Teaching Practice Overview

Table of Contents

1. Educational Philosophy Statement

2. The Context

3. Design for Learning

4. Teaching Practice (Methodology, Strategies, Objectives)

5. Description of Course Materials (Syllabi, Handouts, Assignments)

6. Products of Teaching (Evidence of Student Learning)

7. Teaching Goals: Short and Long-Term

Example 1

Subject (Unit): Design Method

Program: EDEXCEL BTEC Levels 4 and 5 Higher Nationals specification in Art and Design

Award: Higher National Diploma in Art & Design

Institution: Vietnam Design Institute, 143 Ly Chinh Thang Str, Dist 3, HCMC, Vietnam

Date: April Term 2015

Example 2

Subject (Unit): Furniture Design and Processing

Program: Interior Design

Award: Bachelor in Interior Design

Institution: Ton Duc Thang University, Faculty of Industrial Fine Arts (FIFA), Chi Minh Cirty, Vietnam

Date: October Term 2015

Example 3

Subject (Unit): Bachelor Thesis Project




Date: January Term 201

1. EDUCATIONAL PHILOSOPHY STATEMENT

As a full-time academic as well as a practicing interior designer, I am keenly aware of the necessity to establish theoretical and intellectual

underpinnings to support the technical foundations of the interior design lecturer profession. It is in the academic arena that such theoretical

underpinnings must be most rigorously promulgated, and the true test of theoretical architectural ideas occurs when these ideas are able to be

realised in built form. My charge as an academic is to encourage students to:

• investigate, to experiment and to develop a personal position in response to theoretical design enquiries;

• engage the requirements of habitation without diminishing the strength of conceptual and theoretical intentions;

• establish meaningful language and effective dialogues between architectural elements;

• and most importantly, challenge theoretical issues that carry relevance beyond the individual to the collective, beyond the collective to

the universal.

Architecture is fundamentally a three-dimensional discipline, and in teaching students to conceptualise three-dimensional design using

two-dimensional tools of expression, I conscientiously analyse how each particular student envisions form and space. I also encourage students

to challenge Architecture to move beyond traditional three-dimensional form, deriving the essence of architectural design from intimate

sensitivity to the human condition, issues of identity, and experiences distinctive to a cultural context.

I believe that teaching should simultaneously encourage the production of highly innovative professional calibre work from students,

promote students’ future careers through community exposure, and promote the university and its scholarly work within the wider community.

In this regard, I critically challenge students to identify themselves as representatives of “the new generation of designers” through

design research.

Most importantly, I use research to introduce students to diverse means by which the boundaries of architectural design can be actively

challenged to lead toward innovative design response. I teach them to actively reflect upon periods when social change was most

pronounced and to consider how the arts have historically been responsive to such change. Dramatic technological advancements or shifting

political and economic climates have always been paralleled by innovative responses in painting, sculpture, dance, film, and literature.

Yet Architecture often lags far behind, being very late to interpret major social transformations to which other art forms rapidly respond. I

encourage students to understand the importance of addressing contemporary social conditions as a means of discovering new avenues of

expression, as well as a means of appropriately addressing the needs of contemporary society. And when students become cognisant that

other art forms often find new means of expression in response to social change far earlier than Architecture, they learn to draw from these

art forms in establishing new and meaningful directions for architectural design expression.

Equally important within my educational philosophy is a fundamental commitment to AsiaPacific regional issues. My architectural

research for the past five years has involved in-depth analysis of symbolism and narrative in traditional and contemporary architecture

across Southeast Asia and the Indian subcontinent. I believe that the future lies not in western design overwhelming the east, but

rather in the west fully understanding, engaging and incorporating eastern sensitivities into its own design.

2. The Context

Since 2012 when I first entered Raffles Education Corporation, my teaching and research outputs have led to advancement in seven years

from Lecturer, to Senior Lecturer, to the highest step on the Reader / Associate Professor scale, as well as leadership positions including

Deputy Head of School, Academic Director of Vietnam Design Institute, and member of the Senior Executive Committee. While maintaining one

of the highest number of teaching contact hours per term in the Faculty of Industrial Fine Arts (FIFA), Ton Duc Thang University, I have made

significant contributions to rebuilding the entire Interior Design curriculum as an integrated programme based on strong international models.

