Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Jon mortimer - Assessing Creativity

Jon Mortimer addresses subjectivity in the assessment of Art and Design undergraduate students.

  • Login to see the comments

Jon mortimer - Assessing Creativity

  1. 1. The problem of Jon Mot-tamer BA(}-Ions. ) Fl-{EA Programme Leader: Lnberior Design Assess: _g_ Crea vlty a case study looking to address subjectivity in the assessment of Art & Design undergraduate submissions Conference theme-5 acdressec importance of student and staff assessment literacy clarity of guidance and assessment criteria importance of the quality of feedback timing oi assessment putting in place processes that Join assessment up students’ partidpation in assessment as stakeholders technology enhanced assessment Learning and Teaching conference Revisiting Assessment 9th July 2015 The Centre for Academic Practice Enhancement (CAPE) Mldciesex University, Hencor From opaque judgements, through translucent opinions to transparent criteria; projected dialogues & rubric cubes. Middiesex University london
  2. 2. Let's start at the end
  3. 3. | ransgarenc In 355 ssme t
  4. 4. Yet, in the teaching of Art 8: Design assessment procedures can be, in this educators experience, yens| u., sc: :r. ; and og: ::sc_«a= e wow: -;: , after all, appreciating creativity is subjective isn't it? This talk details one small ongoing attempt to get something like into one undergraduate programme, using two simple processes.
  5. 5. Here's the headline news
  6. 6. Assessment and Feedback satisfaction grades (National Student Survey) given by the students of the Art & Design under-graduate programme studied ZO12=58% 2013=71%
  7. 7. .. _ V‘ . 7_ W . _ _. .' ‘ii at " i'i. i;J. ::. cZ "ml. I-. _~s, , . ,.': ‘7_-"‘ ". .". ' ‘ " C 4' _ “-. -"nil. .". "”. "." and more generally, the problems inherent in assessing creative submissions (and the difficulties in the concept of ’connoisseurship’).
  8. 8. Lets talk about The National Student Survey
  9. 9. National Studentsurvey As‘ sssss mm ~~~~ -ssmvnt r1 / i*~. l;; r1 finally the students have an opportunity to ‘judge’ tutors that have, year on year encouraged, urged, pushed, prodded & cajoled their students into better learning experiences, and have passed sentence (through the summative grade) on each stage of that students development, each step climbed, each submission completed.
  10. 10. A5t’i%%‘il%ity »'‘x‘? *'»¢‘'a1“'-''/ k ‘ ‘ F“I"‘TC . .;, ~. —,i »-; . V‘ IX’! 3*; [’/ i»—. i;; r1 National Student Survey You would think that the students might wish to use this opportunity to deal out a little on the front line tutors. "The teaching on my course” is consistently the highest scoring area of the survey nationally and its climbing (2013 86% satisfied, 2014 87% satisfied).
  11. 11. National Student Survey Nor do they use this as an opportunity to take a swipe at the institution itself, the management, learner resources or their personal experience.
  12. 12. Assessment & Feedback most criticised in the NSS
  13. 13. NSS Q7. Feedback on my work has been prompt ’ ‘ 0 ~. -’-' / / x 0
  14. 14. NSS Q5.The criteria used in marking have been clear in advance -« rp-
  15. 15. perhaps the assessing tutors are finding the new processes onerous
  16. 16. ASE’? -:ill5it / ‘t-29¢--—. t:, “-i" {K 3: » -; r‘‘. :'-'': Y National Student Survey 3‘ “Its , and once you get used to it, . You can place « I and show a student where they need to concentrate more efiort, and I get to go home on time for a change. ” ‘A A71 5; r; v.»~. :,. l
  17. 17. Before we look at the processes this programme uses its necessary to consider the problem of assessing creativity
  18. 18. Creativity can be difficult to quantify this is how it's explained to undergraduate students on the course
  19. 19. This is a mathematics question. .. In the equation 3x + 2 = 8 what is x Answer x = 2 We want to get the 'x' on it's own. Start by subtracting 2 from both sides: 3x + 2 — 2 = 8 — 2 3x = 6 Then divide by 3: So x = 2 In mathematics it is reasonable to expect that there is an answer to a question. .. E
  20. 20. ls: 6 Jug . -Q} @H. l'= £-‘v. '. n€-{Ts-T, §.a= oF. v —, §,-¢, —;| -F fag _; i."‘£. .§~I gag ‘V rt . ' 3 "ll " I ‘I l‘ ’ : l 5 A1 I. 4' ‘ l‘ l. " '- pl. 3 l: K. ‘i'. "l ‘V: at 3 aid»; -aclrphéi‘ ': :&h ltihaficiia tlsfisfizsltu 09:’ L91‘ list: . ' l: %’¢‘. ‘raK%:9 x'@ 49 6?‘ G»: What is blood made up of? Plasma 55%: Plasma is a straw-coloured fluid in which blood cells are suspended. It is made up of approximately 90% water as well as electrolytes such as sodium and potassium and proteins. Red Blood Cells (Erythrocytes) 44%ZThe main function of red blood cells is to carry oxygen. RBC’s contain a protein called Haemoglobin. This combines with oxygen to form Oxyhaemoglobin. White Blood Cells iLeucocytes) 0.5%. ihere 0 number of types of white blood cells, although he function of all of them is to help fight disease and infection. They typically have a lifespan of a few days and there are only 5-10 thousand WBC's per micro—litre of blood. plofexflefs (]'h, -(Pm "?8Xtt%§*9é%%: Platelets are disc shaped cell fragments whic are Invo ve load to prevent the excess loss of body fluids. fig sf“ . % -9% «eye. _, (pg rye fifixlr (51 -f7". -rig. app» :14‘ ' l‘: ‘ < ‘ “ ‘ " < ’- tr " “ . V : " = r ‘.1 r r 53:’-‘-39¢‘ am! also al‘¢a. —“’“‘ vised cl» Lia. 5' léi-'9‘ 3 wlxfifl lite-. -Iaialzsgl-Jshili-‘as *, "‘-. --. «- en: 77*, ‘ as ex-»g'i5%-'? ,.«; :~*~. _p_-, r~+= f walks» »’ Iu; ‘*@"IxL; c.afi7t' «'9 v9
  21. 21. This is a ‘design’ question. .. I want to sell bread in a shop in the high street. The bread is naturally produced, from organic flour using traditional methods, it will be more expensive than supermarket bread, but tastes much better and is better for you, we need to make sure people think about this when they look at our shop. What is the best form, layout, 8. style of the interior, and what finishes could I use? In design it doesn’t matter how simple or how detailed the question is, there will be thousands of possible answers. ..
  22. 22. And there are always more quest’ - ‘_ W o be asked. .. -:5 ~' *~. :l '1'-n. I" I 7 . ' ° : ' ‘ _ , . I _ . 1' *. vi , ,' ‘ o 9 ‘ I *1‘ 1 , .
  23. 23. So, the job of a tutor is to help you (the student) to think about the right questions, and what your personal answers to those questions are - tutors can’t tell you what the ‘answer’ is, there isn’t one answer, but we can help you to look for it, and tell you when your answer seems correct. .. and when we think you are capable of finding a better answer than the one you have.
  24. 24. Students are taught to see creativity as something that comes through a process of asking increasingly complex questions of themselves, their site and their ‘client’.
  25. 25. A question for you. Who would win ‘most creative’ artist of the previous couple of hundred years?
