantive critique participation | o Scroll presents at least 85 different concepts with a good range of exploration o Majority of the canvas utilised with some indications of ideas sparking more ideas o Visually legible sketches with sufficient annotations o On-time presentation with relevant and constructive critique participation | o Scroll presents fewer than 85 distinct concepts, limited exploration and diversity o Significant portion of the canvas under-utilised o Sketches may lack visual legibility and sufficient annotations o On-time presentation with adequate critique participation | o Scroll presents fewer than 65 distinct concepts, minimal exploration o Large portions of the canvas under-utilised or isolated sketches o Sketches lack legibility and annotations o Late presentation with minimal critique participation | o Scroll presents fewer than 50 distinct concepts, very limited exploration o Large portions of the canvas unused or disconnected sketches o Poor legibility and insufficient annotations o Late or no presentation with negligible critique participation |
Refining Concept Sketches (LO 1, 5) | o Selects 3 diverse concepts and refines them into highly detailed preliminary drawings o Thorough exploration of design details, form, function, and material considerations o Advanced understanding of timber properties incorporated into refinements o Detailed and well-annotated preliminary drawings | o Selects 3 concepts and refines them into detailed preliminary drawings o Adequate exploration of design details, form, function, and material considerations o Good understanding of timber properties addressed in refinements o Adequately detailed and annotated preliminary drawings | o Selects fewer than 3 concepts with inconsistent refinement o Basic exploration of design details, form, function, and material considerations o Limited understanding of timber properties in refinements o Basic detail and annotations in preliminary drawings | o Selects 1-2 concepts with minimal refinement o Limited exploration of design details and material considerations o Poor understanding of timber properties o Lacks detail and annotations in preliminary drawings | o Fails to select or refine concepts o No exploration of design details or material considerations o Very poor or no understanding of timber properties o Insufficient detail and annotations |
Scale Drawings and Orthographic Projections (LO 1, 5) | o Highly accurate, tidy, and detailed scale drawings and orthographic projections o Exceptional skill in representing joinery construction with clarity and precision o Comprehensive annotations effectively communicate the construction process | o Accurate scale drawings and orthographic projections o Good skill in representing joinery techniques, usually clear dimensions o Sufficient annotations to communicate the construction process | o Basic accuracy in scale drawings and orthographic projections o Adequate representation of joinery techniques, with some missing dimensions o Basic annotations to communicate the construction process | o Limited accuracy and detail in scale drawings and orthographic projections o Poor representation of joinery techniques o Insufficient annotations to communicate the construction process | o Inaccurate or incomplete scale drawings and orthographic projections o Very poor representation of joinery techniques o Lacks annotations to communicate the construction process |
Assessment Task 2
Learning Outcomes: 2, 5
Wood Joinery Samples
Wood Joinery Samples: A series of woodworking samples exploring joinery and techniques. Full guidelines for execution and submission of this task will be provided in class and on the course Wattle site.
