DesignforInteraction07 08

COURSE HANDBOOK
20072008 enrolment
BA (Hons) Design for Interaction
Validated by the University of Sussex
Foreword
Welcome to Ravensbourne College of Design and Communication and
congratulations on achieving a place on a higher education course at Ravensbourne.
Your Handbook is an indispensable work of reference. This Course Handbook
outlines the purposes and content of your degree.
Please read it carefully – it will contain answers to many of your questions – and
keep it so that you can refer to it again during your time at the College.
It should be read in conjunction with the following documents.
Student Contract Handbook 2007 http://intranet.rave.ac.uk/quality/docs/Final
2008 StudentContract20072008.pdf
Academic Regulations for the Awards http://intranet.rave.ac.uk/registry/Academic
of BA and BSc Regulations.htm
Together with ‘Information – For new students from the UK and EU’ handbook or
‘Information – For new international students’ handbook already sent to you.
While every effort has been made to ensure accuracy, some of the information in this
Handbook will become out of date rapidly, i.e. computer resources and software. This
will be corrected in annual editions of the Handbook. It is intended that this document
will be available in other formats, such as electronically and on the College Quality
Intranet site (http://intranet.rave.ac.uk/quality/CourseHandbooks.htm). If you have
any questions about your course, please see your Subject Leader or Head of
Faculty.
We hope you enjoy your course!
Quality Team 2 Course Handbook 20072008
Contents
Page No.
Introduction 4
Educational Aims of the Programme 5
Intended Learning Outcomes 6
Knowledge and Understanding 6
Practical/Professional Skills 7
Intellectual Skills 8
Transferable Skills 9
Assessment Regulations and Principles 10
Resources and Services 12
E Learning 14
Multidisciplinary Environment 14
Unit List 15
Unit Map 16
Outcome Map 19
Level 1 units 24
Level 2 units 65
Level 3 units 106
Learning and Teaching Glossary 130
Personal Tutorials Guidelines 135
Course Committees and Student Course Representation 137
Contacts 138
Introduction
This programme is concerned with the development of the creative professional
practice, technological knowledge and theoretical understanding necessary to enter a
variety of careers in the area of design for interaction.
In the context of this course, interaction design deals with the design of any product
that requires a human to interact with technology. It is not purely design for the
internet, although the exploration of the potential offered by this medium is fully
explored, but it also encompasses the design and form of physical and virtual
environments and artefacts.
Students will have opportunities to develop creative skills in web design, interactive
television, virtual reality, games, interactive spaces and interactive products. These
skills will be reinforced by a comprehensive technical and theoretical understanding
of the forces which drive and influence the interactive experience.
Level 1 of the course deals with the design process and the underpinning skills and
theory necessary to engage in interaction design. Activity in this level focuses
primarily with on screen interaction and its conventions. Curriculum areas include
storytelling, usability, typography and nonlinear narrative along with software skills.
All these “tools” are used as drivers for creative activities and are utilised in the
visualisation and presentation of the outcomes of this creative thinking. Some of the
course projects will be conducted in collaboration with students from other courses.
In Level 2, students consolidate the skills developed in the first level and gain a
broader understanding of how their new skills can be applied as they begin to
engage with more challenging and complex media and environments. Project work
will enable students to explore areas such as interactive television and virtual
environments. In some cases, projects will involve collaborations with other courses.
In Level 3, students develop more individual, independent lines of enquiry in the
subject area through the medium of selfinitiated projects and an accompanying
dissertation. Artefacts created at this level may range from screenbased interfaces
to multi user musical instruments to relational repositories of memories and images
to innovative web sites. Students will also have the opportunity to enter national and
international design competitions. Students will create a professional portfolio, which
will act as a selfpromotional device to aid the student transition into full time work.
Educational Aims of the Programme
The course aims to provide graduates with the knowledge and skills appropriate to a
range of career outcomes in design for interaction. Students are encouraged to
develop their individual creative ability and support this with the development of a
high level of technical skills. In particular, the programme aims to enable students to
develop:
· a range of creative, technical and professional skills relevant to employment in
interaction design and related areas;
· an understanding of the key critical, social, cultural, historical and business
concepts, issues and debates relevant to the area of interaction design;
· a comprehensive knowledge of contemporary professional practice and the
creative process in the professional field in which they will specialise and an
awareness of current areas of development and innovation;
· the ability to make creative use of and experiment with new and existing
technologies;
· a clear vision of where their creative strengths lie and how this can be utilised
in product development and potential career opportunities;
· skills in research, analysis, problem solving and critical reflection and the
visual, written and verbal communication skills required of a graduate entrant
to the interaction design industry;
· initiative and personal responsibility, experience of collaborative working
methods and the ability to be responsive and adaptable to changing needs,
and the transferable skills and competencies which enable lifelong learning.
Intended Learning Outcomes
This programme provides opportunities for students to develop and demonstrate
knowledge and understanding, skills, qualities and other attributes in the following
areas:
Knowledge and Understanding
A knowledge and understanding of:
1. the design process in general and specifically in interaction design
2. the nature of interactivity and non linearity
3. the nature of representation within the sphere of “on screen” narrative
4. the nature of the data and processes used in the creation of interactive
artefacts
5. the depth and breadth of the technologies upon which the discipline of Design
for Interaction is based
6. the nature of human form, thought processes, its needs and responses in
given situations relating to the usability of designed artefacts
7. computation in design and its application
8. the analysis of function
9. the creative potential of digital technologies
10. the nature of technological change and the impermanence of knowledge
11. key business processes necessary to underpin graduate employment in the
creative industries
12. a critical understanding of design practice and theory in the context of history,
society, contemporary global culture, business and an appreciation of the
significance of the work of other practitioners
Teaching and Learning Methods
Learning and teaching in relation to these learning outcomes tends to be primarily
project based (see Practical and Professional Skills below). This is supported by
varied learning and teaching methods which may include as appropriate: project
briefings, studio based lectures, (staff and student led) group seminars, technical or
practical workshops, demonstrations, critiques, individual or group tutorials and self
directed study by the student.
Learning is facilitated by well qualified permanent teaching staff and by sessional
staff and visiting speakers who are practising professionals and bring an important
industry perspective to the course. Traditional modes of delivery may be supported
where appropriate by elearning and/or resource based learning.
Contextual and theoretical learning are delivered both as an integral part of the
practice based units and separately in a progressive series of mandatory cross
College units. This prevents a theory/practice dichotomy while ensuring that this
aspect of learning is sufficiently weighted in the curriculum.
Assessment Methods
Knowledge and understanding is primarily assessed through essays, reports and
individual and group presentations, and through its application in practical projects in
a manner appropriate to each unit of delivery. Some units additionally require the
submission of rationales, background research, development materials and/or
evidence of reflection on the project process.
Practical/Professional Skills
Able to:
1. demonstrate an understanding of the skills used by the various branches of
interaction design and how they are articulated
2. use digital technology creatively as part of the design process and as a tool for
presentation and communication