  26. 26. As ssi . V iel'€a{'l6|ty Assessing Assessment ll'1 Art & Design / mi G('_)é. ;llZ I l
  27. 27. As ssi , Eereagsity Assessing; Assessment in Art & Design l , gt. ‘ iw , /A ‘Q
  28. 28. A-“satin. ‘ ASSCSSlU{§ Assussnwcnt I g; in Art & Design
  29. 29. As ssi , Eereagsity ASSCSSll‘lf; Assessment in Art & Design
  30. 30. if i ~ _, _’ _ i ll . /»; ’ . <_: >'«' i. '1 ; K . ‘ 9 ‘( 1 '/ A‘t’i—£{t5ity Assessing; Assessntc-nt in Art & Design A '33-: "-. "l'ifi'li'i‘"‘I‘l"9‘iv; v‘4‘; i ‘lit i"'
  31. 31. . A . ' . ‘ ”rZ5a'{i‘5ity Van Gogh: simfloiuers (F4538), repetition of the 4th version (yellow backgrourid) Oil on canvas, 95 >< 73 cm Var‘. Gogn Museum, A'nsterdam, Netnerlands.
  32. 32. Van Gogh: Sunflovvers (F457), reoflca of me 4th vers? on (yellow green bac| <ground), OH on canvas, 100 X 76 cm Somoo Japan Museum of Art, Tokyo,
  33. 33. To people outside of this world creativity can be seen as a spark of inspiration, to a practitioner creativity is a process. The same is true for 3-Dimemsional design
  34. 34. "'°’E‘*rZ'°. =a‘{1‘§ity Gehry Architects: Guggenheim Museum in Bilbao, Spain
  35. 35. Gehry Architects: Weisman Art Museum, Miiriesota, USA .1‘! Y ; ’.. ._~t1i. ,.
  36. 36. Geh ry Architects: Walt Disney Concert Hall, Lo: /ig; -ge es, L73 ilor'i 3 USA
  37. 37. Gehry Architects: Weatherhead School of Mariagernent, Case Western Reserve University, Cleveland, Ohio I ll'l<
  38. 38. So we can recognise that creative submissions can encompass developmental, staged growth. The question to address is. ” how can this be acknowledged within the assessment process?
  39. 39. Connoisseurship The assessment of creativity is receiving increasing pedagogical interest and study. The current popular concept is that of , the judging of creative submissions as an "My key point is that art and design assessment is best understood as an artful practice - indeed it might be likened to a form of Connoisseurship. ” Orr, Susan. Making Marks: assessment practices in art and design
  40. 40. Connoisseurship This idea of the tutor as in matters of taste, receives favour within the Art & Design academic community as It amounts to: 'l, «_. l ‘: _ ; ‘ limit ‘I The assessment approaches adopted (by staff) reflect their interest in the individual students and their particular learning trajectories (Orr, 2010).
  41. 41. ASE’? -ésailliity » i~»-; r“. i'--‘it ir Connoisseurship when a tutor assesses a students creative work they are using their experience, their personal opinions, their emotional reactions to the piece submitted — in a word, subjectivity, ‘Professional judgement is particularly important in art and design’ because it is less 'amenable to precise specification in advance’. Yorke, Bridges and Woolf (2000, p.26) E? A71 5; [i'i‘nl; ‘1
  42. 42. Connoisseurship transparent Assessment Criteria
  43. 43. The programmes first act was to understand something of the current pedagogical thinking in Assessment.
  44. 44. As ssi . iereaggity Interior Design Student Work UG Level 6 Aggggging Assessment in Art 84 Design ”The more , the more helpful you will be to students. ” urookhart, S.M. — How to create and use rubrics for formative assvssrnont and grading
  45. 45. As ssi . iereagsity Interior Design Student Work UG Level 6 Aggcigging AW,55m(_. m in Art Design ”Despite many years of student surveys which identify low levels of student satisfaction with assessment and feedback, II A view of the Assessment and h‘. t‘db£lCk Landscape. baseline analysis of policy and practice from the JISC ASSL‘5SIT1(‘V‘l[8tl(‘(‘dbi! Ck pi'orr, iam. 'n<: ' iJlSC 'ei: iort by Dr Ferrell, G April 2012)
  46. 46. Phi! Race Quality of assessment Ch4 from Never Mind the leaching Feel the Learning. SLDA Paper 80, 1993.
  47. 47. As ssi . _ ‘ iereaggity Interior Design Student Work UG Level 5 ASSCSWW Asscssmem in Ar! & Design ”Students benefit from feedback on their learning. This places in order to in providing quality feedback. ” Assessment 2020 — seven pfOpO‘»lfi<. ms for Msessmc-nt reform rn h1;_{hx‘r<'cl1L'AhDn'lioud, D Au-; tra| mn Learning .9. leaching Council.
  48. 48. As ssi . ierealiéity Interior Design Student Work UG Level 6 Aggcisging A3§, _.W“(_. m in Ar! & Dr, -sign If it is couched in language students are not familiar with, they obviously cannot connect it with the strengths or weaknesses of their own wor . ” Developing Lfiecnve Feedback for Learning — Royce, D. Si Davies, L.
  49. 49. Interior Design Student Work UG Level 6 ”Current literature on assessment argues strongly that the process should be a one, with criteria that are to all concerned (assessors, those being assessed and moderators reviewing the process) from the outset. II Assessment for Learning: Learning and teaching in higher education — Brown, S.
  50. 50. As ssi . iereatigity Interior Design Student Work UG Level 5 Aggcgginfi A; Sgnjent in Ar Design The criteria for evaluating any learning achievements to students to enable them to have a clear overview both of the aims of their work and of / '3>i_“, a‘3mI. ‘l‘»Y for learning: Putting it into practice. Black. P. ; Harrison. C. ; UH}, L; Marshall, B: 8. Wiiiam, D. (2003).
  51. 51. Interior Design Student Work UG Level 6 I! Give people feedback on their performance, and help to improve it. , so that they can adjust their strategies accordingly ” ‘7’hil Race Quality of c'15‘; _‘55f71i, ‘D( Chd from rilcver Mind the Teaching Feel the Learning. SLDA Paper 80,1993.
  52. 52. II and to support better quality learning outcomes, it is necessary that II Assessment 2020 - seven propositions for assessment reform in higher education’ Boud, D — Australian Learning & Teaching Council.
  53. 53. Interior Design Student Work UG Level 6 students liked to see the feedback, but more to assure them that their essay had been read carefully and marked fairly. It is not inevitable that students will read and pay attention to feedback even when that feedback is lovingly crafted and promptly provided. ” Using assessment to suoport student iearning at ULA [adaptation of L| "(‘d‘i Metropolitan licence] — (3ibb<. ,(i
  54. 54. As ssi . fiieallény Interior Design Student Work UG Level 6 ASSes§inE§AS§{ISSn1€nt in Art & Design even when that feedback is lovingly crafted and provided promptly. ” Condmuns Under Wh-Lin Assessment Supports Students’ Learning G: Lii. Js, G. El Simps0n, C_
  55. 55. As ssi . ‘ ieeagsity Interior Design Student Work UG Level 5 Assessing Assessment in Art & Design ”The most efiective way to ensure that students are likely to pay attention to feedback is to provide it : fast enough that they are still thinking about their assignment and soon enough to be useful to them in tackling the next assignment. Using 6S'ui: >strtL‘r[ to support student iearriirig at ULA [adaptation uf Leeds iVii_‘L’()L1Ui| (dl'1il(_LlfiU3iGlbbS, G
  56. 56. As ssigg. ’ rea lty Interior Design Student Work UG Level 5 Assessing “Sm in & De ' n ” There may be a trade off between the rapidity and quality of feedback so that, for example, II Conditions Under . ’"‘ri rh . “‘~. ‘l"1§iTl| ‘(W' Support; Students’ Learning Gihbs, G. 8- Sirripsori, C.