Value: 20% of total mark
Linked LOs:
(2) practice and experiment with relevant materials and techniques to develop and execute design ideas, resulting in samples, models, prototypes, and finished works; and
(5) demonstrate criticality by articulating rationale for intentional compositional choices in design projects and through reflective evaluation of their own work and that of other creative practitioners
Rubric
Criteria | HD (80%-100%) | D (70%-79%) | CR (60%-69%) | P (50%-59%) | F (0%049%) |
---|---|---|---|---|---|
Criteria 1: Executing Half Lap Joints (including Sawn Lines Practice) (LO 2, 5) | Joints are highly precise, accurate, and demonstrate exceptional crafting. Samples show consistently clean, square, and close-fitting joints with only nominal gaps. Extensive experimentation with variations on the required joints is evident, showing significant independent exploration and practice beyond basic requirements. Demonstrates exceptional safety practices and proper tool use consistently. The sawn lines practice shows consistently straight, square cuts with precision and control, with a high quantity of practice (20 or more attempts) showing significant improvement over time. | Joints are precise and accurate, demonstrating good craftsmanship. Samples show clean, square, and close-fitting joints with some minor gaps. Adequate experimentation with variations on the required joints, showing additional practice beyond basic requirements. Demonstrates good safety practices and proper tool use with minor lapses. The sawn lines practice shows mostly straight and square cuts with minor deviations, with a reasonable quantity of practice (at least 20 attempts) showing improvement over time. | Joints are adequately crafted. Joint samples show some variability in accuracy and precision, with minor gaps and slight misalignment. Both required joint samples are completed but may lack refinement. Generally follows safety practices and proper tool use. The sawn lines practice shows some variability in straightness and squareness, with occasional deviations, and a moderate quantity of practice showing some improvement. | Joints are imprecise and inaccurate, requiring significant adjustments to fit. Samples show poor craftsmanship with visible gaps and misalignments. Limited experimentation with variations on the required joints. Demonstrates poor safety practices and improper tool use with significant lapses. The sawn lines practice shows inconsistent straightness and squareness, with frequent deviations, and a limited quantity of practice (less than 20 attempts) showing minimal improvement. | Joints are poorly crafted, with substantial inaccuracies and misalignments. Samples are incomplete or unusable as joinery. Demonstrates poor or unsafe tool use and lack of adherence to safety practices. The sawn lines practice shows poor control and precision, with significant deviations from straightness and squareness, and minimal or no practice (less than 10 attempts) showing no improvement. |
Criteria 2: Executing Mortise and Tenon Joints (LO 2, 5) | Joints are highly precise, accurate, and demonstrate exceptional crafting. Samples show consistently clean, square, and close-fitting joints with only nominal gaps. Extensive experimentation with variations on the required joints is evident, showing significant independent exploration and practice beyond basic requirements. Demonstrates exceptional safety practices and proper tool use consistently. | Joints are precise and accurate, demonstrating good craftsmanship. Samples show clean, square, and close-fitting joints with some minor gaps. Adequate experimentation with variations on the required joints, showing additional practice beyond basic requirements. Demonstrates good safety practices and proper tool use with minor lapses. | Joints are adequately crafted. Joint samples show some variability in accuracy and precision, with minor gaps and slight misalignment. Both required joint samples are completed but may lack refinement. Generally follows safety practices and proper tool use. | Joints are imprecise and inaccurate, requiring significant adjustments to fit. Samples show poor craftsmanship with visible gaps and misalignments. Limited experimentation with variations on the required joints. Demonstrates poor safety practices and improper tool use with significant lapses. | Joints are poorly crafted, with substantial inaccuracies and misalignments. Samples are incomplete or unusable as joinery. Demonstrates poor or unsafe tool use and lack of adherence to safety practices. |
Assessment Task 3
Learning Outcomes: 3, 4
Group Presentation
Group Presentation: Research presentation on a relevant era/genre/movement of craft and design (5-8 minute slide presentation, 600-word minimum to 1000-word maximum, not including bibliography). All guidelines for creating, delivering and submitting the presentation will be provided in class and on the course Wattle site.
