Instructor: Daniel
E. Mader
T
(office) 513 244 4317
W http://inside.msj.edu/academics/faculty/maderd
Course Meets: Thursday
evenings, 6:30p-9:20p
Office Hours
T/R 9.30a-12.30p
Required Texts:
1.
P. Meggs; A. Purvis, MeggsÕ History of Graphic Design, 4th Ed., 2006
2.
A. Forty, Objects
of Desire: Design and Society, 1750-1980, 1986
Recommended:
C. and P. Fiell, Design of the 20th Century, 1999
Course Description:
A survey of visual
communication/visual manufactured objects from pre-history through the
present. Emphasis is placed on the
contemporary period focusing on graphic, industrial and environmental design. (Lecture/Discussion)
MSJ Undergraduate Learning
Outcomes and Performance Indicators (LO/PIs)
The purpose of the Liberal
Arts and Science curriculum at the Mount is to provide you with a broader
academic context for your learning in and outside of your major. It is to further provide you with a
learning perspective for a lifetime of study in a diverse and complex
world. By graduation with your
Baccalaureate Degree, you will demonstrate your comprehension in the areas
below—the areas of your e-portfolio, in which you will archive examples
of work.
Baccalaureate LOPIs
(Approved by CCEP on 04-03-07 and by
Faculty Assembly on 04/10/07)
Communication
Write and speak effectively
Critical
Thinking
Develop an appropriate response to a problem or
question
Sociocultural
Relationships
Understand the nature of human cultures
Ethics
Understand ethical responsibility from the
perspective of duty, consequences, or virtue
Interdisciplinarity
Solve a problem by integrating the perspectives of
multiple disciplines
Citizenship
Recognize your responsibility to the community and
the world
First draft distributed to
Faculty on 01/30/2007
Revised draft submitted to Faculty on 03/21/07
Revised and approved by CCEP on 04/03/2007
Approved by Faculty Assembly 04/10/07
Course Objectives within the framework of MSJ Undergraduate
LO/PI: (At the conclusion of this course, the
student will be able to):
á
Demonstrate the ability to think critically and
creatively through accomplishing design research, and design project (Critical
Thinking 1-4);
á
Demonstrate the ability to communicate
effectively through writing the design plans, research project and unit
discussions (Communication 1-4);
á
Demonstrate the ability to express or respond to
aesthetic qualities through selection and execution of design project (Critical
Thinking 1-4);
á
Demonstrate knowledge of the central beliefs,
practices, and heritage of cultures other than their own, and investigate
knowledge gained from two or more disciplines through writing in unit reports
and through discussion (Citizenship 2-4, Sociocultural Relationships 3,
Communication 1-4);
á
Demonstrate understanding of contemporary visual
organization and applied design through focus on the historical process of
graphic and industrial through student reports and discussions (Critical
Thinking 1-4);
á
Demonstrate the understanding of the
cross-relationship between the Fine Arts, typography, illustration,
photography, industrial and interior design through research of periodicals,
books, and web sites on design, and the final design project (Citizenship 2,4,
Interdisciplinarity 1 – 3, Sociocultural Relationships 3, Communication 1
and 2).
E-Portfolio
During
your senior LA&S capstone course(s) - thesis and senior seminar, you will
be asked for an electronic file containing examples of your work throughout
your college experience. Although
the precise form of the e-portfolio is not clear yet, I suggest you keep a file
for each class and/or term with examples of writing and visual pieces. The visual pieces may be jpeg images.
This action now will save you last minute research in your senior year.
Teaching Methodology (Learning Strategies):
Lecture with CD-ROM images,
WebCT support materials/feedback, student research, group discussion, field
trips, Student Design Concept Project, Student Design Presentation.
Method of Evaluating Achievement of Outcomes:
The grade for the course is based
on three Student Topic Reports, the Student Design Concept project, the Student
Design Presentation, and two sets of field trip sketches-- each representing
about 1/7 of the final grade. Also factored in is active participation
(discussions, questions, and sketches with notes from field trips).