3. articulate design proposals and concepts clearly, using a variety of appropriate
media
4. define a design proposal for an interaction project which meets the
requirements of professional practice
5. plan projects so that deadlines are met and all work is of required quality or
better at these deadlines
6. deal effectively with the unexpected from both internal (personal environment)
and external (client) sources
7. know what is achievable both personally and within a group situation
8. understand the nature of the professional experience in interaction design
9. work within a design process and to contribute to this
10. understand the use of iconography when applied to interactive artefacts
11. select, test and make appropriate use of processes and materials in the
development of prototypes from design ideas
12. complete a significant design project proposal and carry it through to a
successful conclusion
Professional and practical skills are gained primarily through selfdirected project
based learning.
Supported by staff, students work on project briefs designed to foster creative,
technical and academic skills while progressively introducing professional contexts
and constraints. This approach is studentcentred, encourages deep learning, builds
problem solving ability and integrates academic with professional learning. Students
learn to take responsibility for their own learning progressively. Some projects are
intentionally collaborative encouraging team working and peer learning. This may
involve students from other courses.
Projects are supported by briefings, studio lectures, workshops, critiques, group
seminars and student self directed study. Learning is facilitated by permanent
teaching staff and by sessional staff and visiting speakers who are practising
professionals and bring an important industry perspective to the course. These
methods may be supported where appropriate by elearning and/or resource based
learning. The project based approach culminates in independently negotiated project
work in the final level of the course.
Assessment Methods
Practical and professional skills are assessed primarily through their application in
project work submitted for summative assessment. Some units additionally require
the submission of rationales, background research, development materials and/or
evidence of reflection on the process of development. An individual or group
presentation may form part of the assessment requirements of some projects.
Intellectual Skills
Able to:
1. generate ideas, concepts, proposals, solutions or arguments independently
and/or collaboratively in response to set briefs and/or as selfinitiated activity
2. be intellectually curious, analytical and reflective, capable of carrying out
sustained independent enquiry and develop the skills that underpin
professional development and lifelong learning
3. understand the similarities and differences between the interrelated disciplines
of design and their interaction
4. be entrepreneurial, imaginative, have divergent thinking skills and think
creatively whilst still satisfying the needs of the project/client
5. understand and simulate interactive environments
6. place their own work critically in the context of business, culture, society, the
environment, ethics, history, and be aware of the impact politics and
economics can have on the relevance of design
7. understand that the acquisition of knowledge is continuous and ongoing
professional and personal development is essential
8. critically assess work with reference to existing and emerging professional
and/or academic debates
Intellectual skills are gained primarily through lectures, seminars, workshops,
individual tutorials and selfdirected study but also through project based learning.
Students are introduced to a variety of research and analytical methods through the
contextual elements of the course and apply them in an independent major study and
the preparation of a dissertation in the third level of the course. Project based
learning stimulates analysis, contextual and visual research, problem solving,
creative thinking and personal reflection.
Assessment Methods
Students are primarily assessed through a variety of means including essays,
presentations and a dissertation. Some elements are assessed through their
application in submitted project materials. This may include rationales, background
research, development materials and/or evidence of reflection on the process of
development in addition to practical material.
Transferable Skills
Able to:
1. work independently, setting own aims, objectives and deadlines to manage
learning, workload and projects, including time, personnel and resources
2. work effectively and collaboratively with others in a team from a variety of
backgrounds and disciplines
3. manage information in a range of media, selecting and using a variety of
sources and technologies to evaluate and record/present information
4. articulate ideas and information in visual, oral and written forms, and
communicate ideas and work clearly and appropriately to a variety of
audiences, including technical and nontechnical audiences
5. produce work that is literate, numerate and coherent, deploying established
techniques of analysis and enquiry
6. identify, define and creatively solve problems, using appropriate knowledge,
tools and methods, often in complex and unpredictable situations
7. demonstrate critical awareness and reflection through evaluating own
strengths and weaknesses, and adapting proposals and plans accordingly
Students develop transferable skills primarily through selfdirected project activity,
which progressively introduces professional contexts.
Though most learning takes place during the projects and through students’ critical
and reflective responses to these, this aspect of learning is supported by a Personal
and Professional Development unit in each of the course levels. The first level
concentrates on ensuring that students ‘learn how to learn’. The second and third
levels focus on career planning and the development of professional transferable
skills to enable the student to make the transition to employment and/or further study.
Assessment Methods
Transferable skills are assessed within appropriate units throughout the course, and
in particular through the submission of Personal and Professional Development Files.
These files (containing a learning plan, reflective commentary and evidencebase)
are developed within the Personal and Professional Development unit and provide
evidence of work and learning carried out across the course. For instance, evidence
of personal development achieved through research, design development and
realisation; responses to briefs; and evidence of project management. Students are
also assessed through peer, group and selfassessment.
Assessment Regulations and Principles
In common with all Ravensbourne honours degree courses, this course is subject to
the Academic Regulations for the Awards of BA and BSc.
In summary, in order to complete a unit, a student must successfully complete all the
assessment specified for that unit. In order to progress from level one of the course
to level two or from level two to level three, a student must successfully complete all
the units in that level of the course. In order to achieve the award, a student (having
completed level one and two of the course) must successfully complete all the units
in level three. In certain circumstances, the Examination Board may at its discretion
choose to permit performance in one area to compensate for underachievement in
another subject to the provisions of the Academic Regulations for the Awards of BA
and BSc. However, there is no automatic right to such compensation.
The final degree is classified on the basis of the level three units only. Classification
is determined by the average of the final results achieved in each of the final year
units weighted by their credit size, according to the banding below:
Classification Grade Percentage Banding
First Class Honours A 100 – 70
Upper Second Honours B 60 – 69
Lower Second Class Honours C 50 – 59
Third Class Honours D 40 – 49
Pass E 35 – 39
Project Briefs
Each unit of the course has assessment requirements set out in the unit
specification. You will receive more detailed information about what you have to do
during the course of the unit, which will take the form of a project brief on practical
projects. Deadlines for the submission of assessed work will be published in these
project briefs.
Submission Deadlines
Please be aware that deadlines are absolute and if you fail to submit the assessment
or an element of assessment by the required deadline you will automatically be
deemed to have failed that assessment and your result will be capped at an E grade.
Extensions
Extensions to deadlines will only be granted in exceptional circumstances (when you
have medical or personal factors beyond your control and evidence that this is the
case). In such cases, you must apply to your Subject Leader for an extension using
the appropriate College form which is available from Registry or can be downloaded
from their website:
http://intranet.rave.ac.uk/registry/docs/Finalextensionrequestform.pdf