Educated at University of Arts Belgrade and National Technical University of Athens, I have integrated the highest calibre international

methods of teaching into my courses. In conjunction with internationally acclaimed architecture firms, my professional work has received 4

design awards, been exhibited internationally in London, Milan, Bologna, Mexico City, Monterrey, Tokyo, and New York and has

appeared in eleven books, two journal monographs, and over 20 journal articles. Since my arrival at Ton Duc Thang University, I have been the

recipient often teaching awards, resulting in a total of ten teaching excellence awards during seven years of teaching.

3. Design for Learning

My teaching has had a unique impact on encouraging and producing professional calibre work from students, promoting students’ future careers

through community exposure, and promoting TDT University academic work within the wider community of Vietnam. I initiated ongoing projects

in 2015 that critically challenged my students to identify themselves as representatives of “the new generation of Vietnam designers”

through design research. I challenged my students to research existing landmark buildings and their interiors within New Vietnam capital city,

with the objective of re-conceiving these buildings as international-calibre designs. These projects involved re-design of the entire Ho Chi Ming

City skyline, including the National Museum ,the BNZ Building, and the Saigon Port, as well. These projects specifically challenged students to

consider Vietnam’s current status in international design, while evidencing to the students the effect their own generation can have on

transforming perceptions about contemporary design culture.

In period 2015/16 as a Furniture Design Lecturer at TDT and Van Lang University, I supervised Interior Design students for local furniture design

competition “Hoa Mai Award” organized by Handicraft and Wood Industry Association of Ho Chi Minh City (HAWA). My effort was awarded with

participation as a jury member. The main goal was to build a base for the development of the Vietnamese design industry. 20 selected proposals

were produced as prototypes and exhibited at International Furniture Fair Singapore/ASEAN Furniture Show (IFFS/AFS) 2016.

I fully understand that each new generation of students may require a different “point of entry” relating to their own unique learning styles. I

spend a great deal of time coming to know the students in order to successfully adapt my methods of teaching, and I evolve my assignments

each year in response to each new generation of students’ needs. Most importantly, I assign projects that expressly require my students

to acknowledge their own generation as a unique and persuasive contributor to contemporary design culture. Throughout this portfolio, I will

share some of the works of my students in affirmation of the success of my objectives.

4. Teaching Practice

In this section I will document my past and current teaching duties and related roles and responsibilities. This section covers:

● Courses I have taught, supervised and/or coordinated.

● Honours students I have supervised.

● Materials I have prepared for courses.

● A brief description of my approach to teaching, attempt to cater for the diverse cultural, learning style and motives of my students.

● Assessments of student work.

● Evidences of professional development of teaching skills and/or disciplinary enhancement.

Example 1

Subject (Unit): Design Method

Program: Edexcel BTEC Levels 4 and 5 Higher Nationals specification in Art and Design

Award: Higher National Diploma in Art & Design

Institution: Vietnam Design Institute, 143 Ly Chinh Thang Str, Dist 3, HCMC, Vietnam

Date: April Term 2015

Unit Syllabus

Aim

This unit aims to give learners opportunities to develop skills and knowledge in the development of new products

or services in design pathways.

Unit abstract This unit focuses on understanding and applying the design development cycle when creating a new product or

improving an existing product or service. The design development cycle encompasses the process from initial concept through to design and production, including

reviews at various stages. Learners will explore the stages and methodology relating to design methods and apply them to their own work. Learners will be encouraged to develop an analytical and methodical approach and to use

evaluation and review to develop work. Design methods used to develop products or services should be innovative

and could involve a new product, an improvement to an existing product or the application of new technology or materials. Learners will be expected to apply the fundamentals of design methods when developing their

own product and to develop resourceful and innovative design solutions to a brief. Rigorous review and testing of ideas should be used to encourage debate and development of ideas. Production methods should be researched

and learners should show an understanding of the relationship between design and the creation of outcome. The commercial context of the work should be

considered and this can be achieved through working to a brief, considering costings, the needs of end users, the

environment and issues of sustainability.

Learning outcomes On successful completion of this unit a learner will:

1 Know the phases of the design development cycle 2 Be able to plan a project using the design development cycle

3 Be able to use imagination and innovation in the development of a product 4 Be able to propose design improvements to the production process.