  57. 57. As ssi . fieagglty Interior Design Student Work UG Level 6 Agwwng AW_. <W(, m in Ar! & Duwgn ”Feedback from teachers is a source against which students can evaluate progress and check out their own internal constructions of goals, criteria and standards. Moreover, II ‘F-orrnativu assessment and seif regulated learning: A model and seven pnnmplcs of good feedback prduticcf Nacol, D & Mackarlane Dick, D 200':
  58. 58. As ssi . Eeeagglty Interior Design Student Work UG Level 6 ; 1.3§(-. S“_,1‘—, ‘A;1S, .§§n‘_Q_, “ :8 Art & Di-mgr: Good quality external feedback is defined as information that helps students trouble- shoot their own performance II Rethinking Formative Asscssrnent in l~L: cl theoretical model and seven prinuoles of good feedback pld(_!1l_. ’ — NILo| ,D
  59. 59. As ssi . geaggity A‘3S("Slr‘. §§AS’, ‘ sment an Ar Dmigri Interior Design Student Work UG Level 6 ” it is well-recognised that students may have particular expectations of feedback as written comments on their assignments. .. , and that consider carefully , providing feedback at a time and in a way that students can learn from it and use it in their future wor . ” A l/ larkt, -Ll Improvement: lmnsforming assessment in higher cdumtion — HLA
  60. 60. As ssi . V _ Eereaggity Interior Design Student Work UG Level 6 rA“l; S(1S'lnt’7AS§'rl<§nV": {n{ Er; Art St Design ”Students signal the following quite clearly: , and as such give students a greater amount of inspiration and motivation when completing future academic work. .. II Vidl‘O irmdbark in l-light‘-' l dll(FlC'I0|'1I A Contribution to Improving the Quality of Written Hiidinack — l/1}“f'| l§l"l'1.P
  61. 61. As ssi . _ ‘ iereafigity Interior Design Student Work UG Level 6 ASSCSWW Asscssmem in Art & Design ” Feedback in general plays a vital role in skills teaching. What makes the feedback in the , thereby giving them a realistic picture of their own skills, or self-image. ” Video Feedback in Lducation and ivainir-; _;: i’uttii1gLc-awiinigir‘the Picture — i»ukkir= l<, G., irieni: i<t: m.N. S. i<iamer, L.
  62. 62. As ssi . iereatigity Interior Design Student Work UG Level 6 Ag3(i5§[ngAS§C55n1Qnt in Art 84 Design ”Teachers wishing to offer precise and systematic feedback on their students’ assignments face a Video l-ccdtmtk in Higher Ldutationz A Cortribution to Improving the Quality of Written Feedback — Mathisc. -n, P.
  63. 63. As ssi . i‘iea{i6.ty Interior Design Student Work UG Level 6 Aggcigging A3g, _.55,“(_. m in Art & Design , cost-effective for the organizations concerned and should ensure that learners find the tasks they are set manageable, relevant and developmental. Assessment for Learning: Learning and teaching | l'1 higher education — Brown. S.
  64. 64. ‘TI’ . . . .: '«A ~-'3 ‘X. - with cl any ta '. "5 . .C4 begins and to the si; uc7~erai; 'i’L‘hin . -. I I CI| L.; I|<: :-. LI I. is in: hours
  65. 65. Eessi T93 lty ; ; Assessnwnt = n Ar! & Dc-slgn As Review Process Assewry The common factor in most Art & Design submissions is the ‘ ’ when students submit their work as a presentation and receive immediate verbal feedback from tutors and peers. However, in traditional ‘pin-up’ format it is <liffw. u.: lt for fall : :mcl¢; =n'. ~; to ~; €~; « and t3ng.1;, o:: with the work, and for comments to be directly ‘connected’ to the specific work discussed.
  66. 66. Asiiésslllfiity " -as A s n I Review Process <‘“'~’»*-“s': - zn Art 8; D1-‘nlgrl By utilising both of student work and the process there have been two immediate benefits;
  67. 67. A5t’i%%‘ll%sty »"v<v--aw‘-" / x ‘ ‘ F“I"‘TC . .;, ~. —,a »-; . V‘ IX’! 3*; [iv»—. :;; r1 Case Study MDX Interiors Additional to verbal feedback Assessment & Feedback guidance in Art & Design often takes the form of written notes, summarising the tutors verbal comments. The problems with the old processes revolved around the wish to be thorough yet fast in providing feedback, resulting in notes that were sometimes not supportive of the students learning experience.
  68. 68. “5i*iZ‘a'll%sty Case Study MDX Interiors p~ n; x7(&b Q; . A:Zvi; .*{»v M03;-:5 Fr: ‘Jam Fm; --v REVIEW RECORD FORM vwsr mm " 2010-2011 PR1‘; JFCT T111 F was nusaoss. wcu ‘‘N-| ' CCVJLU W(_1Fll' 5[TTk‘-i _ . _ Individual comments & advice Hand written Bullet points which summarise ‘ tLltOl' COITTITWGHIS. wjrj l ES 14,) H6-v_x, Ht$s - I
  69. 69. Asieésailiisty , ’:<v--r. :<-'* R ‘ ‘ F“I"‘TY Case Study MDX Interiors The first step was to provide more detailed written feedback, . It was felt that these thorough and supportive notes, would help the student to develop. However the time from review to the written feedback arriving with the student created a distancing from the experience of the review, the content of the feedback and the learning. . g,‘ 2;: »-. . ii A’! 3*; [ii»—. :;; r1
  70. 70. Case Study MDX Interiors Project 6: Design Project: INHABIT — Reeidentid design A In: iiori space rihrch gives maiiimurn creative eriergylo the resident The context ol this pt0J(‘Ci Has the designrig ol residenoal LIVE ‘lcrli space lot a client type not a specific person - when you design lor an unlrnorin client you need a starting point a place to begin and as aliiays with residential design. it is imponam that you do not use yoursell as a slandai clem ‘ilhen designing loi types ol user you must get into their mindset, imagine their inierests and aspirations — act out the: roles Vour cient uas a famous cniiture fashion designer, Alexander l.4.cC'ueen who had left money in his till to sponsor the design and construction of accommodation lor 4 lashian students iilhin an eiiistuig student accommodation block These rooms were to be solely for the use at lashion design students to stay in for one year and iieit to provide all tht usual lacilities that one cipecls lrom .1 apar1irienl~ a pace to NOT‘, a place to sleep, a place to relax, a place in tall with friends a place to wash, a place In prepare and cal load a place to store clothes and personal «ems « hoiieiior the pnorty as stated by the sponsor, was to create a space iihicti eiicited the rnaginallon iihich generated energy and enthusiasm and a sense ol comniunityiiithin the students You were to create a design i-ihidi E conteiiipoiarity designed eroding and practical Project 6 Desiqi Project INHABET - Residential design Indicative grade M1-20 soda) You were asledio create an environment that acted like lzatlenes iinicli chargedup the creative imaginations ollhe students, making them better fashion designers Ari rnpressrve prayecl < a creative vim olspacial layout, logical and ll‘. -l.8l95l1|gl‘llllCll iNd)5 easyto gel nght Vour design is inaedibly-. .-el lhoughllhrougti - a real-‘yinipresme clarity ollhougtit has been achieved -the design is practical creative visually interesting and llEl'y'bLlli0abiE', but the most satisfying aspec1 ollhe design is the veryotivious attention you have paid to meet me expectation olihe liriel Athis design iith as splitting HMS, would energise the lashion students. itiiould iiorl Your visuals are I-'€l'yl'lEii done, coriviiiang and detailed and snoutne depth ollhe design veryiiell -inc taxi descriptions wart veryriell The sections and plan are vielldonr very uselul. Agreatiiayto end the module - and very impresswe piece oiiiorli Asierggiigity r"i<sr~. .s: r-5’ Assrii "n Ail Kt [‘ 2011-2012 individual comments & advice Typed (for ieadgibility) W itten with the personality of thet oi‘. The e forms were issu -d within 2 wet-l<s of the submission.