Mitigating Circumstances
There may also be occasions when you believe that there are circumstances which
have impacted on the quality of the work which you submitted for assessment. If this
is the case, you should bring them to the notice of the assessors by completing a
mitigating circumstances form. You should provide evidence (i.e. medical
certification) to back up your claims. The mitigating circumstances procedure and
form is available from Registry or can be downloaded from their website:
http://intranet.rave.ac.uk/registry/docs/MITIGATINGCIRCUMSTANCES.pdf
http://intranet.rave.ac.uk/registry/docs/Finalmitigatingcircumstances07_08form.pdf
Disability and Alternative Assessment
Alternative assessment arrangements may be made if feasible or additional learning
support arranged for students with disabilities or medical conditions which would
impair their performance in meeting the assessment requirements of a course.
Students who believe they are entitled to avail of this right should register in advance
with Student Support (see below). Alternative arrangements or additional learning
support must be discussed and agreed in advance with the Subject Leader and will
be reported to the Board of Examiners.
Retrieval
Normally, students who fail an assessment will be permitted one further attempt to
pass and will be given a retrieval task to complete. The result of the retrieval task
result will be capped at ‘E’. Students who fail the retrieval task may be required to
repeat the unit.
Assessment Regulations
Students should familiarise themselves with the Academic Regulations for the
Awards of BA and BSc. These are the rules which govern the assessment process.
These are available in hardcopy from the Registry or can be downloaded from:
http://intranet.rave.ac.uk/registry/AcademicRegulations.htm
Appeals
If you think that you’ve been treated unfairly in assessment, the procedure for
appealing against decisions is also contained in the Academic Regulations.