Unit content

1 Know the phases of the design development cycle

Brief: eg identify client requirements, identify problem, produce proposal Research: eg materials, context, past solutions, other designers, processes, costings, environmental issues,

sustainability

Develop ideas: eg materials, research alternative solutions, produce models, prototypes, review, test ideas, communication

Produce: eg prototype, finished solution, evaluation, improvement

2 Be able to plan a project using the design development cycle Project brief: planning eg identify problem, specifications, constraints, end user, production

costs, materials, techniques

Research: eg competition, ideas, theoretical investigations, materials,processes, market drivers, problem solving Costs: budget eg materials, making costs, alternatives eg cheaper materials, lean manufacturing

3 Be able to use imagination and innovation in the development of a product

Designing: eg innovation, alternative solutions, preferred options, ideas generation, product development,

experimentation, selection, modification, ergonomics Design responsibility: health and safety; legislation; safe manufacture; product life span; sustainability

Developing: eg roughs, visuals, testing of ideas,working designs, samples, maquettes, selection

4 Be able to propose design improvements to the production process Product: eg packaging, vessel, object, service, graphic product, functional item, decorative object, garment,

accessory, COSHH compliant, ecologically sound

Production: eg making skills, one-off, small batch production, rapid prototyping, design for industry, manufacturing, construction, process, production costs, product liability, product life span

Evaluation: eg testing, measure performance, analyse feedback, function, fitness for purpose, use of skills, self-

analysis, time management, organisation, work, quality, work rate, teamwork, research, communication,

effectiveness, employability, career development

Commercial context: eg market place, client, end user, price, costs, production methods, competitors

Essential requirements

Learners need access to a workshop with equipment they need for their area of design specialism. Sources for

research include access to relevant manufacturing and production processes, specialist publications, galleries, exhibitions and practitioners.

The focus of this unit is design development and learners will need access to appropriate materials and workshops in order to complete samples and prototypes.

Teaching Practices

The following instructional practices been supported by a substantial amount of empirical evidence and are applicable to particular subject area.

They been recommended for use by programme handbook to develop students design thinking and creativity.

The recommended practices are divided into four categories:

1. Presentation of Materials

2. Field Trips and Workshops

3. Student Assignments and Testing

1. Presentation of Materials

To present material effectively:

1. Provide overall organization of the lesson (Scheme of work-Weekly Planner)

2. Present material that is at the right level of difficulty for students’ current knowledge

3. Present closely in time and space ideas that need to be associated (Contiguity Effects)

4. Present coherent, well-connected representations of the ideas to be learned

5. Present information in manageable segments to regulate cognitive load

6. Present materials in formats that require effortful cognitive processing by students

7. Present materials that precipitate cognitive conflict

8. Interleave worked example solutions with problem-solving exercises

9. Ask deep explanatory questions

10. Connect and integrate concrete and abstract representations of concepts

11. Combine graphics with verbal descriptions

12. Help students to correct their subject-matter misconceptions

Figure1.1. Sample of overall organization of the lessons (Scheme of work-Weekly Planner)

Figure1.2. Sample of self-prepared teaching material and on-line presentation for students:

Design Development Cycle

On line source: https://prezi.com/vvz7-fr9qhdv/design-development-cycle/

https://prezi.com/vvz7-fr9qhdv/design-development-cycle/

Figure1.3. Furniture Design Teaching Material

On Line Source: https://prezi.com/bgbsaswmxtty/furniture-design/

https://prezi.com/bgbsaswmxtty/furniture-design/

2. Field Trips and Workshops

Figure1.4. Field Trip to Furniture Company: DISTRICT EIGHT, Ho Chi Minh City. May 2014.

Purpose: Understanding of product design, furniture production, materials, processing and distribution

Figure1.5. Workshop at HAFELE Showroom. Ho Chi Minh City, May 2014

Purpose: Understanding of cabinet making, joinery, fitting, product strategy and distribution.

3. Student Assignments and Testing

In-class and homework assignments, quizzes, and exams were important components of teaching subject: Design Method. They helped students

to learn when implemented according to these recommendations.

Have students work on problems that vary in content and complexity

Schedule studying over time and over several sessions(Spacing Effect)

Use assignments that are goal-directed

Use assignments that are at the right level of difficulty for students’ current knowledge

Have students work collectively on challenging, real world problems in the topic area

Include requirements that involve the student engaging in reading and writing

Give clear, explanatory, and timely feedback on responses, assignments.

Sustainability

Assignment policy also was focused on specific issues related to sustainability. Models for sustainable decision making and applications to new

situations. Students were encouraged to research sustainability issues, to think critically, and to form and defend their opinions. They learned how

to find creative solutions for complex problems related to sustainability, and to be aware of the future consequences of their decisions.