Value: 20% of total mark
Linked LO's:
(3) effectively plan, manage, and complete design projects in response to the project briefs, demonstrating competency in project organisation and execution; and
(4) investigate and integrate relevant theories and contextual examples from design, architecture, art and other disciplines to inform and substantiate creative projects;
Rubric
Criteria | HD (80%-100%) | D (70%-79%) | CR (60%-69%) | P (50%-59%) | F (0%049%) |
---|---|---|---|---|---|
Research and Knowledge (LO 4) | Excellent evidence of independent research: Utilises a wide range of sources including books, online archives, and museum collections. Contextual information is highly relevant and presented in depth. Comprehensive coverage: Provides a detailed description of the period/style, including when and where it originated, with rich examples of typical pieces and design features. Deep understanding of societal context: Concisely explains the key philosophies, concepts, societal attitudes, or basic needs that influenced the design and making of furniture during the period. Prominent makers and techniques: Clearly identifies the most relevant key makers and designers, and demonstrates how the techniques characterising the style/movement aligned with and supported the underlying concepts. | Good evidence of independent research: Utilises several sources, demonstrating a solid understanding of the context. Contextual information is relevant but may lack depth. Adequate coverage: Describes the period/style, including when and where it originated, with examples of typical pieces and design features, though examples may be less detailed.Good understanding of societal context: Explains the key philosophies, concepts, societal attitudes, or basic needs that influenced the design and making of furniture during the period, but the explanation may lack conciseness or depth. Prominent makers and techniques: Identifies key makers and designers, and describes typical techniques, but may not fully demonstrate how these techniques supported the underlying concepts. | Sufficient evidence of independent research: Uses several sources, providing adequate contextual information.Describes the period/style, including when and where it originated, with some examples of typical pieces and design features. Provides a general understanding of societal context: Explains the key philosophies, concepts, societal attitudes, or basic needs that influenced the design and making of furniture during the period. Identifies some key makers and designers, and describes typical techniques, though the connections to underlying concepts may be limited. | Limited evidence of research: Uses a limited number of sources, providing basic contextual information. Provides an incomplete or unclear description of the period/style, with few or poorly chosen examples of typical pieces and design features. Poor understanding of societal context: Provides a basic or superficial explanation of the key philosophies, concepts, societal attitudes, or basic needs that influenced the design and making of furniture during the period. Identifies few key makers and designers, with minimal description of techniques. | Insufficient evidence of research: Uses very few sources, providing inadequate contextual information. Provides a very incomplete or unclear description of the period/style, with no or poorly chosen examples of typical pieces and design features. Very poor understanding of societal context: Fails to explain the key philosophies, concepts, societal attitudes, or basic needs that influenced the design and making of furniture during the period. Fails to identify key makers and designers or describe techniques. |
Organisation and Communication (LO 3) | Highly engaging and well-organised presentation: The presentation is logically structured, with each slide contributing to a clear, coherent narrative. Visually appealing slides: Uses high-quality images and a clear layout. Confident and clear delivery: Demonstrates a strong understanding of the topic, with a well-paced and engaging presentation style. Adheres to time/word count limits: Sticks to the timeframe and word limit, ensuring clarity and completeness without exceeding limits. Effective engagement in Q&A: Actively initiates or engages in discussion during the post-presentation Q&A session, providing insightful and relevant responses to questions. | Clear and organised presentation: The presentation is well-structured, generally maintaining a coherent narrative. Visually clear slides: Uses good quality images and a clear layout. Clear delivery: Demonstrates a good understanding of the topic, with a clear and well-paced presentation. Adheres to time/word count limits: Generally sticks to the timeframe and word limit, with minor deviations. Participation in Q&A: Engages in the post-presentation Q&A session, providing relevant responses to questions. | Adequately organised presentation: The presentation is reasonably structured, maintaining a somewhat coherent narrative. Visually adequate slides: Uses acceptable quality images and layout. Adequate delivery: Demonstrates a basic understanding of the topic, with an adequate presentation. Adheres to time/word count limits: Generally sticks to the timeframe and word limit, with some deviations. Participation in Q&A: Engages in the post-presentation Q&A session, providing adequate responses to questions. | Poorly organised presentation: The presentation has inadequate structure and coherence, making it difficult