Resources and Services
As a student on the course you will have an access to an impressive range of
facilities.
The College has an open access policy to all resources. All resources are treated as
common College assets and are normally accessible by all courses. Where
appropriate assets are available to students via open access (outside of timetabled
teaching time) or through a booking system for students who have the appropriate
inductions for the resource. No course or grouping of courses has sole control of or
access to a particular resource (with the exception of a small number of dedicated
postgraduate resources).
Information on how to access College ICT resource is available from
http://intranet.rave.ac.uk/ict/resources/
College resources likely to be used on this course are:
· ILab Cave (7 workstations dedicated to interaction);
· Green cave (15 workstation for 2D and 3D design and animation);
· Blue (15 workstation for 2D and 3D design and animation);
· Purple (15 workstation for 2D and 3D design and animation);
· PingPong Room (11 x Audio/Video Editing Workstations);
· Convergence (19 x Video/Editing Workstations);
· Digital TV Studio;
· Interactive Resource/PC (iTV resources);
· Studio A (full production TV studio);
· Studio B (24 Track Pro Tools Suite with 96 Channel Digital desk);
· College Wide General Computer Resource (Word Processing, Spreadsheets,
Graphics etc).
Learning Resource Centre (LRC)
The Learning Resource Centre (LRC) offers you a transparent portal to the world of
information. The information that you need in order to complete your studies can be
found through a wealth of traditional and nontraditional sources. The staff of the LRC
will be on hand to assist you with your information needs.
The LRC contains information in many different formats; 20,000 books, 160 Journals,
4,500 videos and DVDs, and access to dozens of online databases and information
sources. Printed and electronic guides to all of our eresources are available in the
LRC, through the LRC webpage, and through Learn@rave – our Virtual Learning
Environment (VLE).
There is also access to a General Computer Resource in the LRC for functions such
as word processing, spreadsheets, graphics etc. This consists of approximately 26
PCs and 10 Macs.
For further information please see the LRC Intranet site http://intranet.rave.ac.uk/lrc/.

Student Support
At Ravensbourne, we recognise that student life can be hard in different ways, for
different people.
The College has a dedicated team of people in Student Support Services to help you
with a range of issues you may have whilst you are at Ravensbourne.
The College will provide the following core of services, which may from time to time
vary according to available resources:
· General Welfare support;
· Access to health advice;
· Counselling services;
· Disability advice and support services;
· Student financial advice service;
· Mediation services (relating to student complaints);
· Mentoring services;
· Learning support service.
For further information please see the Student Support Services Intranet site (
http://intranet.rave.ac.uk/support/default.htm), or the ‘Information – For new students
from the UK and EU’ or ‘Information – For new international students’ handbooks.

E Learning
In addition to the aspects of the curriculum delivered in the traditional manner
through lectures, workshops and other face to face delivery methods, learning will
also be supported by the developing ‘Learn@rave’ Virtual Learning Environment
(VLE) [http://learn.rave.ac.uk/moodle/]. Course Handbooks, project briefs and other
course materials will be available for retrieval and access on or off campus. Similarly,
students will be able to apply themselves to online group forums, critiques and tasks
at the time and place most suitable to their personal schedules and commitments.
As the “Learn@rave” system develops students should logon to the VLE regularly to
keep up to date with news and views in their subject area.
Go to http://learn.rave.ac.uk/moodle/ and login as usual to gain access to the
College’s online Virtual Learning Environment (VLE).
Multidisciplinary Environment
Like all courses, working on projects with students from other disciplines is central to
the aims of this programme. Many of the projects in the BA (Hons) Design for
Interaction programme will involve students working as team members with students
on other courses at Ravensbourne College of Design and Communication. These
would include the BA (Hons) Broadcasting, BA (Hons) Content Creation and
Broadcast, BA (Hons) Design for Moving Image, FdA Broadcast Post Production and
BA (Hons) Interior Design Environment Architectures. Much of this collaborative work
will be geared towards the annual Rave on Air showcase event and in all cases will
be subject to the development of negotiated learning contracts.

Unit List
Level 1
Unit Code Unit Title Credit
Value
ACT101 Storytelling 10
ACT102 Principles of Interaction Design 15
ACT103 Audio Visual Production 10
ACT104 Design for Interactive Media 15
ACT105 Usability 10
ACT106 Interactive Narrative 10
PPD1/ACT107 Personal and Professional Development 1 10
C102/ACT108 Contextual Studies Elective 1 10
D101/ACT109 The Design Elective 10
C101/ACT110 Design and Communication Media, Theory 20
and Context
TOTAL 120
Level 2
ACT201 Games 10
ACT202 Virtual Environments 10
ACT203 Content Management Systems 20
ACT204 Design for Urban Communities 20
ACT206 Interactive Spaces 20
C203/ACT207 Contextual Studies Elective 2 10
C201/ACT208 Know Your Audience: Society, Culture and 10
Politics
C202/ACT209 Dissertation Preparation 10
TOTAL 120
Level 3
C301/ACT301 Dissertation 20
CAVE301/ACT302 Negotiated Brief 20
ACT303 Major Project (collaborative) 20
ACT304 Major Project (individual) 40
ACT306 Major Project Report 10
TOTAL 120

Unit Map
Term one Term two Term three

ACT101 Storytelling ACT103 Audio Visual Production ACT105 Usability
10 Credits 10 Credits 10 Credits
ACT102 Principles of Interaction ACT104 Design for Interactive Media ACT106 Interactive Narrative