  71. 71. ASE’? -égllhity K~‘v"~‘= f‘TI""f rii'¥'l t"1[xi-»i; _‘ii Rubric Research A Detailed Rubrics seemed to be looking documents with little impact, being both too wordy yet not specific enough. The absence of a clear grading system was also questioned. _; ‘. 1'', Iv’_* . . - Ilflflfllfllfitfllfljtlj hangs . a¢—u—-: p—. ——. .-ca. ‘-—t ixv-poi: -ui-avg-o--no-guru-—-cu fi : ———uv-u-qu-an-o-¢«—. o-u—u-an-nnu~a~u -o. usa-a. ..u»-n-nuuuang-rowan. .. »n-nsmocuu-aga
  72. 72. ASE’? -§5a‘B5ity H ll’! 3'; [x Rubric Research I: Also, typical Rubrics also followed a ‘falling’ success pattern, ‘getting further from success’ rather than ‘becoming more successful’. l 4 Disiinguinhi. -d 3 Pioiicoeni 2 Appmmiu: I Novice 6 Research-Ounluiy ' i -- T i i, i 1': ' "1 ‘viii 1 1.-: < . _.-; , ". y"l >i'i| l‘ ‘ i': l i. -iv i. , . -.. , Writing-Ideas i ' , i‘ 1' i‘ - J»‘ l Content-Ciealiviiy i 1, Orgnnitaiion Time Management ‘ H‘ v '4 - - . Dosiqniayoui and it IF: ~' , i '3 ' HM , . i iv v - H i Organization -‘i 4 is l. ‘IV. . Jl .2; I i ii T- i ’ -'i_ ‘Jli-’i “ll ‘ 'r‘l'v . ‘l, 'i . <i HM}
  73. 73. bespoke rubric student desire to receive a grade
  74. 74. ASE’? -Z‘a‘ll%ity . '‘, -2<, I-'—. x1“'-''/ k ‘ ‘ r“: '--7t H3‘ », —,i »-; . rw A’! 3*; [’/ i»—. i;; r1 Case Study MDX Interiors In looking to re-evaluate their Assessment Feedback Forms the programme tutors looked to reaffirm the relationship between Learning Outcomes and Assessment Criteria. The programme has six core learning strands which run through all the modules and inform the Module Learning Outcomes
  75. 75. Core Learning Strands How designers research, analyse and make decisions, and how the design of building interiors is initiated, conceptualized, developed, sanctioned, and realised; How and from what building interiors are constructed, assembled and operate technically and technologically; How environmental and sustainability issues and post—occupancy performance and adaptability are addressed in the design, construction and use of building interiors; How contextual factors frame, inform and constrain the design of building interiors, and their analysis and interpretation; How the design of building interiors IS represented and communicated across a range of media and techniques; How reflective practice is applied in design, and how professional skills are employed in design practice.
  76. 76. Learning Outcomes (from the Student I-Iaiiclboo! -;): 1 Adopted a personal approach to design thinking and processes to conceptualize, develop, test and realise the design of building interiors; 2 Further extended their understanding of the materials, technologies and methods used in the construction and operation of building interiors; 3 Incorporated environmental impact, sustainability and post-occupancy performance issues into their designs for building interiors; 4 Employed contextual factors to frame, inform and constrain their designs, analyses and interpretations of building interiors; S Chosen appropriate methods and media to represent and communicate their designs for building interiors; 6 Utilised and articulated reflection and professional skills in their personal design practice. 7 Demonstrate individual design thinking and process to the design of building interiors; 8 Specify appropriate materials and technologies for the construction, finishing, fitting, and operation of building interiors; 9 Address detailed issues of environmental impact, sustainability, and post-occupancy performance in the design of building interiors; 10 Utilise and reflect contextual factors in the analysis, interpretation and architectural design of interiors; 11 Select and use the most effective methods and media to represent and communicate the design of building interiors; 12 Employ reflective practice and professional skills in their project work and personal design practice.
  77. 77. Asfierésalfliity ’flV(‘{if"'. ir"r' / K ‘ ‘ f“I"‘Tl . i, ». —,i v: . ii A’! 3*; [ii»—. i;; ri Revised Assessment Feedback & Guidance Forms struggled to see the connection between these ‘strands’ and the Assessment Feedback & Guidance they received. Following this up it was seen that the students had difficulty in applying the ‘meaning’ of the ‘summary’ nature of the Learning Strands text to their own experience of designing.
  78. 78. The new assessment feedback forms were created over three staged versions, we'll look at the current one first.
  79. 79. As ssi . . , zeeaasuy Re‘/ lsed Assessment Feedback & Guidance Forms ASS(3.SS‘>Pi§ ‘ 4 c°n‘enua| and cnucal Analysis Aggssment crltgria rzl ' 4.2 laws 55:00:11! I Wleirienonu mrmr u, _mmCm(mM”‘m u an‘: : ‘:5 14 u‘: z[n;1o sgslwips 4 3 I 1 I 1 Identification and Investigation 0' I urge of tuna: surrounding Eu: prvjed lrlcludlnu us-: rs nerd: and the historical and physiul characherd the sun: and In surrounds, -n1 lypologlul precedents! I ma! brig! upucmc concerns. Fall 3rd Third ; 2:2 Lower Second 2:1 Upper Second . 15! First COHIEXIUBI Bhd Critical Analysis Vluilmxhl undhvcaigurlnn I 'r. ue1u1murd§Ir| IburnieLI lulodinq user. mad: and ti: Iismid and ply-Jtnldnnnuome shuriix wnnuuhery vyphgini psakrmard Niel zpuilc mum‘. I , ilnhnnnmtou prvsmled does not Advtyate information has been 16004 I: -wl ul n-wwrlu, tlmnmcju 11111’ xI~nslA>| nnIep¢-Irl>. I1lres6.wrdI beyond M" lrdae mlfkk-nnv to (ask, some uslhered and docunenled Mun 1&{aII(I1 bevnnd standard sou: -(es Flu! so-zoesled by the brid, treéllve ‘ewdmce of very basic uvscuuu of zvadlly avamble sourrrs -mom: -q mm .1 do: pvrsorul moavs-«um: In , awn>. xh to the Irwsuaauon whkh has | rs-sea(luorIwe9l| oa! |on4 §| rv; uflI(Ir3vII depth. standard lerhnlquos. ‘Ihe rwesnoanon and Its benefits. ’| ulomIed Qpnxxhes md outcomes. lule orno evkiance ol iow bask nndersrandiuu md Key elanems wurhrn (bed-21l , user ‘lbs: axalvsls and mderstauinq 0| glunalsmce--1lev: -I ol mdevslavdinq and nuvnrmnon of nwnlhlhlr §.1'h'lvIIIr<| rr1.iu'nw| |l'Imrl rI'nlvIIt. rr Id: -rmlird, but nlny Imk ‘(hr rIk11I . xnrr Ituu- Ihnl the rnnlvsln ol lhr c lime and use-ruyi the mourn-vn. 1rr| .i nr ‘hdrvld-ml Iona or e-rnpnrhy ol Ihr ‘mnrmr hr: -rpreuvkn or Ind: vrnm lhr Onxk arr ldmrrlk-d, ilnnmnr whpdh ha Inlormrvd the drikjv-ti rolnidevalkul ol my uurl jun. -an ulna‘ i-us rninat menu). ezvloralun. ‘llndrruotxl and wt-I eaqalcratl. hp-axe mm mpqum Ivllovnlivr um -. r ? , [here In P: mod | (-vrl or r')¢I| oratlon "Hr snr pmmnlal rm bran thomuqlw lilllr orno Fvidrnrr as lhr sllr }| .