Existing syllabus helped students to develop ability to:

Identify/recognize a sustainability issue or concern.

Identify and consult with stakeholders affected by the issue.

Research the positive and negative impacts to the health and well-being of people, the environment, and the economy.

using technology to learn and making connections among technology, society, and the environment

Assess the options as to their positive and negative impacts on the health and well-being of people, the environment, and the economy.

Figure1.6. Assignment Brief Sample: Assignment Brief 1 (MP1)

Figure1.7. Assignment Brief Sample: Assignment Brief 2 (MP2)

Figure1.8. Assignment Front Sheet Sample

Figure1.9. Student Work. Assignment no.1 (MP1)

Figure1.10. Student Work Compilation. Assignment no.2 (MP2)

Example 2

Subject (Unit): Furniture Design and Processing




Date: October Term 2015

Course Outline

Course Details

Course Title : Furniture Design Advanced Module Type : Major Required - Optional Credits: 3

Course Aims

The aim of this course is to provide you with the necessary knowledge and skill set to advance your understanding

of the concepts, production methods and technologies that are available to professional designers in the development of furniture. Student will also be introduced to fundamental topics such as: specification and documentation methods, development models and prototype production, and brand and business models that support furniture design production and exhibition of furniture. Students will advance their skills outlined above and explore their design philosophy at a theoretical level in addition to writing an award and exhibition proposal and submitting an application.

Expected Learning Outcomes

Students who pass this course will be able to: 1: demonstrate compositional, aesthetic awareness in their design development work including innovative and creative thinking when prototyping furniture. 2: appropriately engage material fundamentals and manufacturing processes in their design work and demonstrate an understanding of their design process and an ability to manage their time effectively. 3: progress their ability to present ideas and concepts at a personal and presentation level in order to communicate ideas to the industry. This includes the ability to understand and appropriately apply modelling (physical and digital) skills, concise explanation writing and specification documentation learnt in core courses to their design work for the development, production, and branding of furniture.

4: work effectively - independently, and in collaboration - in a professional manner with workshop staff, external producers, and sponsor company to review and critique process and outcomes

Assessment Framework

1. Project One Lenth: 4 weeks % 40 2. Project Two Lenth: 4 weeks % 60

Learning and Teaching Strategy Classes will consist of lectures, discussions, presentations, case studies, exercises, tutorials and project reviews.

Teaching Format

Course will be taught primarily through workshop and studio sessions. The course coordinator will give most of the lectures. Other staff and professionals from outside the school will also be invited to lecture during the course. A short lecture and seminar discussion will take place at the beginning of each week. In a group setting, work is to be undertaken during the studio sessions on independent projects in collaboration with tutors and fellow students. At the start of the first studio of each week, an informal critique takes place where students briefly present their design progress or issues - all students are expected to offer support and feedback during these sessions. In this course student will learn and use your design, detailing, and production skills to prototype furniture, the developed concept, based on the sponsor company’s brief. Student design development response will need to be resolved to a very high level (market release ready prototype) of visual sophistication and demonstrate an understanding of the key themes, issues of use, and production. The student group are expected to investigate at a theoretical level with an engaged and referenced critique of these areas in regards to their design. Assignment work is all project-based; the design prototyping, a writing/specification, and a group exhibition project are undertaken during the course. All of the projects systematically build upon one another, strengthening the student’s ability to successfully engage progressively in more complex and sophisticated design challenges. Students independently prototype and collectively exhibit their design prototypes. An independent project, involves

being able to write about the furniture and demonstrate a clear understanding of the issues of research, culture, context, craft and production. Group work will make up to 15% of the course and will be part of project Two. Project two – Part 2: the collaborative final installation of the prototypes will be exhibited at the end of the course for assessment. This project will involve the class developing and documenting the design and the production of the installation and associated information (such as catalogue, PR, invites) that will be presented in the final presentation and installation. The project Two hand out will clearly outline the assessment criteria: how any group work assessment will be calculated, and the contributions that are expected from each student. A submission requirement of this project will be a timesheet and a credit list of work undertaken, signed by each class member. The assessment student will receive for the group work is based on this information.

Topics Covered / Weekly Le

cture Schedule

Week 1 : Introduction to Furniture Design. Ergonomic

Week 2 : Cabinet Making. Shelving Units.