If you have specific
physical, psychological, or learning disabilities and require accommodations,
please let me know early in the semester so that your learning needs may be
appropriately met.
Academic Integrity:
When we use the information
and language of others to enrich our reflection and research papers we must:
á
tell the reader when we are quoting and indicate
the source (person, book, article, etc.) of the quotation.
á
tell the reader when we are paraphrasing and
indicate the source (person, book, article, etc.) of that information.
Quoting or paraphrasing the
information and/or language of a source without naming the source is
plagiarism. Plagiarism is
unacceptable in an academic institution and is subject to penalty. Please consult the College Catalog and
the Student Handbook for additional information and policies regarding academic
honesty.
From time to time you may be
directed to special information for this class at
< http://inside.msj.edu/academics/faculty/maderd/special
>.
Print
Meggs/Purvis is the most comprehensive visual survey of Graphic Design to
date. Forty discusses major issues in all design since the mid-nineteenth
century. Fiell is an encyclopaedia of design to be used as a handbook and
study guide throughout the course.
Many
resources are available in and through our MSJ Library. Explore FOCUS, but also
consult Ohiolink for access to all major college library collections in
Ohio. Explore the online resources
of Academic Search Complete: http://inside.msj.edu/departments/library/articles/journal/art/index.asp
Visual
Beyond the above, the
majority of images shown in lectures may be viewed on the handout CD-DVD.
TENTATIVE
SCHEDULE
|
Date |
Session # |
Topic |
Reading |
Activity |
Show and Tell |
|
Jan 14 |
1 |
Introduction to class content and pedagogy |
|
Show: video Joseph
CampbellÕs Power of Myth, Episode 3 |
Show: Rosetta Stone cloth; flat iron; corkscrew; oil lamp; syringe
pens; Egyptian sistrum; Hatshepsut mirror; blue sphinx; nesting sarcophagus;
silicone baking pan; animal paper plates; plastic kitchen utensil critters;
Philippe Starke scissors; NY Times
Style Magazine etc. |
|
Jan 21 |
2 |
Pre-Industrial Revolution Design Part 1 |
Meggs pp. 4-59; WebCT |
Professor Lecture/film;
Show: CD Introduction to Nautical Archaeology; Show DVD Lost Worlds: RamsesÕ Egyptian
empire |
Demo: pictograph
and cuneiform;
Show: Large papyrus; cold
metal type; wood type; Sanskrit, Arabic; Hangul characters; Chinese
dictionaries; daguerreotypes; Kodak Brownie
box camera; zoetrope; woodblock; litho stone, 1960 Agricultural Almanac;
hotel poster; Wood type style play poster; Victorian Scrap Book; Francesco
Colonna Hypnerotomachia Poliphili,
ed. J. Godwin, New York: Thames and Hudson, 1999. The Rule of Four,
2004; Durer Grid; Durer Praying Hands |
|
Jan 28 |
3 |
Pre-Industrial Revolution Design Part 2 |
Meggs pp. 64-166; WebCT |
Student Topic Reports;
Discussion |
Demo:
hieroglyphic writing etc. |
|
Feb 4 |
4 |
Industrial Revolution Design Part 1 |
Meggs pp. 167 - 243 Forty pp. 6 - 181 Fiell; WebCT |
Professor Lecture/film;
Show video Jacob BronowskiÕs Ascent of Man, Episode 8 |
Demo: Chinese
Writing; Show: lye soap; Spode ÒGreekÓ plate ca. 1806; Sears
catalogue; Jugendstijl design samples; official seal with Japanning; rock with Japanning; pressed glass bottles; F.L.