~rkng rrv-. vt'rvr rlgcnt rt Iulhrk-nl 3:: "| ;‘; :_‘; “"“: , {of mr sllr [I'V1vYI1l.1|, .1'Vk/ vu 0! In [pawn-<1 ushg unmv.1uu- .11dcrr-.1l'Nr pol: -nlinl bring ouxtlorvd. gdanonumnm ol desk)’: I "" a 5 ” lm rnnddinn ma rorvsxlr-r.1|on ol how bnxtsvrs emumg pmmnl rovnrntlmcrn devdaprnrni urrmgv. sue . mw. .'. . ° “" ' ' “""""““" "‘ ‘ ‘nu. mu Iulorm design dcvdoplnfllt. {nu ad-Inn a dqnh ol uudenhndinq iftuk mplomnnn of -are pou-ntlnl
  80. 80. A‘i‘$‘é'? i‘. §ity Revised Assessment Feedback & Guidance Forms Assessiiifi Aswsnw wt In An & Design ‘ 4 c°n‘enua| and critical Analysis Aggssment crltgria rzl ' ‘l. ?I. :r«er§acomI: ! Iwljlieeonl mrmr L9mn. ,g0‘n(mw, §4&10 : ‘J5 141311411310 ! jl17§E§5 4 3'1 1 Identification and investigation oi I urge of is-ues surrounding Eu: prvied including user: needs Ind the historical and pilysiul characherd the site and its surrounds, -n1 lypoioalul precedents -nd brie! specific concerns. J: E Faii 3rd Tiiird ; 2:2 Lower Second 2:1 Upper Second . 1st First COHIEXIUBI Bhd Critical Analysis Vieniiiaaxhl and Erveaigurlna 0! "run utmurdhq lie mien iulodinq user. need: nsd ti: Iismid and piy-Jtnidnmnuni fie sh: or! Ix wnnuuh cry vypiugini paaknr. and Niel zpuilc mum‘. n, ,,, .,‘ . n"i"'| >""| rV”°"i1"‘9€'| l8'3d0c‘srIJl E-I-‘rH: v~~ni~: vm: v-unasbeen 1<; m«wwI. .rn~<. emh, vlmmugl-. .m I-mr. » H. -. ‘. ... :.-. c.. .., .. 4- nevund ‘«J‘. ‘|i(*“, u"'r. ‘ln rd; lekJ"| (ienlivlolad,9xxrIe tuner .31 dvxunenr-26 imm 'iv, <ilr-‘(<4 ‘In . .;« ! ~.. ..r ' salsa-nest y we g,1re: llvE V" ‘ ‘ ‘ n . uy. ,u. yIwn. ar| wuw. <,m3aum vahIvihas Iewd-mm of wrv Lvaslr. I= snrciI oi readily available sourrr-; -sxwinq {mun .1 . lea pvrsciai . Mnvem. i ( E“‘’(''°'. 'Em°°"°"‘ l. u§fi‘i"~1"n7iFT1T§7i . | slaldnrdleriunlquos. Ihe Iwesnuanouand Its bcneins. u. m.uw um AilV'-vl'VTTi11l‘li| i ,5, llheaxaivsis and mdrzrstavdinq oi film vi-H21: mi I. -M vii - uni»-rsizruinki nd i'Y)V: ’1Ii £411;-. _ ‘owbask nntierslaxdi-:1 ma ‘uh: -rIim| ,<n4-r lama vim . rr-. e- . .nu no r r( mu .1 r-mvnnmcu» 0| . w.1iLbk II. v|vuuru! rrI1' I uu-no r . mm-m. nm. a nr . ‘ 4,. . i i. ... ,., , ", ._. ‘,, ..| «_ W . v«. ,m». .~. :, ‘hii1'DrVlhbd1h. %|I'I0i'mHHhrdr1K}r-ri Koinkkralknl ol my uurl ‘. hm: .. r . - thorn-xju e>QJk. rdAou. i . ..: -.«. ~ . . ml W: wuon-x '~. p.xe mm huparuxnd mmauve an 9. , . V ‘“_, $££mn‘m1m ['“€‘ I [here -snqood | tr| t>lrs¢1|oI'atia1 hi'<fli'| ‘I()I(Y1l’LVIVKhv'l‘I'I thnruiq|1i'~ , -Ari: -slur £: ¥Ir; :r"VIIvt-r'I{pr‘n| rvr-. |.viuby-‘gJ‘hep’q) "W k 5 EW 3. 6‘ “‘)'‘i‘lI‘§lir‘[KV1tYI1l.1I, .I'VN¢0'l| ‘I l pi . uu| vu-i. ‘rr . mv-mu . v] _ u * . V v - ' d i I . H «J ' . I '°dm‘m‘me“'m_p"K’_'_‘knV mn morlnm romx rrilono now. 1'“ u W 1:; ‘wnIfx‘go‘[u: ;inI fxgatmml [iulr~1|lul be-mg is-piari-‘rL irYm>qulr. ¢ «on no . uv~n-1‘ | :<w-‘w1tnrn'_'lTn: ng| 'si'le may-'. . ‘Illa mu ~Hir>n| i-iv-11H-1
  81. 81. Asiiégflfiity Revised Assessment Feedback & Guidance Forms Assessiiiii Aswsnw wt in Art 81 D1:siE, n Design Thinking and Processes LI"rInH) Oiacuiiir, -.». I P. 1 Develop and appiy a personal I appropriate cloaitiro design process to the piojea iniiidi alioinrs ior conceptual] considered responses to the brief. A balance oi expeninentation and design development resuitino in I inventive/ innovative design solution. . i . Assessment crnerja rzl - mivron ;1.z laws sacoaiue iwueiset-and iwrirsr in nu ;1s§1s‘141:}1z}ui: o aiaivisfs I z:2‘1 Faii 3rd Tiiird . 2:2 Lower Second 2:1 Upper Second . 1st First ‘ Design Thinking and PFOCESSQS ikwelipeid iipiiy Ipeiw: ia{. ’u; piv; rr2e tiwiin fled]: 7. with : h1ir. i2rmirepml, -“inniieiul mqcrec 3: 7'19 iril. fleaigi dmk-pmiii ieaizhig iiini tit-i»i_’iiiml‘i-e iir. 'i_; I soimil. Wise I! lime or no ; nu9e is lilile uriiu aiienipi la the Loliuipl 5-. either Lstkhg in tk-pill The well r. u-is-iii: -1-ex! unit: -pun; ‘floitapou-and wel iisouijii mi (niiupl unpayiiifiil in ii»: gmemiiui : d¢Ie| <1vi9nel. aH. epI. LrMi| ie or oriqiiédily ma, ahiIou; iiIiwo1ks, approach has In-«en drveiuped ma }«iiii umiiue viqoi: ma riquu, ms. hat mi .11 oi-igh. ii. ippm. yrh inn-iuqh jinrr-piion 0! lb! ‘ hsk bvyi-ind m ii riot». Iiiiii- to rrmir an Irincw-xilvv ihis rirvwdts .1 good basis it-r mr an-wicir-d. ii1 l'flO'iIv’i| iilr‘ . -ind powwiiii tr: -.1lM-Jronrqiiiini ttihkrig. jinn inl indrr di-vr~ino«i id-n. dniqi dimzixn dvV| i) dirv-rtiai. >di-Aim dfutim Io ttwpmktl. m rlvmcrisiriiitin or o«, i:F| v:n( «tag: me 2. m widrnrc oi mm : (J-Jilwthq I5.) plumes oi rim» is mine cvirfivxc oi nmmd‘ mm" d__v_dq_m_’ '1 Mm ‘ . . drvcloornvnl, iht‘ iimi rim Ldr-w-Ioprnnni, ihr'ri' is imumrimi di-vi-logwnr-rii bui ion Iii| i- 1.‘ *1‘ N‘ “M bf” idv-vriogwni-nl ihmusii rlrsiionlnq yi-1 npnriqs to Mr‘ wniioui irry ; i-wimu or lhli <| iVrhpi'm<i1i ii-um v'iqi| nr. vikI1 ol ihr poimilnl oi lilr W; l': :_jm: ““: d°; “‘L". _d ' pmnm pi-om-asim with 4". ‘-(‘H smr sense aiil-1 uriqiis Initial ideas to iiiai defaiqi. 1.91. ‘ ' inipnwm woii ihe last. Iiime is min or no cvkimm oi fine dsrsiwi rimntinstrairs . a raw Dwiionstimtes m . uu-«mm oithv u-inmarmos . » (mm-m¢a1iy yin ('»<(t'piion.3ld(<. |oi sokiiiiin mm the desnri ruxhiriq my Icvcl ofjirirusolvod rualilv vdiirh limits ivsucs roused in the task «rid ihoroogh J11 wrfl cnnsidrtfiod design ; >“l3llfl’IQf-NBS a vuyhidi level of nsolilion nrzonrhniori. ‘z-irhnrwrmclion orpoh-ii. fl“DWKiswllh raumcttimxiuoitrsrn mluiion. wmww-thirixho.1rid ‘voilai iywmtvirss.