Week 3 : Chair Manufacturing. Solid and Laminated wood. CNC Technology

Week 4: Assignment no.1. Research Topic. PPT Presentation

Week 5 : Field Trip. Furniture Company. Assignment no.2. Idea Generation. Model

Week 6 : Revision of Topics. Assignment no.3. Final Project Presentation and Prototype

Syllabus Outline

Introduction to module materials Field trips to production workshop

Workshop of 3D models Development of design projects Presentation of projects

Key Readings

Required Texts Postell, J C 2007, Furniture Design, John Wiley& Sons, USA. Stem, S 2003, Designing Furniture, The Taunton Press, USA. Reference Texts Byars, M 2006, New Chairs, Laurence King, UK. Cache, B 1995, Earth Moves: The Furnishing of Territories MIT Press, USA. Osman, J H 2005, Sourcebook of Modern Furniture, W.W.Norton & Co, USA. Pile, J 2002, Furniture Modern + Postmodern + Design and Technology, Interscience Publication, USA Saville, L 2006, Design Secrets-Furniture-50 projects uncovered, Rockport Publisher, USA. Reference Journals Interior Design, USA Vogue Living, Australia (Inside) Interior Review, Australia IQ, Interiors Quarterly, Singapore Frame, Netherlands Wall Paper, UK Domus, Italy

Academic Integrity, Plagiarism and Copyright

Academic Integrity

Academic integrity is important because it is the core value on which the University’s learning, teaching and research activities are based. University staff and students are expected to treat academic, intellectual or creative work that has been done by other people with respect at all times. Victoria University’s reputation for academic integrity adds value to your qualification. Academic integrity is simply about being honest when you submit your academic work for assessment Student must acknowledge any ideas and assistance you have had from other people.

Student must fully reference the source of those ideas and assistance.

Student must make clear which parts of the work you are submitting are based on other people’s work.

Student must not lie about whose ideas you are submitting.

When using work created by others either as a basis for your own work, or as an element within your own work,

student must comply with copyright law

Plagiarism 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 staff

Information from the internet

Software programs and other electronic material

Designs and ideas

The organization or structuring of any such material

Learning Outcomes

Furniture Design course was designed to give students knowledge and understanding of the visual and functional qualities of furniture and how it

is designed. How to develop an understanding of a range of materials and select appropriate manufacturing processes in exploring construction

and fabrication used in furniture design. They developed high-level competence in controlling the creative process from inception to realisation.

Students will be expected to develop an understanding of the role and responsibilities of the designer and designer-maker in a commercial

context, including one-off, batch and mass production, and to develop the ability to communicate 3D ideas through 2D drawing techniques

and 3D making, modeling and prototyping skills.

On successful completion of this course students become able to:

• Understand the visual, tactile and functional characteristics of furniture and related products

• Understand the making processes required to meet design requirements

• Demonstrate skills in design development, using appropriate techniques to communicate ideas and respond to identified needs

• Apply professional practice in furniture design.

Major theoretical and practical topics:

• INTRODUCTION TO FURNITURE

• HISTORY OF FURNITURE

• ERGONOMIC

• DESIGN & PROCESSES

• METALS FOR FURNITURE DESIGN

• DESIGN FOR PRODUCTION

• CABINETS, DOORS AND DRAWERS

• EXPERIMENTS IN FIBER COMPOSITES

• CNC FURNITURE PROCESSING

• EXPLORING UPHOLSTERY FROM THE BASICS TO THE EXTREME

Furniture Design Course, implementation and evaluation of student work was divided in four stages.

Figure 4.1. Furniture Course Organization

Figure4.2. Furniture Course Schedule

Learning and Supporting Material

This material has been developed for students to support strategies for positive learning outcomes. It was not designed to be used in its current

form as a student handout but to be used to support student understandings of what is involved in brief development and to guide and support

students to use this as a model for their future practice.

Learning Material was provided to students in “Hard copy” form, and on line selfprepared presentations in PPT form at “Slideshare” and “Prezi”

web platforms. Here are few samples:

Solid Wood in Product Design: http://cdn.slidesharecdn.com/ss_thumbnails/1-150824135859-lva1-app6892-thumbnail.jpg?cb=1440425159

Furniture Design Part 1: http://www.slideshare.net/sinisaprvanov3/michael-thonet-vs-alvar-aalto-part-i

Part 2: http://www.slideshare.net/sinisaprvanov3/michael-thonet-vsalvar-aalto-part-ii

Part 3: http://www.slideshare.net/sinisaprvanov3/michael-thonet-vsalvar-aalto-part-iii