Design 15 Credits 10 Credits
15 Credits
C102/ACT108 Contextual Studies
Elective 1
10 Credits
C101/ACT110 Design and Communication Media, Theory and Context D101/ACT109 The Design Elective
20 Credits 10 Credits
PPD1/ACT107 Personal and Professional Development 1
10 Credits
BA (Hons) Design for Interaction Level 1

ACT201 Games ACT203 Content Management ACT206 Interactive Spaces
10 Credits Systems 20 Credits
20 Credits
ACT204 Design for Urban
Communities
20 Credits
ACT202 Virtual Environments
10 Credits
C201/ACT208 Know Your Audience: C203/ACT207 Contextual Studies C202/ACT209 Dissertation

Society, Culture and Politics Elective 2 Preparation
10 Credits 10 Credits 10 Credits
10 Credits
C301/ACT301 Dissertation ACT304 Major Project (individual)
20 Credits 40 Credits
CAVE301/ACT302 Negotiated Brief ACT303 Major Project
20 Credits (collaborative)
20 Credits
ACT306 Major Project Report
10 Credits
10 Credits

Outcome Map A = Knowledge and Understanding D = Transferable Skills
B = Practical/Professional Skills X = Assessed and Delivered
C = Intellectual Skills d = Delivered
A A A B B B
A A A A A A A A A B B B B B B B B B
Unit Code Unit 1 2 3 4 5 6 7 8 9
1 1 1
1 2 3 4 5 6 7 8 9
1 1 1
0 1 2 0 1 2
LEVEL 1
ACT101 Storytelling d X d d d
ACT102 Principles of Interaction Design X X X d d d X d d d
ACT103 Audio Visual Production d d X d
ACT104 Design for Interactive Media X X d d d X d X d d d d
ACT105 Usability d X d X X X d X
ACT106 Interactive Narrative d X X d d X
PPD1/ACT107 Personal and Professional Development 1 X d
C102/ACT108 Contextual Studies Elective 1
D101/ACT109 The Design Elective d d d X d X
C101/ACT110 Design and Communication Media, Theory
and Context d d X d
LEVEL 2
ACT201 Games X d d d d d X
ACT202 Virtual Environments d d d d X X d X
ACT203 Content Management Systems d X X d d X X X X
ACT204 Design for Urban Communities d X d d X X d
ACT206 Interactive Spaces d d X X
C203/ACT207 Contextual Studies Elective 2 d X
C201/ACT208 Know Your Audience: Society, Culture and
Politics X X
C202/ACT209 Dissertation Preparation d

LEVEL 3
C301/ACT301 Dissertation X X
CAVE301/ACT302 Negotiated Brief X X X X X d
ACT303 Major Project (collaborative) X X X X X X d X X
ACT304 Major Project (individual) X X X X X X X
ACT306 Major Project Report X d X

C C C C C C C C D D D D D D D
Unit Code Unit 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7
LEVEL 1
ACT101 Storytelling X d d d d
ACT102 Principles of Interaction Design d d
ACT103 Audio Visual Production
ACT104 Design for Interactive Media X d d d
ACT105 Usability d d d
ACT106 Interactive Narrative X d d
PPD1/ACT107 Personal and Professional Development 1 d d
C102/ACT108 Contextual Studies Elective 1 X d d
D101/ACT109 The Design Elective X d d
C101/ACT110 Design and Communication Media, Theory
and Context d d X d
LEVEL 2
ACT201 Games X d d
ACT202 Virtual Environments X d
ACT203 Content Management Systems X d
ACT204 Design for Urban Communities X d X d d X
PPD2/ACT205 Personal and Professional Development 2 d d d
ACT206 Interactive Spaces
C203/ACT207 Contextual Studies Elective 2 X d X
C201/ACT208 Know Your Audience: Society, Culture and
Politics X X X d
C202/ACT209 Dissertation Preparation X d X X
LEVEL 3
C301/ACT301 Dissertation d X X X X X
CAVE301/ACT302 Negotiated Brief X X X
ACT303 Major Project (collaborative) X d X X X X X
ACT304 Major Project (individual) X d X X X
PPD3/ACT305 Personal and Professional Development 3 d X
ACT306 Major Project Report d X X X X

A Knowledge and Understanding of: B Practical/Professional Skills – Able To:
1. the design process in general and specifically in interaction design 1. demonstrate an understanding of the skills used by the various

2. the nature of interactivity and non linearity branches of interaction design and how they are articulated
3. the nature of representation within the sphere of “on screen” narrative 2. use digital technology creatively as part of the design process and as a
4. the nature of the data and processes used in the creation of interactive tool for presentation and communication
artefacts 3. articulate design proposals and concepts clearly, using a variety of
5. the depth and breadth of the technologies upon which the discipline of appropriate media
Design for Interaction is based 4. define a design proposal for an interaction project which meets the
6. the nature of human form, thought processes, its needs and responses requirements of professional practice
in given situations relating to the usability of designed artefacts 5. plan projects so that deadlines are met and all work is of required
7. computation in design and its application quality or better at these deadlines
8. the analysis of function 6. deal effectively with the unexpected from both internal (personal
9. the creative potential of digital technologies environment) and external (client) sources
10. the nature of technological change and the impermanence of 7. know what is achievable both personally and within a group situation
knowledge 8. understand the nature of the professional experience in interaction
11. key business processes necessary to underpin graduate employment in design
the creative industries 9. work within a design process and to contribute to this
12. a critical understanding of design practice and theory in the context of 10. understand the use of iconography when applied to interactive artefacts
history, society, contemporary global culture, business and an 11. select, test and make appropriate use of processes and materials in the
appreciation of the significance of the work of other practitioners development of prototypes from design ideas
12. complete a significant design project proposal and carry it through to a
successful conclusion