  82. 82. A ’ . ‘i‘ié‘s. 'Ei6.. y Revised Assessment Feedback & Guidance Forms Assess» Asst-«snwnt In lruvnrv .1 ? I1Uu' sauna‘: llbue-lietdtifl utrtn Materlality, Detaillng 8. Technics ““°5""'°"‘ C”‘°”‘ ‘ Leaning Ouitanvzs 2 3. 8 “ mu ‘1§1413%l2}ll. l0 s3n‘7fs§s 4 :32‘: .6 A118. Di, -sign Consider and use nppruprbthe tn. -tleriati-t and detailing Ior the atthilx-durnl conshudlou, flnkhlng, fi&| n9 and operation of the designed Intemzr. . WiiiTll7l‘ Ill Fail 3rd Third 2:2 Lower Second 2:1 Unner Second 15! First Materiality and Technics Omfleuitdueltppnymie . ... m.i. n.. u Ixhbabgieaiatiienllilatmltntznniot. t. ‘.J. ... .‘ tn’. .. ntdnpeahotoliieclargtdiliuriit l Illlr orno rvldrnu‘ 0| «I1 *1|rIittmlevki'tKr 0| rt (0|'! kk1'V. ‘(' ‘Some rcltddernlbn cl t-lerm-tilt Dtvnurtstr. -A lat 0| krv r| rm<1t| I lltrtau-nlur ttiproadt In lhr‘ (. |r'i<]1 of understanding that dcsiqt ayomoch to the dosioi Ieadittq to width the dosai, not alwws fully Ltsttu desiaud to .2 detmit-rJ | l?U(‘| of intmor cit-manta stiowim .1 death to the lollow thtxiat to Interior the dt‘€l(I of resolved and itvmot-2| ‘oepionz-d -Iid aoprtxrtato to the yrxiustafltiiq, which we sq: which is wide r= J1ono, Xhorou¢t r, -i--nu, -n. ts, intr, -nor rziuxnr, -nis ‘Ito’-stcri r1|1'(I: ll0n of HR‘ Dm](r, L 3.; ipt-ooriair: tn the pt-oitvt drvrtlon. and rrt, )1|l: . Little orno detwatstratiut of 5-)"? apprectatlm of the ‘An qgretmlmtol the ht-rleiits in! ;well cons-dvrvd deteul (12991 and IIIl’I0H81|VB and Ktilldoeoua sohmtvs to on . w4ar'mt55 of the i. np<-rtmcv ofd. -tail In dnslqn, yet 1(0ll~| d‘fVV1 dr, -tail (k“'4(¥ but fl(I: lI1i(aNut(tior. )|! tv Wh| (h ld(“JIj| dotaii md ter. trtir. .)l ftnctiomiity Impot-tnnx. e ol tktall In hxkitg Ihcxlxujwuss and ‘danumtrat. -.1 tn too limits] «I may lo ‘ horoutjw aqiltin-I Hr polalllnl at I tir lmcrlor with in grain; euhanrs tothidtfed design miutian. tumidu-. at‘uxt it its rtsolutiuu. ‘-how cauuptetamn In the dvhiql. id: -t. dI mini. a dtsdql solution. the utulivr Ixlthu ol the at-s. it; t. Little or no awareness ol the Bash‘ atmrene-as olttialeflahty aid of key maerie-is, pevtups laikito }CunIaupot-aw use 0! -uatmals aid aitrtovetise and tontetttpot-ayntatertallty rn-ed Int .11 tnzkntntxltng at hullthhlltty mun but lull! in dc-nth A 'r-nt>v.1tInn, shrtvuw; wttn» gm-qt at Ihr lvuk- rand h | .v1d hullddxlliiv lhnl KY! ‘ .11 hlw-r-ml p.11 rn. ia’L'1k.11:l the-ir Itleqnliml e-vidmcu 0| tins thinking lqnvra mlon oi cutstrnctiou issues Ether use in Ilia cott-. u-uuuon ni m c-I lhr trrnihllly ol the dakyt mutton, Ittlo . . bullddxlr tolullun. pt-ugn-. .'x. g Into .1 design whlht. jratiwaiby may uur. ion. -.-. .II.1e-. t.; ... ..L. n.x. . Iul . . . ... .-. - add an lmtor.
  83. 83. A‘i‘i‘é‘éii‘.5iiy Revised Assessment FeedbaCk & Guidance Forms ASS(3SSiI‘i§ Irrtttrv .1.) Laws sacotiit‘ I I wletset-on: iwrirt Environment and Performance “““""°"‘ c"“""‘ lI'r'itIIK] (lllrnnivfi Ii it ‘i All under-uhndlna and mrttldt. -red npptoadt cl tho impad of the deslgn an tltecnmtnnntty, the users cfthe space, the ‘client and the environment. at-Ital sustainability and past-oeuipaiicy perforllianoe. §o§1s‘14nit2n§1o agaitjsis I 332‘: . ,LLL. i.| ,LJ-LL§- i F? i i i ii i V‘ i J U Environment and Performance AI lld|7|'; llI'3ifljilld(flI'»H(‘VV| lfl"l| D{iDat(l| iIilll‘(‘I‘I‘i! il| fi(lIl"lk%I; l.flllflllllhll‘Qnilll1VMllllb"]I|01|OflIfZl(y}('f*lflNiIfl. ' No widmte til at atpveuutiott ‘ i itw. rvvrv; :1! social olsutlal . ' atvimrtuietitai nspornlaillty -1d [hr hm: -1 ihiv. cm bring to creative- . i.». .., .. Poor main or dei-imigtmtlui ul jsome aura ‘nation of the sudal . ' m ‘ H , V Ni uwinttess iiisocial . mviriitimt-rtt 9 deslqieis moral ‘erwruiiimzritai conslderationa yet fir’ '''; :'d : ‘;: m:: '_‘: '’' (un§| de¢'iUUtS which has been itteovatad IptxtId)i| IluIo(ianIIdt-rsothl ‘-iiiii. -e-min. ..-ir. ..i lhs hJIh¢‘l'l'1 ' ‘’'"°' ' ' 9‘ -. .1.. -miin. ,, t*h.1llntgmq. Ir1d<flt. lttk . I ll (P$ll m~. ... ... e.. t.. i mean. an txpnrme-xi IMO . . sax. .. sohitnn. :a‘: “"K_‘ " '’‘’°’ '‘'°' "9 hmnner min the design. Mm" tgdlnqunheuwf ‘: "¢‘€)lIIl'i(‘li7IYflfihlI| f'(IIl('lfl]3I Qih-stihtkwtiiiowsnrr-(o(rIIkwIof Tht-o| tttIntishi7itIs.1i)o: t<i§r.1qtoi flit-sohttinnétcm-t. rtt-i<rv. ~|| t-rit and n ‘ 1' M d‘ [M drv€l0p.1I. ig-qxrrlmltnol tlw gin: Iu-y . .i. ... did lfiewr arr the is-uc-r.1lu-d by iiu- i. ..-i. -i ma . . . .mi. -naming al the hunt-5 nuu-(I by ii. - . A‘ ‘': m‘ “" "'9' . .-i nmiim btycnd the man! :rIhi'! '9rI! In . a.. .- dnfflt, but miii. n. ..m. .¢i md muiin. -<1 dim lo Brit-1.I'id in-inq-. aporuonil dimnwnn, "Y ' ‘rudi-nmtay lQio0fls('. '-niied death of mdtnstmduiu. adiress those with (arisid: -mil ionic. entendinq and add-nu to those issues. -1-rnrv1iI.1'vtndrrIa. vM'i| nqol thv . ti. .- morn! -n(r oi iii. - md . .u-. - i. . w. -ii . -omianwi N-{vane rv-toqniv-s a to con-Hi-r iiw . -.. p.-rin. r.- ; ]1.1i'lIy inimoood but not . -xpto. -.-<g ihr v-norri-<i1il.1|impor1.rtrr of . i.. - '“‘ “"‘: ;’$: ::f; _'°"“ mated for those people usirii] the ; op. >ori. ..iii. -s to push the ae<. '._; .. we and user and activeivuses desk): to "‘«h"wm ": _1b"“. "m‘ 3-space treated. ‘pariah lost. witarite this escperiaiu-. ' ' Dr-mmtstratt-s poor iludwdmdng oi thr rit-eds oi the end Inc-ta