Figure4.3. Furniture Course Material

Also very useful on line student portfolios from other design schools abroad presented on “ISSUU” web platform:

Furniture Design Portfolio Sample 1: https://issuu.com/vanessayuenyeechan/docs/fpd_portfolio-yuen_yee_chan

Furniture Design Portfolio Sample 2: https://issuu.com/nicolamurphy9/docs/final_portfolio

Furniture Design Portfolio Sample 3: https://issuu.com/ctgarcia/docs/garcia_furniture_portfolio_2016_pag

Furniture Design Portfolio Sample 4: https://issuu.com/kiranprasanth/docs/portfolio_-_furniture___interior_de

http://cdn.slidesharecdn.com/ss_thumbnails/1-150824135859-lva1-app6892-thumbnail.jpg?cb=1440425159

http://www.slideshare.net/sinisaprvanov3/michael-thonet-vs-alvar-aalto-part-i

http://www.slideshare.net/sinisaprvanov3/michael-thonet-vsalvar-aalto-part-ii

http://www.slideshare.net/sinisaprvanov3/michael-thonet-vsalvar-aalto-part-iii

https://issuu.com/vanessayuenyeechan/docs/fpd_portfolio-yuen_yee_chan

https://issuu.com/nicolamurphy9/docs/final_portfolio

https://issuu.com/ctgarcia/docs/garcia_furniture_portfolio_2016_pag

https://issuu.com/kiranprasanth/docs/portfolio_-_furniture___interior_de

Also articles about Ergonomic, manufacturing techniques and CNC processing.

Ergonomic and Human Dimensions:

http://besitee.site/pdf-online/h/human-dimension-and-interior-space-by-julius-panero-and-martin-zelnick-5091.pdf.

CNC Furniture Production:

http://www.slideshare.net/ssuser6d1143/furniture-design-46398209?qid=7e841a3d-00bc-4a89-84cb-ed5117ad35b8&v=&b=&from_search=41

Furniture and Joinery CNC Production: http://www.gearingmediagroup.com/

Video Links related to CNC Furniture Production:

CNC Panel Production: https://youtu.be/3xkhHmCfbBs

CNC Solid Wood Fabrication: https://youtu.be/b95zanOYb-U

From SKETCHUP to PRODUCTION: https://youtu.be/FTWR9iovgrs

Figure4.4. CNC Folding Chair. SCAD University Savannah, GA ,USA.

http://besitee.site/pdf-online/h/human-dimension-and-interior-space-by-julius-panero-and-martin-zelnick-5091.pdf

http://www.slideshare.net/ssuser6d1143/furniture-design-46398209?qid=7e841a3d-00bc-4a89-84cb-ed5117ad35b8&v=&b=&from_search=41

http://www.gearingmediagroup.com/

https://youtu.be/3xkhHmCfbBs

https://youtu.be/b95zanOYb-U

https://youtu.be/FTWR9iovgrs

Figure4.5. Evidence of consultancy and student progress between stage 2 and 3

Figure4.6. Evidence of Field Trip to Furniture Company

Purpose: Understanding of solid wood furniture production, finishing and upholstery

Figure4.7. Evidence of Student Work (Stage by Stage) Student: Le Hyunh Anh Thu

Assignment no.1

(Test 1) Idea Generation

Weight 10%

Student:

Le Hyunh Anh Thu

Assignment no.2 (Test 2)

Presentation 1

Weight 30%

Student: Le Hyunh Anh Thu

Assignment no.3

(Test 3)

Final Project Weight 10%

Student:

Le Hyunh Anh Thu

Evaluation

Marking Criteria

and Overall Grade: 8,00

Figure 4.8. Evidence of Student Work. Assignment 2 & 3. Student: Hoa Minh Nguyen

Figure 4.9. Evidence of Student Work. Assignment 2 & 3. Student: Minh Anh Truong, Ho Anh Nguyen, Hoa Sen Mai

Figure 4.10. Evidence of Student Work. Assignment 2 & 3. Student: Truonh Thi Ngoc Yen

Figure 4.11. Final Project Evaluation and Exhibition

Ton Duc Than University (FIFA), Ho Chi Minh City, December 2016

Example 3

Subject (Unit): Bachelor Thesis Project




Date: June 2015 - January 2016

Thesis Process

Interior Design students complete both a written and a design thesis, supervised by their graduate faculty committee. The thesis process and

guidelines were defined in the Thesis Guidelines Document.

