• create an innovative solution to a simple problem by following the design process
• source, articulate and apply elements and principles of design
• rework and adjust design features to meet criteria
• identify and explain design criteria and rational for making design judgments
• develop alternatives to design problems in collaboration with others evaluating design
solutions against their original intent
• create, define and present unique abstract forms
• develop spatial awareness in response to human emotions
DESIGN CHALLENGE:
Explore a three dimensional design contained in a 12” cube that creatively expresses a positive
human emotion. Following the steps of the design process, create, define and present unique
abstract forms that communicate understanding of spatial awareness. Within the cube, experiment
with the use of colour, light, shape, line, texture, forms and mass as it relates to the chosen
emotion. The elements of design should be implemented so that the cube considers the principles
of design while conveying the chosen emotion in an ABSTRACT manner.
DESG 7036 – Design Theory 1 Bachelor of Interior Design Program School of Design Fanshawe Colege
Professor Meghan Mastronardi Adapted and delivered by: Jennifer Lorraine Fraser
Limitations / Constraints: The cube design can have openings on 3 sides. The exterior of the
cube will be all white. Consider using a variety of materials such as mat board, foam core, paper,
wire, string / fishing line, etc.) The interior of the cube may contain black, white, and 1 or 2
dedicated hues. There should be no recognizable objects / symbols – the entire design must be
abstract.
FOLLOW THE STEPS OF THE DESIGN PROCESS:
INDIVIDUAL CONCEPT DEVELOPMENT: STEPS 4, 5, 7
GROUP COLLABORATION AND FEEDBACK (SMALL GROUPS): Three parts STEPS 1, 2, 3 in
class November 13, 2020 Steps 6 in class on November 20, step 8 & Journal 4 presentation
Due at the start of class on December 4, 2020
ALL STEPS TO BE RECORDED IN YOUR SKETCHBOOK WITH TITLES for each step:
1. COMMIT
• What makes this project meaningful to you? What are your goals with this project?
What do you hope to achieve? – Take notes
2. STATE
• Establish the problem requirements, constraints (size, material), limitations and
assumptions. (Class BRAINSTORMING SESSION)
3. COLLECT
• Gather the facts – how do you define your chosen emotion? What human needs
are associated with your chosen emotion? Brainstorm and record TEN KEY
WORDS that you associate with the emotion. Within small groups – discuss what
your emotion means to others – examine other’s perspectives. Is there anything
you may have overlooked?
4. ANALYZE
• Begin conceptual drawings – rough thumbnail 3D SKETCHES / PARTI to study
different pieces / components (overall spatial relationships – NOT TO SCALE).
Record 2D drawings and 3D drawings that depict the space and volume. What
are the major components and important features? Are there specific line types,
shapes, forms, colours, patterns, lighting qualities, textures, etc. that help convey
this emotion?
5. IDEATE
• Generate as many ideas as possible in sketch format. Seek different creative
ways of solving the problem.
• Minimum 3 different configurations recorded in sketchbook in SCHEMATIC FORM
– SCALE IS EVIDENT, begin to show details. Show 2D and 3D views for each.
• Pick TWO sketches to develop into TWO CONCEPT MODELS. (these are quick
studies – they do not need to be completely refined). Work with all white material
– ex: white bristol board, mat board, paper or foam core
• Take photos of your 2 concept models and put them in your journal.
DESG 7036 – Design Theory 1 Bachelor of Interior Design Program School of Design Fanshawe Colege
Professor Meghan Mastronardi Adapted and delivered by: Jennifer Lorraine Fraser
• Record a CONCEPT STATEMENT: 1-2 sentences that describes your idea and
addresses the functional AND aesthetic principles. (Explain your justification for
choosing certain colours, shapes, forms, compositions – how do they represent
your chosen emotion in an abstract way? Is there a focal point or area of
emphasis? Has symbolism been used?
*EACH STUDENT TO RECORD GROUP CRITIQUE FEEDBACK IN THEIR SKETCHBOOKS
6. CHOOSE
• Within small groups next week (each student should have 2 concept models to
show for discussion and analysis) discuss which model (or elements from different
models) best meet the design criteria and why. What model takes on a more
creative approach? Record and explain your rational for making these design
judgments.
• Choose the best model to further develop in the next phase, based on your
discussions within your team and with your professor.
7. IMPLEMENT
• Taking feedback and critique from your group and / or professor into
consideration, come up with FINAL DESIGN DRAWINGS (plan, elevation(s) to
scale, and 3D views – record critical dimensions, make notes of possible
materials, use notes/labels to describe design features).
• Construct one FINAL MODEL (JOURNAL 4) that reflects your chosen design
solution. Use any WHITE material to construct your model (foam core, mat board,
bristol board, wooden dowels painted, wire, string, etc). TWO hues may be used in
conjunction with black and white, and may be painted or composed of coloured
paper, etc.
• Photograph your final model and include in your sketchbook.
8. EVALUATE
• Within your small groups, critically assess your final design solution. Does it solve
the original problem? Does it meet your original goals and intent? What would you
do differently next time? What did you learn from this assignment?
• In-class work period: December 4, 2020 before presentations.
• JOURNAL 4 – IN CLASS PRESENTATIONS: final models to be presented in
class for discussion. Each student will briefly present their design solution (model)
and their concept statement. The class will conduct a critique / peer review of each
design solution. – DUE: December 4, 2020
Due December 11, 2020
JOURNAL 3 = design process (steps documented in sketchbook) and two concept models
JOURNAL 4 = final model and presentation, peer review discussion points to be included
in sketchbook
EVALUATION: Final models to be executed in a clear, articulate manner. Quality and
craftsmanship, and carefully following instructions are critical.