Wright Pop-up book; Greek Geometric Period vessels Oinochoi; Underwood
typewriter Japanning; Crystal
Palace cigarette card; plan of Crystal Palace; Crystal palace book; Rodmarton
Manor catalogue; Coalbrookdale Bridge Coin, 1779; NY Times article on Thonet;etc. |
|
Feb 11 |
5 |
NO CLASS
– Field trip on own to:
Cathedral
Basilica in Covington, or to Cincinnati Art Museum. To gather
sketches |
|
|
|
|
Feb 18 |
6 |
Industrial Revolution Design Part 2 Sketches due Student Design Project plan due |
Meggs pp. 248 - 335 Forty pp. 182 - 245 Fiell; WebCT |
Student Topic Reports;
Discussion; |
|
|
Feb 25 |
7 |
Arts/Crafts through
Bauhaus Design Pt 1 |
Meggs pp. 336 - 373 Fiell; WebCT |
Professor Lecture/Film;
Show DVD Bauhaus: The Face of the 20th Century; |
Show:
whiplash, glass, Art Nouveau posters; LÕOreal
bottle; London Underground ÒRussell SquareÓ enamel plate; London Transport
maps; Bauhaus lamp; Rodchenko coaster; Sweets catalogue; African mask etc. |
|
Feb Sat 27 |
SPECIAL |
Field Trip to American Sign Museum Essex Studios 2515 Essex, Walnut Hills |
W.: |
Meet there - 10a |
|
|
Mar 4 |
8 |
Arts/Crafts through Bauhaus Design Pt 2 Mid-term Teacher/Course Ratings |
Meggs pp. 336 - 373 Fiell; WebCT
|
Student Topic Reports;
Discussion; Show DVD The London Transport Map |
|
|
Mar 11 |
9 |
NO CLASS –
SPRING BREAK |
|
|
|
|
Mar 18 |
10 |
NO CLASS
– Field trip on own to:
Union Terminal
(Cincinnati Museum Center), or Omni Netherland Plaza Hotel, or Carew Tower
arcade. To gather
sketches |
|
|
|
|
Mar 25 |
11 |
Streamlining through Computer Design Part 1 |
Meggs pp. 374 – 398 Fiell; WebCT |
Professor Lecture
Film; Show video: Metropolis
1927; Show video of 1939 WorldÕs Fair—The World of Tomorrow;
Show DVD The Volkswagen Beetle |
Show:
ashtray; CAM 1975 catalogue in ITS style (green); Norman Bel GeddesÕ Horizons 1932; 1964 WorldÕs Fair
photos; Show ÒParker 51Ó; Design this
Day; Portobello Rd toy ÒstreamlinedÓ car (Bel Geddes); Show nylons video;
Show 20th Century Train
model; Art Deco post cards; Show
red plastic pitcher; Show ice breaker; Show fridge handle; show ink well
(Metamora); Show Gugelot slide projector; 1982 WorldÕs Fair belt buckle and
squeeze purse |
|
Apr 1 |
12 |
Streamlining through Computer Design Part 2 Sketches due |
Meggs pp. 400- 531 Fiell; WebCT; (Especially read chapters on
Corporate and Conceptual Design) |
Student
Topic Reports; Discussion; show video: Tupperware;
show video Twinkies; Show DVD: BassÕ Man
with the Golden Arm titles |
Show:
Milicron Corporate ID guidelines; Anthem Design Standards Guide; Cincinnati Bicentennial Design Standards
Guide, 1988; copy of U&Lc; Show ergonomics notebook; Michael
KroegerÕs Paul Rand book; Show Industrial Design Accoutrements notebook; |
|
Apr 8 |
13 |
Recent Design Part 1 |
|
Professor Lecture/Film;
Show DVD Jetsons; Show video Supermarket Persuasion |
Show: lamp in can; Scarpe (Sicily); Rocket Radio; Concorde
model; Leonardo book; plastic knife (Metamora); gutta percha from dentist;
Show Òrain hatsÓ; Show CopeÕs Plastic
Book; Show Pop Art Zippo
lighter; big calculator; cardboard box of Prilosec
point of purchase POP display; Quistgaard ice bucket and salad bowl etc |
|
Apr 15 |
14 |
Recent Design Part 2 Design Concept project due |
|
Student Topic Reports; Discussion |
|
|
Apr 22 |
15 |
FIELD TRIP: CLASS MEETS at IKEA ON-SITE Lecture with guest lecturer Marianne Doll |
|
- Meet at Site at 7p |
|
|
Apr 29 |
16 |
Student Design Project Presentations, group I due Course/Teacher Evaluations |
|
|
|
|
May 6 |
17 |
Student Design Project Presentations, group II due |
|
|
|
I.