C Intellectual Skills – Able To: D Transferable Skills – Able To:
1. generate ideas, concepts, proposals, solutions or arguments 1. work independently, setting own aims, objectives and deadlines to

independently and/or collaboratively in response to set briefs and/or as manage learning, workload and projects, including time, personnel and
selfinitiated activity resources
2. be intellectually curious, analytical and reflective, capable of carrying 2. work effectively and collaboratively with others in a team from a variety
out sustained independent enquiry and develop the skills that underpin of backgrounds and disciplines
professional development and lifelong learning 3. manage information in a range of media, selecting and using a variety
3. understand the similarities and differences between the interrelated of sources and technologies to evaluate and record/present information
disciplines of design and their interaction 4. articulate ideas and information in visual, oral and written forms, and
4. be entrepreneurial, imaginative, have divergent thinking skills and think communicate ideas and work clearly and appropriately to a variety of
creatively whilst still satisfying the needs of the project/client audiences, including technical and nontechnical audiences
5. understand and simulate interactive environments 5. produce work that is literate, numerate and coherent, deploying
6. place their own work critically in the context of business, culture, established techniques of analysis and enquiry
society, the environment, ethics, history, and be aware of the impact 6. identify, define and creatively solve problems, using appropriate
politics and economics can have on the relevance of design knowledge, tools and methods, often in complex and unpredictable
7. understand that the acquisition of knowledge is continuous and ongoing situations
professional and personal development is essential 7. demonstrate critical awareness and reflection through evaluating own
8. critically assess work with reference to existing and emerging strengths and weaknesses, and adapting proposals and plans
professional and/or academic debates accordingly

Level 1
In Level 1 of the course, students receive a rounded introduction to interaction design
and the skills and theories which underpin it, such as storytelling, graphical
information design, usability and nonlinear narrative. Students develop a sound
understanding of the design process which they build upon and develop in Levels 2
and 3.
Level 1 of the course aims to produce students who:
i) Have a sound understanding of the underlying concepts, principles and
skills associated with interaction design;
ii) Have a broad understanding of the wider social, cultural and historical
context of the subject;
iii) Can develop lines of argument around the key concepts and principles of
interaction design;
iv) Can evaluate the appropriateness of different approaches to solving
problems in interaction design to different situations and can make sound
judgements in their application;
v) Can communicate the results of their study/work accurately and reliably,
using structured and coherent arguments and the presentation and
interpretation of qualitative and quantitative data where appropriate;
vi) Have acquired the basic qualities and transferable skills necessary for
employment, requiring the exercise of some personal responsibility;
vii) Are fully prepared to undertake Level 2 of the course.
Activity in this level focuses primarily with on screen interaction and its conventions.
Skills and knowledge are built gradually from the telling of a “story” using basic
visual/graphical and media production skills through to the use of these skills in the
creation of content and its deployment for a variety of current media platforms.
Having created an interactive artefact students then begin to engage with the
process of usability testing and the iterative design process that results from this.
Personal and Professional Development in Level 1 focuses on the development of
skills and techniques for reflecting upon experience both generally and in their
specialist learning, developing their awareness of their own learning styles, time
management, selfpromotion and communication skills.
A cross Faculty Design Elective provides an opportunity for students to work outside
their degree subject area and to work with students from the other courses in the
Faculty. The projects on offer in this unit will address areas fundamental to many
disciplines in design though often in different ways (i.e. drawing, visual research or
the study of colour). The unit should provide students with a broad understanding of
the diversity of practice in the “creative industries”.
Contextual Studies is offered on a College wide basis through two units in Level 1. It
gives a broad introduction to critical theories and historical analyses of design,

communication and the creative arts in the 20 th and 21 st Century. Through these units
students are encouraged to view their own developing specialist learning and
understanding, within the broader context of historical changes and to bring this
awareness to the historical, sociocultural and commercial research tasks of the
specialist units.
Overall the level provides a sound underpinning for the challenges which students
will face in the second level of the course.