to follow. Inconsistent visual clarity: Uses some adequate images and layout, but may be confusing, cluttered or unclear. Poor delivery: Demonstrates inconsistent or lack of understanding of the topic, delivery may lack clarity, with poor pacing or lack of engagement. Exceeds or falls short of the timeframe or word limit, making presentation partial or verbose. Minimal participation in Q&A: Shows limited engagement in the post-presentation Q&A session, providing brief or off-topic responses. | Very poorly organised presentation: The presentation lacks structure and coherence, making it very difficult to follow. Poor visual clarity: Uses low-quality images and unclear layout. Very poor delivery: Demonstrates a lack of understanding of the topic, with very poor pacing and lack of engagement. Deviates significantly from time/word count limits: Greatly exceeds or falls short of the timeframe or word limit, making presentation very partial or verbose. Very minimal or no participation in Q&A: Shows very limited or no engagement in the post-presentation Q&A session, providing very brief or off-topic responses. |
Referencing (LO 4) | Meticulous referencing: All sources are consistently and accurately cited and properly formatted on the last slide, with images properly labelled. Comprehensive bibliography: Includes a thorough and accurate list of all sources used. | Good referencing: Sources are cited and mostly formatted correctly on the last slide, with images properly labelled and minor errors or omissions. Complete bibliography: Includes an accurate list of all sources used, with few errors. | Adequate referencing: Sources are cited and mostly formatted correctly on the last slide, with images properly labelled but with several minor errors or omissions. Adequate bibliography: Includes a list of sources used, with some errors. | Inadequate referencing: Sources are inconsistently cited or are incorrectly formatted. Images are inadequately labelled or not labelled at all. Incomplete bibliography: Fails to include a list of sources used, or the list is significantly incomplete or inaccurate. | Very poor referencing: Sources are very inconsistently cited or are incorrectly formatted. Images are very inadequately labelled or not labelled at all. Very incomplete or missing bibliography: Fails to include a list of sources used, or the list is very significantly incomplete or inaccurate. |
Group Planning and Participation (LO 3) | Demonstrates exceptional planning, accountability, task management, and use of time. Works harmoniously within the group, consistently facilitating creative compromise. Actively participates in discussions, providing insightful feedback and constructive critique. Reflects deeply on team dynamics and personal contributions. | Plans and manages tasks well, accountable to group, and making good use of time. Works effectively within the group, with occasional facilitation of creative compromise. Participates actively in discussions, providing relevant feedback and critique. Reflects adequately on team dynamics and contributions. | Demonstrates basic planning and task management, usually responsive to the group and exhibits adequate use of time. Works cooperatively within the group, contributing to tasks as required. Participates in discussions, offering some constructive feedback. Provides a basic reflection on team dynamics and contributions. | Shows minimal planning and task management, with poor use of time. Inconsistent accountability to the group. Struggles to work effectively within the group or contribute meaningfully. Provides limited participation in discussions and minimal feedback. Reflection on team dynamics and contributions lacks depth. | Fails to plan or manage tasks effectively. Shows little to no cooperation or accountability within the group. Does not participate meaningfully in discussions or provide constructive feedback. Provides little or no reflection on team dynamics or contributions. |
Assessment Task 4
Learning Outcomes: 2, 3, 4, 5
Elevated Surface
Elevated Surface: Based on their refined designs from Task 1, students will plan and construct a full-scale prototype for an elevated surface in solid timber. This project requires students to demonstrate a connection between concept and form/composition and process/fabrication choices, ensuring all design choices support each other. Emphasis is placed on exploring new table designs that go beyond the constraints of functionalism. Students must apply comprehensive planning and organisation, adapt and solve problems dynamically, and execute the project with high crafting quality, culminating in a fully assembled and finished piece ready for critique. Detailed guidelines and requirements for this task will be provided on the course Wattle site.
Value: 40% of total mark
Linked LOs:
(2) practice and experiment with relevant materials and techniques to develop and execute design ideas, resulting in samples, models, prototypes, and finished works;
(3) effectively plan, manage, and complete design projects in response to the project briefs, demonstrating competency in project organisation and execution;
(4) investigate and integrate relevant theories and contextual examples from design, architecture, art and other disciplines to inform and substantiate creative projects; and
(5) demonstrate criticality by articulating rationale for intentional compositional choices in design projects and through reflective evaluation of their own work and that of other creative practitioners.