"C" or better
average for
totaled grades if an art major
Description
Students are randomly assigned three topics over 5 design units: Pre-Industrial, Industrial, Arts/Crafts through Bauhaus, Streamlining through Computer, and Recent. Students will come to class prepared to present and discuss their topic on the assigned day. Visit WebCT for support materials to read. Students should use PowerPoint, or hard copy to present your topic in the context of the larger contextual period.
Presenting students are expected to demonstrate understanding of their assigned report topic and the larger period being examined. They demonstrate understanding through their visual overview, topic research, documentation, preparation for the Q/A, and discussion of the period being examined. They respond to all questions from the class.
Beyond the presenter, all students, through study in advance of the Student Topic Report presentations, are expected to have a familiarity with the larger period being examined, generate questions and participate in discussions.
At the end of class, students turn in a stapled four-page topic report as follows:
Page one: Coversheet with topic, your name and date centered.
Page two: One well edited single spaced discussion of the topic—no more, no less.
Page three: One well-chosen illustration
Page four:
bibliography in MLA style of (5) sources—no Wikipedia, no encyclopedia, and no more than one web site. See
Duke University Library help site: http://www.lib.duke.edu/libguide/cite/works_cited.htm
Research for the presentation and paper should be beyond the Internet. Students should examine design periodicals such as Print, Communication Arts, Graphis, Journal of Design History, Architectural Digest, Architectural Record, Interior Design, Design, Design Quarterly, The Journal of Decorative and Propaganda Arts, Design Issues, I. D. Magazine of International Design, and HOW.
III.
Student Design
Project/Presentation: End of term
object design
Description
Select a well-known designer or historical
period or design movement.
Next, select a contemporary manufactured object, a business, an
institution, a service, or a timely concept that needs visual communication,
styling, or redesign. In the "style" of another time or
by revising or using the approach of another well known designer, define
your project problem and solve it with a web site, a poster, an architectural
rendering, a model, a corporate ID program, a small appliance design, a cabinet
redesign, etc. (Many options exist
-- see me for alternatives!)
Examples
-
A kiosk design in the style of Darius Wells, promoting CincinnatiÕs
National Underground Railroad Freedom Center
- A
web site promoting design for senior daycare in de-constructive style of Paula
Scher
- Bauhaus
"style" bus billboard to promote the upcoming 2012 Olympics in London
- Tableware
in a "style" of the 1951 Festival of Britain
- A
"streamlined" version of an mp3 player, cellular telephone, or
handbag
- A
contemporary ibook cover in the "style" of William Morris
- A
web site in Michael GraveÕs style to promote ÒTaste of CincinnatiÓ
- Magazine
illustration of Riverfest U.S.A. after Stefan Sagmeister "style"
- "Hip
Hop" "style" image of peace for the Catholic Relief for aid to
children
- A
"Scandinavian" style chair
-
An industrial style re-design of the iPhone
Details
1. You may use
standard graphics (drafting) material and/or full-scale "mock-up"
and/or scale model, and/or computer, and/or video presentation.
2. On Design
Project Plan due date, submit a single typed page containing:
a. A brief statement of the design problem
you will solve;
b. Your planned approach: target audience or clientele,
materials,
method of
presentation, scale, etc.