Unit Title Storytelling
Unit Code ACT101
Programme BA (Hons) Design for Interaction
Credits 10 Level 1 Unit Status Mandatory
Contact Time 25 Access to Resources 20 Independent Study 55
This unit aims to introduce students to the uses of narrative in visual
communication.
Interaction designers design the interfaces which enable humans to
engage with products, media and information. It is important that
these interfaces are self explanatory (i.e. tell their own story
visually). An understanding of the nature of stories and storytelling
Introduction
enables a designer to do this effectively.
Students will work on a project which examines the nature of
storytelling and how it can be used in design. Since all designers
need to present their designs to clients, students are introduced to
the basic presentation skills which they will build upon and develop
during the rest of the course.
Topics that may be covered in this unit include:
Indicative
· The structure of stories;
Curriculum
· Visual techniques for the communication of ideas;
Outline
· Cultural influences on storytelling;
· Basic presentation techniques.
In order to pass this Level 1 unit, students must show that the
following learning outcomes have been achieved:
1. Knowledge and understanding about the nature of stories,
storytelling and the creative possibilities of narrative in
interaction design; (LO1)
Unit Learning 2. Knowledge and understanding about the interrelationship of
Outcomes visual communication and the content of that communication.
(LO2)
Skills
3. An ability to present their ideas to a defined audience through
visual communication; (LO3)
4. An ability to use storyboarding to develop and present an
interaction design proposal. (LO4)

This unit will make use of the following:
Teaching and · Briefing(s);
Learning · Studio based lectures;
Strategies · Self directed student study;
· 1 formative assessment;
· 1 summative assessment by presentation.
Formative Assessment
Students will receive written feedback from project presentations,
giving them an indication of their performance in relation to the
learning outcomes before the final submission of their work.
Summative Assessment
This will include:
Assessable
· A storyboard explaining the use(s) of a given artefact;
Elements
· A project log containing background sketches and research.
Each assessed element will contribute to the final grade, in the
proportions shown in the following table:
Assessable Elements Percentage of Final Grade
Storyboard (and presentation) 80%
Project Log 20%
Students will be assessed on the following:
Storyboard
· The degree to which the storyboard meets specified formats
and conventions; (LO1, LO3)
· The effectiveness of the storyboard in articulating the
Assessment purposes of a given artefact; (LO2, LO4)
Criteria · How clearly the associated presentation explains the solution
to the intended audience. (LO4)
Project Log
· The level of research and use of available material; (LO1)
· Evidence of generation and exploration of a number of
concepts. (LO4)

Unit Relevant Books
O. Fraioli, James. (2000) Storyboarding 101: a crash course in
professional storyboarding.
Bell, Roanne (ed). and Sinclair, Mark. (ed) (2005) Pictures and
words: new comic art and narrative illustration.
Propp, Louis. and Wagner, A. (ed.) (1969) The morphology of the
folk tale, University of Texas Press. (Analyses storytelling into
formulae)
Indicative The Beano and other examples of comic narrative art.
Reading List
Manuals for any electronic appliances i.e. VCR, DVD, Microwave
cooker etc.
Unit Relevant Websites
www.animationexpress.com
www.animationexpress.com (Students will need to subscribe to this
website for a weekly email)
http://pages.prodigy.com/suna/storytel.htm (The History of
Storytelling)

Unit Title Principles of Interaction Design
Unit Code ACT102
This unit introduces students to the basic building blocks of the
design process with a bias towards the needs of interaction design.
Students will be introduced to the nature of the brief in design and its
interpretation. The unit will look at the role of typography and its
effects on legibility and the representation of meaning through icons
(symbols). The unit begins by looking at the presentation of static
Introduction
information and progresses to look at the presentation of dynamic
information.
The unit explores the conventions that underpin the recognition of
signs and symbols in a variety of media, the semiotics of colour and
the means by which people interact with these symbols.
Topics which may be explored in this unit might include:
· Typography;
· Colour theory;
· Iconography;
Indicative
Curriculum · Information Design;
Outline · Basic interaction software scripting.
Students will be introduced to interaction prototyping software. The
unit comprises a series of projects which are a vehicle for looking at
the organisation and communication of information and the inter
relationship of these two.

1. An understanding of the ordering of “raw” information and the
way this affects its communication; (LO1)
2. An understanding of the design principles which underpin the
Unit Learning
presentation of information across different media. (LO2)
Outcomes
Skills
3. The ability to order and organise information for
communication and interaction; (LO3)
4. The ability to use design software for image generation; (LO4)
5. The ability to use interaction specific software and
technologies in ordering and presenting information. (LO5)
· Briefing(s);
Teaching and · Demonstrations and studio based instruction workshops,
Learning which will look at guided software use;
Strategies · Seminars, which will involve discussion of concepts and
direction;
· Student directed study;
· Critique.
The projects involve a design presentation in a number of media and
the production of an interactive clip.
Students will submit the design presentation at an interim point in
the unit and will receive written feedback giving them an indication of
their performance in relation to the learning outcomes before the
Assessable final assessment.
Elements
Design Presentation 50%
Interactive Clip 50%

Students will be assessed on the suitability of their designs for the
communication of the given information across a number of media
including:
· Effectiveness of logotype; (LO1)
· Appropriateness of font; (LO1)
· Consideration taken of scalability; (LO2)
Assessment
· Appropriateness of colour selection. (LO2)
Criteria
In relation to the interactive clip used within the interactive
presentation, students will be assessed on:
· The functionality of the clip; (LO5, LO3)
· The degree to which it fulfils the terms of the brief; (LO1)
· The quality of production. (LO4)
Unit Relevant Books
Triedman, Karen. (2002) Colour Graphics: the power of colour on
Graphic Design, Rockport.
Miller, Anistatia and Brown, Jared. (2004) Logos: Making a strong
Indicative
mark: 150 strategies for logos that last, Rockport.
Reading List
Lippincott and Margulies. (2004) The Art and Science of Creating
Lasting Brands, Rotovision.
Ware, Colin. (2004) Information Visualization: Perception for design,
Elsevier Science.