Rubric
Criteria | HD (80%-100%) | D (70%-79%) | CR (60%-69%) | P (50%-59%) | F (0%049%) |
---|---|---|---|---|---|
Planning and Organisation (LO 3) | o Comprehensive cut lists demonstrating analysis and evaluation o Detailed and systematic order of operations o Meticulously maintained and regularly updated project log o Thoughtful and consistent adjustments and corrections o Timber components are consistently well-organised, labelled, and stored | o Adequate and accurate cut lists demonstrating application o Detailed order of operations with minor gaps o Well-maintained project log with minor updates o Necessary adjustments and corrections made with minor gaps o Timber components are adequately organised, labelled, and stored | o Basic cut lists demonstrating comprehension o Order of operations sometimes maintained o Project log maintained with some gaps o Some adjustments and corrections made throughout the project o Timber components are somewhat organised, labelled, and stored | o Incomplete or inaccurate cut lists demonstrating basic comprehension o Order of operations inconsistently maintained o Project log maintained poorly o Struggles to make necessary adjustments and corrections o Timber components are poorly organised, labelled, or stored | o Missing or incorrect cut lists demonstrating lack of comprehension o No order of operations o Project log not maintained o Fails to make necessary adjustments and corrections o Timber components are not organised, labelled, or stored |
Execution and Crafting Quality (LO 2, 5) | o High precision and excellent joinery demonstrating analysis and synthesis o High-quality finish o Parts fit together seamlessly o Advanced proficiency in woodworking techniques o Deep understanding and application of timber properties | o Adequate precision and good joinery demonstrating application o Good-quality finish o Most parts fit together well o Good proficiency in woodworking techniques o Understanding and application of timber properties | o Basic precision and joinery demonstrating comprehension o Acceptable-quality finish o Some parts fit together adequately o Basic proficiency in woodworking techniques o Some understanding of timber properties | o Significant issues in precision, joinery, or finish o Parts do not fit well together o Poor-quality finish o Limited proficiency in woodworking techniques o Poor understanding of timber properties | o Major issues in precision, joinery, or finish o Parts not fitting together o Very poor-quality finish o Very limited proficiency in woodworking techniques o No demonstrated understanding of timber properties |
Adaptability and Problem Solving (LO 2, 5) | o Exceptional problem-solving skills demonstrating evaluation and synthesis o Effectively addresses challenges and obstacles o Thoughtful and innovative solutions to complex issues o Considers limitations and properties of timber (grain and movement) | o Good problem-solving skills demonstrating application and analysis o Adequately addresses challenges and obstacles o Provides adequate solutions to issues encountered o Considers limitations and properties of timber (grain and movement) | o Basic problem-solving skills demonstrating comprehension o Addresses some challenges and obstacles o Provides basic solutions to issues encountered o Considers some limitations and properties of timber (grain and movement) | o Limited problem-solving skills demonstrating basic comprehension o Struggles to address challenges and obstacles o Provides insufficient solutions to issues encountered o Poorly considers limitations and properties of timber (grain and movement) | o Very limited problem-solving skills o Fails to address challenges and obstacles o Provides no solutions to issues encountered o Does not consider limitations and properties of timber (grain and movement) |
Conceptual and Contextual Understanding (LO 4, 5) | o Thorough and insightful understanding of concept and context demonstrating evaluation and synthesis o Effectively integrates and discusses other creative works and theories o Design choices clearly support the concept and go beyond functionalism o Fully assembled and finished project, ready for critique o Highly organised and engaging presentation o Effective communication of the project's narrative, design evolution, and connection between concept, form, and fabrication choices | o Good understanding of concept and context demonstrating application and analysis o Adequately integrates and discusses other creative works and theories o Design choices support the concept and attempt to go beyond functionalism o Assembled and finished project, ready for critique o Well-organised presentation o Adequate communication of the project's narrative, design evolution, and connection between concept, form, and fabrication choices | o Basic understanding of concept and context demonstrating comprehension o Integrates and discusses some other creative works and theories o Design choices mostly support the concept o Assembled and mostly finished project, ready for critique o Acceptably organised presentation o Basic communication of the project's narrative, design evolution, and connection between concept, form, and fabrication choices | o Superficial or limited understanding of concept and context demonstrating basic comprehension o Poor integration and discussion of other creative works and theories o Design choices do not fully support the concept o Incomplete or poorly finished project, not ready for critique o Poorly organised presentation o Inadequate communication of the project's narrative, design evolution, and connection between concept, form, and fabrication choices o Score: _____/25 | o No understanding of concept and context o Fails to integrate and discuss other creative works and theories o Design choices fail to support the concept and remain functionalist o Project not assembled or finished, not ready for critique o Disorganised presentation o Fails to communicate the project's narrative, design evolution, and connection between concept, form, and fabrication choices |
Academic Integrity
Academic integrity is a core part of the ANU culture as a community of scholars. The University’s students are an integral part of that community. The academic integrity principle commits all students to engage in academic work in ways that are consistent with, and actively support, academic integrity, and to uphold this commitment by behaving honestly, responsibly and ethically, and with respect and fairness, in scholarly practice.