  84. 84. As ssi . . _ aeaggity Revised Assessment Feedback & Guidance Forms ASS(3.SS‘i! ‘ii§ il¢Sr: I£g: S[r)1:. ‘s:1Etn .4511:1:]12|uf1o:5§I17§s§s 4 3:1 1 conununlcafion and Media Assesgmgnt cffley-Ia r ‘ in ‘ 3:41»: 11.nauusxu: u1':2 ntnevsece-in nvrmr nu leaning Outtanes 5 L I 1 Chrity of purpose; eflediito and npnmpflak use olthu sat-taxed media; awlmncss and adoption of approprlltil. -Iv prufesslonnl drawing/ pruenlnuon nonvatuam; szemluvlty to the needs ol diverse audiences. rati 2 2 Lower Second COMITIUTIKBHOH and Media (| trWyulurwa't" r-undnpprogrizm inc cl Ihuekttd iIicd. u:v»n'ur. '.uadudn Upper Second M an ml: tun-uimrg screimiy to it Iced’. 0| divert audmnet. in vurvqood lead of (Lntv and in ndiwhol dppronrh which is lino-rlful vflrcltvrnmn mm .3 commvrxiiialr mwiw whllr m. Im.1nhg mu-iim: Ihonmglnras and dumxtslrmluu of Jeveh ol clarity and e! "L‘L‘hIdI€!5 it Xndfodwc use 4')! viii-J. ‘ oral‘ :1M5|r use o1vi~At. :|. - nrai. ‘ wrlllrrn 2)) wnllcn mmmmimim ‘muununmnicxt rnnwnllons in the Icolwtsllills ii the produulou §pm. mtiuu aid p(eauItluliu| ut Fiwnr good usr. ‘ c-M1-2-.1» r-ml wnllm mntmuwlnilon, awn: and prcswilutitm of sums. megs. "‘ ‘ "“'-‘ “' "‘ ' "" '“" 1‘a. ai. zy. ‘Maul and spoken communication. Um“ “no "u Mm lsume uu. k1-utuxlhq oi lhr role 04 tVidt1l. E lhdl Iiutmmtwa and JDe1I| cIhlruI'mnofn(_lNe Itinzwzditxi. iIde-Intlnlraliovl ul H pcriovtul ind: ' H 7 nmmon and experiutamsilou In ewoal--iaiml pnxe-pea hmebeen iexpa-im-stleuon an! a reaching whim LOIIIIS from tdxing fisks, pushing utter-tiatbve Ideas and _ qxiseilaliat yet little enpkxai aid some dvmmslrunon cl lowed» oriqlnaillv wilh(| a-1 Itizllltie-3 and lootlnq for new awalive "' "“ '9“ 5' hsmtomrratim oi in | K('. Ihrr nu-. hem-fits qmnnd. iwrlvls to rrwnnnnnrmr ndmz. M: evidmze nl my ilulc wldutm ul aruflltlfitlzry Sum: bmir. |ndH'ldIdiI| g ol 1w-. -II ord: -rrd and argdllhzd with a trim luniru-Ity with profeankxud azpmtidliodl oi twkal and ‘uiudemtamlit-t; ol vIUlc‘3¢aiuI| d axwupriate toenail‘-om but .5 Lot of good undenlmdlnu oi pmfeulond stoaweiuuus and standards that allows mproprinhz shnttrds and fdmwhq cunvcnllons and tlicruudutué-9. and a nI‘1?I lo em’-nd (rwliimi Louveriflovvs and Shildnrdé or dl liudwidut-1|ls(l( qxnnlu to visual : rorlvnrtlknc. ‘= t.nmi-rls. mmrmnus md -tar. ol rrxnmink-.1 Inn. fn1tIvmIrIml><I1. J
  85. 85. Revised Assessment Feedback & Guidance Forms Reflective and Professional Practice lieilnin Qttmiu 65 I2 Funnel uni woleeuionnl dovdoprnust, the management 01 lamina flmiugh ldladion, phnnlm, calf dbcslnn, eullijea engagement and commitment. Fall Assessment Criteria Rnflectlve Thinking 3rd_Third 2:2 Lower Second F¥rsona| Development Prolessional Development A‘E$§§85ity u-ismxir-. -'; A~, sr‘<- ‘wit ‘n All Kt [It-—, i§_; it nu 'xn‘l‘lmr|1 1 2 lane: 5.-uwiu 7 IL-nnevsennu ‘ 1 16151413111111!) 5 Bi? ‘ l 10-17 6 5 2:1Unner Second Reflective and Professional Practice he-land plnbnflovohpnllr in unqvenlol huh Ioqi um. .. mug Ildblihl, ao. ..u. i animal Personal Development Pvolusionnl De velopm wt R efle cure Yhinking u, nr«. is«mt L1 V. ui H/ i<J£Vi, v -: .i ; .t. m.nq lnr nr wt-mug n. m.m Lwlsmul IJVI-will and u: .xu. .r, . vi cwldrru P ul rri.1)prRll1lIun tr | lId(1"J<f| ( :9 oi troiennioimll 1» ul iF| IV'V'. Vl‘lII No vu~¢- 0| blnn turn! l| iln| <|rIq, IIIIHHI1 iatl I. -.-«mg iimu | Y, vv4i)u§ tasks and ruflwv-nti It-flli pa-; n4)l -nun. tinlo 4-wimm oi . sw. ;s>nr<s . .i [.4/rs«»uJ elm nine and wru-itlirhsvs n fY‘L1Ii(X| lI)"IF pmjm task. Uvwltiplilq an amyem-, s.;1 strvnuihs and wn. irt-‘carve. mil E‘)-’[flIdlll<'l Vr.1vslt, Yd. lv: dull». I Illlt‘ <-vIdnt(e- oi. -1 pnric-Iqintlul llpgxrnmtll lo llu‘ hnk tq)pI! '( lnliovl ul lhv mpuntuue ul Jt'vu| upIlIq pmim. .nu. )i awmwms Uortlelr, II Ii] an . m.yu. .,-,5 LII prolrsvuutual laws ol . uirmmu. »m but llul Jrlr lo ~. mm'u llth it-vu-l. I viii-nt r [lull rvlln lion on the (k'KnI mm-. . hm. It-<1 Io ikrnisnl silly: I r‘n: )t]0t'vl(V't(. g1-I muuitimtmn, I llllt‘ e-vldms r ni t-«lint non upon llw I. -94$ ln H-Itiliovl lo eaarvxlirx; penuuutxl gruwlii Auiwiy wads to ikv-‘loo sannqzhs ‘and mIi. ;). nr- wr, --)iiu, <~, . nral sane‘ ul cnmnill: m‘1tl. sx! 2-ihnn lo jguutimu pt-Isa ul d¢'ve| avlIlz'IlI. ‘la$»s lull asp-msfiulny inr mun L-tguinq '. vu1:tw-iqmmr Vlir<’uu<fi| x1iiA')nVIl(lIIl uv. ~.civc a: urt~. yar-ur, »§| iSldU| fX1-)"t-I1 i. :. n, -mi». and "mutual" x)r<)l(‘~nI: )ui1l| t<R‘h 0| jm. ... .qint. line and d)| |lly ltxt >, -lbwu il¢. l|434)1, but of Nnrj . ;m1.1nliiy lu . . pr: -In-muxx-1| | <'vr| n(lt‘1|dilg . iw. m.m and stills lltruuqilml. Adlw ¢1ut; .(pn'nn| l in rrllt-«(mu on 1»: .-xpem-w. .- mu ( m. ‘xi«». ., . ... t ‘awiyim; .. m.. iim .1-1 iiiiprnv-: nir, '1il ‘in ; wm. »«. ~.»s .11-1 mwimq mi-ma-is. 1l'v«Imtr- on iut. it -nmmummt in «ii imatw. rill iorw. r(l1hItI>uq pim-ituqm it‘lII‘W‘l(J1I‘llI]UUfi lntpruwqncnt