In Spring Semester of pre-thesis year, Design and Research Methods subjects works to establish a foundation for the written thesis and for site

research in the summer preceding thesis year. Students develop and present a preliminary thesis question in poster format to the graduate

faculty. This encourages discussion and allows students to begin forming their thesis committees. Writing and diagramming exercises hone both

textual and graphical communication with a focus on academic discourse. Independent research, guided by their instructor and thesis committee,

informs individual methodologies and the development of a thesis draft. At the end of the semester, 80% of the written thesis is complete,

allowing time for revisions, site selection, and site analysis during the summer.

In the summer before thesis year, students engage in independent work under the supervision of their committee chair. Thesis Coursework is

focused on refinement and revision of the thesis draft and Site Analysis works to select a site or potential sites and conduct preliminary site

analysis.

In Fall Semester of thesis year, students are encouraged to submit to other relevant conferences, encouraging participation in academic discourse.

Written thesis presentations occur early in the semester to the thesis respondent At this point, students begin their design thesis, including site

selection, site analysis, programming, and schematic design, regularly consulting with their thesis committees.

In Spring Semester of thesis year, students must regularly consult with their committees for feedback and critique throughout this critical period.

Near the end of the semester, the thesis respondent attends the thesis presentations to critique each student’s design thesis in light of their

written thesis.

Thesis Schedule

1. Thesis Planning Dates and Guidelines Abstract

2. Spring and Summer Thesis Development Schedule

3. Written Thesis Proposal

4. Thesis Committee Selection

5. Written Thesis Assessment

6. Summer Thesis Development

7. Thesis Development

8. Summer Work Assessment

9. Design Thesis Guidelines

10. Graduate Thesis Assessment

11. Thesis Defense

Thesis Planning Dates and Guidelines Abstract

I. Spring. Students begin the written thesis process .Process includes the Written Thesis Proposal and the formation of the Thesis Committee.

II. April Students meet with their Thesis Committees and formulate a summer research plan. Documentation of their three thesis sites and site

analyses.

III. August Students supply their thesis committee chair with a substantially developed draft document with bibliography, notes, and illustrations

by the second week of August. This draft document and the preliminary site documentation and program serve as a prerequisite for enrollment.

IV. Sept-Nov Written thesis document completed for presentation and submitted. Oral presentations occur over two days moderated by a thesis

respondent, faculty moderators and the thesis committee. Students begin submission of the written thesis to additional relevant venues.

V. December Students present program site analysis, site investigation process, site design proposal, and schematic building design process and

ideation at the end of the semester review, working in concert with their committee.

VI. Jan-March Comprehensive assessment review of thesis progress (typically prior to spring break) in the form of a full presentation mock up,

final design scope, and signed presentation contract agreed upon between the student, instructor and thesis committee.

VII. April Thesis Design Presentations. Design grade established in consultation with the instructor and thesis committee. Students develop a

written addendum to their thesis document to include reduced project drawings and a critical concluding section exploring the relationship

between their theoretical frame and design outcome.

VIII. May Completion of thesis document (text and design documentation). Submission to their committee for signature at least one week prior to

graduation. Committee members must approve completed document content before they sign cover sheets. Graduation cannot occur until a final

grade is approved and signed documents are deposited with Graduate Department's Administrative Assistant.

Figure 5.1 Sample of general thesis writing Instructions provided to students in early July 2015

Figure 5.2. Evidence of Student Work. BA Thesis Project: “DECKO” Office Design


Figure5.3. Evidence of Student Work. BA Thesis Project: “DECKO” Office Design












Figure 5.5. BA Thesis “ ADOBE Office Design”

Student: Nguyễn Thụy Thanh Thảo









Figure 5.10. BA Thesis Defence. January 2016. Ton Duc Thang University, Faculty of Industrial Fine Arts, HCMC Vietnam

Members of Thesis Committee:

Prof. Ma. Thierry Defose

Prof. Nguyen Bao

Prof. Dr. Sinisa Prvanov Prof. Ma. Giao Thanh Pham

Teaching Goals: Short and Long-Term

I worked in professional design for about seventeen years in Greece before moving to Asia, and I had the opportunity to be a lecturer and critic. I

really enjoyed it, so when the opportunity at Raffles Design Institute opened up to get involved in teaching I was really excited. I also had a few

teachers in my undergraduate studies who were huge mentors and had a big impact on my life. Teachers can change your destiny, and I wanted

to have that kind of impact.