The completed project should
represent at least 30 hours of work and have professional finish. The project should reflect your
understanding of the person, or culture upon which you based the ÒstyleÓ. It should not be the work of another
class project. After submitting
the Student Design Project Plan, a project direction may not be switched.
You will present your piece
to the class on one of the two dates set aside. You will have about 5 minutes
to describe what you did, and answer questions.
Based on the visual experience of 20th century design lectures, on one side of one sheet of 8 1/2 x 11 inch paper, draw in pencil, or by any technical/electronic/virtual means, an original design concept for next year. Give a caption below the image that explains its raison dÕtre. This is only a sketch with a great idea - bit more than the idea on a Òpaper napkinÓ. It is NOT the far more extensive Design Project/Presentation.
Examples
- A new toaster
- A better automobile tire
- A new cell phone design
- A new form to replace the tin can
- A new form for the HD TV/computer screen
- A better stadium seat
- A better bicycle design
- A new sustainable architectural form
- A ÒgreenÓ packaging for meat products
- A replacement web site for Facebook
a. To Cathedral Basilica of the Assumption in Covington to gather sketches that capture the Gothic line as a source for Art Nouveau; OR to the Cincinnati Art Museum to gather sketches that capture sources of Art Nouveau, as found in: Celtic manuscript illumination, Rococo, Arts and Crafts (American Mission), Japanese woodcuts, Pre-Raphaelite painting, Paul Gauguin, Vincent Van Gogh, and/or Nabis styles.
Web sites:
Cathedral Basilica of the Assumption
http://www.covcathedral.com/frame1.htm
Cincinnati Art Museum
http://www.cincinnatiartmuseum.org/
b. To Union Terminal (Cincinnati Museum Center), Omni Netherland Plaza Hotel, OR
to the Carew Tower arcade to gather
sketches that capture the essence of Streamlining. Some sources include but are
not limited to art from Egypt, Greece, Japan, Africa, Meso-America,
Neo-Classic, Biedermeier, Art Nouveau, Werkbund, deStijl, exotic art, and
various national folk traditions.
Cincinnati Museum Center at Union Terminal
Carew Tower
http://www.cincinnatiusa.com/Attractions/detail.asp?AttractionID=83
c. To Cincinnati commercial
location to examine retail design. Possible locations include IKEA, Kroger, Target, etc. A guest speaker (Marianne Doll) will
discuss retail design.
IKEA
Kroger
http://www.kroger.com/Pages/default.aspx
Target
d. To the American Sign Museum to see the communication symbols that inform
and surround our lives. These
visual business icons Òtrack the macrocosm of the history of technology through
the microcosm of signsÓ (Tod
Swormstedt)
Web site:
American Sign Museum
VI.
Class Attendance: Official attendance is
at the start of class. Class starts promptly at 6:30 p.m. Visual material is presented only
during scheduled class time; it will not be projected at any other time. Review of art is through text and
library references. Students are
expected to attend all classes, and stay for entire class. Tardy students must notify instructor
of late arrival and make up any missed work. Two absences, excessive tardiness, or Òearly departuresÓ may result in
drop of letter grade or failure of course. This decision is solely at the instructorÕs
discretion.
Dates for Student Report topics, plus Dates for Design Project
Presentations
are assigned by second class.
Late projects are not accepted. There are
not extra projects for raising grades. Missed exams may not be made up. No post facto excuses (after the fact) are
accepted.
Both projects and classroom
performance must comply with guidelines of Academic Honesty as described in the
College catalogue and student handbook.
THE INSTRUCTOR RESERVES THE RIGHT to make changes
to any item(s) in this syllabus.