  86. 86. A‘i‘ié%‘ii€n1 Revised Assessment Feedback & Guidance Forms ? Ass'essi'ng ‘Assessment in Art & Design uvraum nesxeiv """'” W I . .. . ... i.. .. . s.. ... ... ... . V . w.. --. ... . i = ... . I --. n. . ¢.«. -.. —-—. .-. ... _.. «- NI-I. "“7§'5°'5‘°'{. ‘95l'°‘ "“'"""“ '"'”"""" "‘“""f can see where they can improve and weaker ‘ ‘ P ' ‘ ' students can see where they have strength. i7—§L‘. 'i°ii’. '§3§. ,.. . mum : :'. ;"3‘= " F‘-"~"~‘= “4'-'3-“"—"'—iT-~“‘-= '—‘v Each criteria is graded, so successful students ls-ewvei cr-in-is P . . I , . H The scope of the grades acknowledges that l creativity is ‘developmental’ coming in stages of growth, ability and understanding. Assessment sheets are given out at the beginning of any task to allow the student to see what they will be assessed on. 3 The formative assessment forms have no final M _ , grade, this encourages the student to study V" H g _ the individual breakdown of grades and »__-__, _-g ‘ F ‘ F F‘ reflect on read’: aspect of their work. (lJlDN& team it man: rd iainou luau but-1, Wm , y W Wm mm WW An area is provided for tutor comment, but as ‘. f:"; ::i: '.? :J;2.". iT; ?ffI1‘i: '.‘i: :2:: ;i'Zf.3'; L '. “.’. .": ',', ‘ standard, this refers the student to their video rap rrmlifilil-‘<1-{AYI lru mi us I’! mirz; .2 menu p‘r~‘q‘mfiVl’1 ylll hm: hn"IuI‘1¥ Trace -‘ligto as : -.-. u . xinuulw. -A K-! '1n)eIv_<Ir_~K. le Waive u. ._. e p. ri| .uy‘; IJ fr. -vlr. <.uv. lir, |! Ligoiih. -rvanvuii Leu-N luv‘ back 'heg. AI'Ke[. v:m1n mini .2-. run mm earn .1 5113 utimn. nu veanm -. a-em. fzrulsue sped wllh 8 my itnve-Mvullflj
  87. 87. 2. . --«~- I‘ . ‘"EIflZ6IhlI0—? fi".4- . _! I-- , . gag ""‘l"'! l “H --/ "" T '0 '. WK: ."*V- 1. T ‘ = W-tbu. -mu-u~-eMv': lI. H‘ - Lawfiuig ; =p' ‘: - 22 if-Q. "-e*= =:. , T * - - V . A . l1lylH—fl$uwqsI. AIu-Q» _ Y, gufiémuqfinumm-om 2 influenza aluminum: .1. '* A a—mxumnI mumnnsnul -gal! !!“ IIIBIIII . . — V}, ,_ We. “ _5,, _ - mnflvm-uni nun 5*‘-3 * ’ jIII_lllnIllIlllIIllI ‘ _‘ jun! pumluulilnuilli Dlllflnlllsl. ~g, "!", ,!"‘! §°! ‘!, " 4. ’ . . . . Learning Outcomes are given §”E“ *““9’ individual grades using the 1-20 scale Individual comments & advice -. v -. - WV! ' . _.. u.. ... .ia: ..n mm A V Typed (for readability) an--; -z: ..! --5-= !%991.*!4 . . . ' " ' ’ ' These forms were issued within 5 days of the submission. ""' jun: illzllsur 1"’. , . 1:1:-¢uIu—wuu-Intnnm
  88. 88. ASE‘? -§‘sl{%5:ty Case Study MDX Interiors 5: I R M. ) V, INTERIOR DESIGN wM: ».i. ;i~, mourn ‘9‘r:1|v-«I I-~l-urml u. -.. ... .~. . IAr: lVlIHl. ll-; | llcvlrw is 2013_2014 Learning Outcomes are given individual grades using the 1-20 scale Summary of comments & advice typed (for readability) These forms were issued within 3 days of the submission.
  89. 89. So far the benefits are seen as. ..
  90. 90. Ila T. "“”‘ *-'= -:<~v"i r‘»**— '' -r‘ tr-.2‘ ' 77 "iv". 6"’ .7 ; a‘‘-. -r, -'lLIr: n 1.. -I 1' hi “‘u'l, |"7 _. =. 6 5' - . - --4 "-4 . . L-, ' _'v. .1u i. ‘., .J‘, ll. .L»: .. . ,u'. i. all‘ Not spending days writing up assessment feedback. 5:‘) a, --. H»-. r-‘ ). “.Cr: -.-_-, ‘-. :- V‘-if ‘l" -iyfyr r ‘-. .r‘ Ill -">- o . ... ..3I«. —-. .‘J. ,l. Il-L ll. l«; -vi» . .»-. ',. ».; ‘ Provided within , often provided instantly. = u '3 .4‘ *e'' E ; “f*f §fk"-If“' "hi -. {,~ v7.v*- -. ~,; ’~. "‘5 . , ». - I. .. . .i v —« . — ': :~- - A'*{'€"‘. -"C ‘ " ‘: p- ~. aL« A‘. ../ »K. «s)u-9.‘! -.— I2, cy. .5, in criteria allows the student to understand the project/ tutors focus. - - -. I - . ~ . ' r: ‘,'u. ,b. /3 ’-' at *5‘ “Cr: .'r"«- -, ' >0 _"C"« 5 1"‘? ’ ’ ~. . . .«-I. » x. .— . .u-: . Wczh/ l . «“-. J :4». -. '~J >, .i-'~. . . I‘v. . V. .Ilnv , Cal. .- -». ak. |-. .>-‘)'. J‘i—‘/ . 1.’. --we , thorough and easy to understand. . . I . C, ‘H‘Il"'". ".‘. .“'—' ’: """. r': '( ’. ."""I, "’. ‘ ”' . L. ..» ll. .s. ..: .-. .'. .<. :-‘A. ml 4.. ‘_ er C. ) I -I , " "Z‘-H’ ’? '., l'~'? ‘ . » V " . . Feedback is not just ‘read’, it is I - i - ' I-. _,. ., ,§, :‘£. ,_5.. ' CHL‘ _, .|, _. ..; ._‘. CT 1. . s'<»/ V--. . a/ ’. -is V-wr : -i'~. — 3 in (‘; '—_s€l- 4.» ~23. ‘.4J'l-‘xx '-.4» -.2‘ As recognised in the NSS.
  91. 91. As ssi . fiealiisitl Assessing Assessment in Art & Design Thank you for listening Jon Mortimer BA(Hons) FHEA Programme Leader: Intenor Design