In the beginning my primary goal was to offer fundamental interior design training and to encourage students to discover, analyze, and solve the

problems independently. As an instructor, I was worked hard to gain the success of my courses and program. It is interesting to see the level of

improvement from start to finish. If you look at projects at the sophomore level and set them side-by-side with senior-level projects -- that is how

you can gauge success. The change is mind blowing. How students grow in that short time defines if a program is great or not.

Some challenges are typically associated with technical instruction and program. There are two sides. One area is hands-on skill sets. Students will

build models, draft by hand, and mark up renderings -- there is a lot of technical instruction teaching students how to craft with their hands. The

second part is the computer programs that are critical to our industry and critical for students to advance and excel in. They have to learn those

technical skills, and they are skills that they can infuse with their own creativity once they get a grasp on their technical ability.

Teaching strategies are very important to help student’s difficulties in concepts or subjects. I feel very strongly that people learn through

repeating a process over and over. When I teach the process of design, I try to break it down into methods they can approach with a step-by-step

solution, so they have a chance to practice the same five or six steps applied to the same problem.

During the last few years, Interior Design has experienced a rapid evolution. From a focus on sustainability to an increased reliance on technology

to a growing demand for enhanced professionalism, Interior Design continues to progress despite bleak economic forces that seemed primed to

stunt such growth. But considering that the heart of the profession is education, Interior Design programs at colleges are still not effective.

Today’s students often have a different approach and attitude toward technology, with an expectation of quickly acquired knowledge. At times,

however, fast pace can threaten deep knowledge and critical thinking. Therefore, it is our responsibility to instill value of in-depth knowledge in

learners, as this is a key to complex problem-solving that today’s challenges require. Technology, in fact, can make deep knowledge acquisition

very possible, if we take steps to direct it to do so.

A defining factor of Interior Design education in 2010 is the integration of technology. Technology has served as a significant catalyst for changing

how educators and students not only share knowledge, but also how students think about design and how they communicate design ideas.

The next evolution on the technology front may be online Interior Design education. A lot of Universities recently launched an online Interior

Design bachelor’s degree program, and many educators expect more schools to follow suit in the near future. Given current students’ need for

flexibility in their schedules and their deep understanding of technology and mobile devices, online education is an inevitable part of the future of

Interior Design. We’re still in a time of transition. Many Interior Design education programs are still evaluating the best methods of delivering the

various components of design knowledge through online learning. There are opportunities for online hybrid approaches, where students could

choose to take certain courses online while taking others in a physical setting.

This focus on collaboration and integration is helping produce Interior Design graduates who are able to see the big picture.

One change I’ve observed over the past few years is that a number of Interior Design students are coming out of school with more than an

Interior Design degree. They have been exposed to — or purposely studied — other related areas, such as lighting design, business, planning,

sustainable design, and have sometimes taken classes with architecture students. Interior Design students today have a better understanding of

the profession and its place in society.

My personal goal for my future classroom is to challenge students and watch them grow to their full potential. I want to take students at different

levels and see them develop together for the betterment of each individual. Therefore, group work is the key to having a successful class and is

something I value, especially with older students. The impact of group work, when students help fellow students, changes each person and

transforms the atmosphere of the class as a whole. In my classroom, I want students to have freedom that allows for expression and creativity.

Students should be able to experiment with likes and dislikes and to realize their strengths and weaknesses. After this base is developed, the

curriculum can be molded to tie in each student’s learning style. I want to teach students in a way that has some straightforward instruction, but

that also gives students room to grow and expand on their own. At the beginning of the year, it is understandable for the teacher to lead class

discussions, but towards the end of the year, students will pose their own questions and try to answer them independently. I feel it is beneficial

for students to sometimes work for the answer rather than being told because it stretches their knowledge and teaches them how to find

information in a variety of ways. I also feel a key to success is for the class to work on projects to help others. As an educator, it is important not

only to help the students that you are teaching, but also give them direction to help others. One of the mine most important personal teaching

goals is to bring inventions in teaching methods. Getting innovative teaching ideas and tools from teaching associations as Interior Design

Educators Council (IDEC). Focused on and engaged with critical contemporary issues. Places project-based learning at the center of the

educational experience. Permanently helping students to attend workshops and to participate at local and international student competitions.

As a Interior Design educator, it is critical to remember to enjoy students and everything they have to offer. Sometimes it can be a struggle, but if

something goes wrong, there is always a way to fix the problem. No matter what, there is always the power to make change.