1. Random Assignment of Three Unit Topics: 2 from 1-4 + 5; See
listing below of topic corresponding to number;
2. Random Assignment of Student Design Project Presentation
Dates
|
Name |
#1 Pre-Industrial
Revolution |
#2 Industrial
Revolution |
#3 Arts/Crafts
through Bauhaus |
#4 Streamlining
through Computer |
#5 Recent Design |
Date
for Project Presentation: #1 =
April __; #2 = May __ |
|
1 Adkins, Kenneth |
1 Cave Mark |
1 Type Evolution |
|
|
1 Yokoo |
2 |
|
2 Broering, Julie |
2 |
2 |
|
|
2 |
1 |
|
3 Carney, Mary |
3 |
3 |
|
|
3 |
2 |
|
4 Clark, Rhiannon |
4 |
4 |
|
|
4 |
1 |
|
5 Gochoel, Joanna |
5 |
5 |
|
|
5 |
2 |
|
6 Griffith, Kierstin |
6 |
6 |
|
|
6 |
1 |
|
7 Holter, Sarah |
7 |
7 |
|
|
7 |
2 |
|
8 Hutzel, John |
8 |
8 |
|
|
8 |
1 |
|
9 Jae, Jennifer |
9 |
9 |
|
|
9 |
2 |
|
10 Kennedy, Caroline |
10 Weapon |
10 Industrial |
|
|
10 Sustainable |
1 |
|
11 Kowatch, Sara |
|
|
1 Pre-Raphael |
1 Art Deco |
1 Yokoo |
2 |
|
12 Lansley, Page |
|
|
2 |
2 |
2 |
1 |
|
13 Laybourne, Nina |
|
|
3 |
3 |
3 |
2 |
|
14 McClain, Alexandra |
|
|
4 |
4 |
4 |
1 |
|
15 Metz, Christopher |
|
|
5 |
5 |
5 |
2 |
|
Name |
#1 Pre-Industrial
Revolution |
#2 Industrial
Revolution |
#3 Arts/Crafts
through Bauhaus |
#4 Streamlining
through Computer |
#5 Recent Design |
Date
for Project Presentation: #1 =
April __; #2 = May __ |
|
16 Miles, Angela |
|
|
6 |
6 |
6 |
1 |
|
17 Moeller, Audrey |
|
|
7 |
7 |
7 |
2 |
|
18 Penn, Kurtis |
|
|
8 |
8 |
8 |
1 |
|
19 Playko, Katharine |
|
|
9 |
9 |
9 |
2 |
|
20 Rodger, Aaron |
|
|
10 |
10 |
10 |
1 |
|
21 Rose, Taylor |
1 |
1 |
|
|
1 |
2 |
|
22 Roy, Abby |
2 |
2 |
|
|
2 |
1 |
|
23 Ruebusch, Maria |
3 |
3 |
|
|
3 |
2 |
|
24 Schlanser, Cindy |
4 |
4 |
|
|
4 |
1 |
|
25 Schreiber, Kathryn |
5 |
5 |
|
|
5 |
2 |
|
26 Schroeder, Jennifer |
6 |
6 |
|
|
6 |
1 |
|
27 Willing, Kathleen |
7 |
7 |
|
|
7 |
2 |
|
28 Gibbons, Stacy |
8 |
8 |
|
|
8 |
1 |
|
29 |
9 |
9 |
|
|
9 |
2 |
|
30 |
10 |
10 |
|
|
10 |
1 |
|
31 |
|
|
1 |
1 |
1 |
2 |
|
32 |
|
|
2 |
2 |
2 |
1 |
|
33 |
|
|
3 |
3 |
3 |
2 |
|
34 |
|
|
4 |
4 |
4 |
1 |
|
35 |
|
|
5 |
5 |
5 |
2 |
|
Name |
#1 Pre-Industrial
Revolution |
#2 Industrial
Revolution |
#3 Arts/Crafts
through Bauhaus |
#4 Streamlining
through Computer |
#5 Recent Design |
Date
for Project Presentation: #1 =
April __; #2 = May __ |
|
36 |
|
|
6 |
6 |
6 |
1 |
|
37 |
|
|
7 |
7 |
7 |
2 |
|
38 |
|
|
8 |
8 |
8 |
1 |
|
39 |
|
|
9 |
9 |
9 |
2 |
|
40 |
|
|
10 |
10 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
History of Design
Topics: Assign three: Pick two
from #1- #4 + one from #5 = three topics total
#1 Presentation
|
Number |
Pre-Industrial Revolution |
|
1 |
Cave Markings |
|
2 |
Alphabets |
|
3 |