The University expects all staff and students to be familiar with the academic integrity principle, the Academic Integrity Rule 2021, the Policy: Student Academic Integrity and Procedure: Student Academic Integrity, and to uphold high standards of academic integrity to ensure the quality and value of our qualifications.
The Academic Integrity Rule 2021 is a legal document that the University uses to promote academic integrity, and manage breaches of the academic integrity principle. The Policy and Procedure support the Rule by outlining overarching principles, responsibilities and processes. The Academic Integrity Rule 2021 commences on 1 December 2021 and applies to courses commencing on or after that date, as well as to research conduct occurring on or after that date. Prior to this, the Academic Misconduct Rule 2015 applies.
The University commits to assisting all students to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. All coursework students must complete the online Academic Integrity Module (Epigeum), and Higher Degree Research (HDR) students are required to complete research integrity training. The Academic Integrity website provides information about services available to assist students with their assignments, examinations and other learning activities, as well as understanding and upholding academic integrity.
Online Submission
In cases where assessment material is digitally produced, the default form of submission should be online, using Wattle. You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) submission must be through Turnitin.
Hardcopy Submission
All physical evidence of your work including journals, sketches, samples, tests, models, experiments, jigs, mock-ups, and final outcomes should be physically brought to class and assessments for evaluation. Be prepared to leave all outcomes through the assessment period.
Late Submission
Individual assessment tasks may or may not allow for late submission. Policy regarding late submission is detailed below:
- Late submission not permitted. If submission of assessment tasks without an extension after the due date is not permitted, a mark of 0 will be awarded.
- Late submission permitted. Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.
Referencing Requirements
The Academic Skills website has information to assist you with your writing and assessments. The website includes information about Academic Integrity including referencing requirements for different disciplines. There is also information on Plagiarism and different ways to use source material. Any use of artificial intelligence must be properly referenced. Failure to properly cite use of Generative AI will be considered a breach of academic integrity.
Returning Assignments
Your outcomes will be left on your workbenches or in the Furniture Workshop Gallery space to be collected at the end of the assessment period.
Extensions and Penalties
Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.
Resubmission of Assignments
Where students work is considered to be of an unsatisfactory standard, lecturers may request resubmission of all or part of the portfolio or journals/notebooks
Privacy Notice
The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.
Distribution of grades policy
Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.
Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.
Support for students
The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).
- ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
- ANU Accessibility for students with a disability or ongoing or chronic illness
- ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
- ANU Academic Skills supports you make your own decisions about how you learn and manage your workload.
- ANU Counselling promotes, supports and enhances mental health and wellbeing within the University student community.
- ANUSA supports and represents all ANU students
Convener
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Research InterestsCritical Design; Sustainability; Woodworking; Craft and Design Theory |
Ashley Eriksmoen
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Instructor
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Research Interests |
Ashley Eriksmoen
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Tutor
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Research Interests |
Wayne Creaser
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