Illustrated Manuscripts |
|
4 |
Paper, Parchment, and Vellum |
|
5 |
Cathedral Construction |
|
6 |
Ship Construction |
|
7 |
Mosaics and Frescos |
|
8 |
Furniture Design |
|
9 |
Fashion Design |
|
10 |
Weapon Design |
#2 Presentation
|
Number |
Industrial Revolution |
|
1 |
Type Evolution |
|
2 |
How Steam Engines Work |
|
3 |
How Electricity Usage Developed |
|
4 |
Development of Photography |
|
5 |
Development of Steam Locomotive |
|
6 |
Development of the Automobile |
|
7 |
Development of Food Containers |
|
8 |
Development of Indoor Plumbing |
|
9 |
Development of the Subway |
|
10 |
Development of Industrial Design |
#3 Presentation
|
Number |
Arts/Crafts through Bauhaus |
|
1 |
Who are the Pre-Raphaelites? |
|
2 |
Who are the Rosicrucians? |
|
3 |
The Vienna Secessionists |
|
4 |
The Beggarstaffs |
|
5 |
Aubrey Beardsley |
|
6 |
Advertising Agency Development |
|
7 |
Paul Klee and the Bauhaus |
|
8 |
Wassily Kandinsky and the Bauhaus |
|
9 |
Universe, Futura, and Helvetica Type |
|
10 |
Jan Tschichold |
#4 Presentation
|
Number |
Streamlining to Computer |
|
1 |
Art Deco Design Development |
|
2 |
The New Bauhaus at Ulm |
|
3 |
Norman Bel Geddes |
|
4 |
Biomorphic Design of the late 1950Õs |
|
5 |
Good Design Exhibits at MoMa |
|
6 |
William Golden and CBS |
|
7 |
Robert Venturi |
|
8 |
Olympic Corporate Design |
|
9 |
Polish Posters |
|
10 |
Peter Max |
#5 Presentation
|
Number |
Recent Design |
|
1 |
Tadanori Yokoo |
|
2 |
Michael Graves and Target |
|
3 |
Charles S. Anderson |
|
4 |
Biospheres |
|
5 |
Hybrid Automobiles |
|
6 |
The Design Museum London |
|
7 |
The Cooper-Hewitt Museum New York |
|
8 |
Chaz Maviyane-Davies |
|
9 |
Luis Almeida Herrera |
|
10 |
Sustainable Design |
Student Design Unit Topic Reports
Self-Evaluation/ Evaluation Form
Student Name:
Topic:
Requirements:
Page one: Coversheet with topic, your name and date centered.
Page two: One well edited single spaced discussion of the topic—no more, no less.
Page three: One well-chosen illustration
Page four: bibliography in MLA style of (5) sources—no Wikipedia, no encyclopedia, and no more than one web site. See Duke University Library help site: http://www.lib.duke.edu/libguide/cite/works_cited.htm
Evaluation [Pick one: Excellent (A), Good (B), Satisfactory(C), Less than Satisfactory (D), Failure (F)]:
1. Oral/visual presentation of Topic ____________________
2. Paper
A. Required 4 Pages ____________________
B. Writing Quality ____________________
C. Illustration ____________________
D. Required 5 college level sources in MLA style __________________
Overall the presentation and writing of my assigned top is: ____________________
Faculty grade: ____________________