Unit Title Audio Visual Production
Unit Code ACT103
Design for Interaction opens up a world of a nonlinearity. However,
in constructing that world, interaction designers often use video
based narrative content which will be linear in its nature. It is
therefore useful for them to understand the nature of its creation.
The purpose of this unit is to introduce the tools of audiovisual
production and the possibilities and constraints of the broadcast
Introduction studio. This unit introduces students to the professional TV studio
environment and how it can be used to deliver their creative ideas.
Developments in digital technology have made the portable single
camera common in content creation across many media platforms.
Students working across the range of media industries will need to
be able to think creatively with the single camera and to understand
its use.
Topics covered in this unit may include:
Indicative · Basic script writing and treatments;
Curriculum · Single camera operation;
Outline · Studio operations and protocols;
· Postproduction;
· Direction.

following learning outcomes have been achieved.
1. Knowledge and understanding of professional studio practice
and the roles, relationships and responsibilities which
underpin it; (LO1)
Unit Learning 2. Knowledge and understanding of the workflows used to bring
Outcomes a programme plan or script through the studio to completion.
(LO2)
Skills
3. An ability to produce video shorts in collaboration with others
to a specified brief; (LO3)
4. An ability to use a portable camera and understand its
strengths and limitations. (LO4)
· An introduction to the project;
Teaching and · An introduction to the studio;
Learning · Lectures, which will include consideration of health and safety
Strategies issues, studio protocols and the digital studio;
· Workshops, which will look at directed practice session in the
studio;
· Seminar, critique and feedback.
Students will receive critique and feedback of treatment proposals.
Assessable Each assessed element will contribute to the final grade, in the
Elements proportions shown in the following table:
Group Video Production 80%
Project Log 20%

Students will be assessed on:
Group Video Production
The degree to which the video:
· Fulfils the specified brief; (LO4)
· Makes appropriate use of studio lighting; (LO1)
Assessment · Makes appropriate use of studio sound; (LO1)
Criteria · Demonstrates a grasp of basic camera techniques. (LO4)
Project Log
· Evidence of self evaluation of own contribution to group;
(LO1, LO2, LO3)
· Evaluation of the process of production; (LO2)
· Evaluation of roles and contribution of others. (LO3)
Unit Relevant Books
Winston, B. (1996) Technologies of Seeing, BFI.
Maeda, J. (2000) Maeda & Media, Thames and Hudson.
Indicative Fiske, J. (2003) Reading Television, Methuen.
Reading List
Amyes, Tim. (2004) Audio postproduction in television and film: an
introduction to technology and techniques, Focal.
Unit Relevant Video
Gregory, R. (2001) Eye and Brain.

Unit Title Design for Interactive Media
Unit Code ACT104
This unit introduces students to the media platforms which they are
likely to encounter as interaction designers (i.e. currently interactive
television, DVD, CDROM, the web and mobile telephones).
Increasingly, information and content is repurposed across a range
of media. The unit looks at the design issues associated with the
translation of content from one platform to another.
It will introduce students to specific interface design issues and
technical constrains of the various platforms covered in this module.
Introduction
It will also require students to appropriately design and translate a
user interaction experience across these platforms.
The unit emphasises the skills associated with working in teams.
Team work is particularly important in the design industry and
students will invariably find themselves working with other people
who possess knowledge and/or expertise in areas that they do not.
Students on this unit may work closely with students from related
Broadcasting courses.
Indicative · Media platforms and the technologies which underpin them;
Curriculum · The design and navigation issues relating to translation to
Outline various media (e.g. DVD, CDROM, web and interactive TV);
· Strengths and limitations of platforms;
· Production processes relating to different platforms.

1. Appreciate media technologies utilised in the delivery of linear
and nonlinear content and their strengths and limitations;
(LO1)
2. A knowledge of the differing techniques required for the
creation of content within these delivery modes; (LO2)
Unit Learning 3. An understanding of the roles other specialisms play in the
Outcomes overall production process for cross platform media content
and delivery. (LO3)
Skills
4. The ability to plan and manage an interactive design project;
(LO4)
5. Collaborate in groups and produce content suitable for use on
a number of platforms; (LO5)
6. The ability to communicate the requirements of their
specialism to collaborators in the production of content. (LO6)
· Lectures, which will include consideration of digital delivery
Teaching and
systems and associated needs;
Learning
· Workshops, which will include practical introductions to the
Strategies
technologies;
· Seminar, critique and feedback;
· Self directed learning.

This will include:
· Critiques and feedback on concepts and research.
This will include:
Assessable · A Group Project involving the creation and repurposing of
Elements content across a number of specified platforms;
· Individual Project Journal.
Group Project 80%
Individual Project Journal 20%
Students will be assessed on the group project and groups will be
assessed on the degree to which:
Group Project
· They have creatively utilised the potential of the interactive
content delivery technologies in the final deliverables; (LO1)
· They understand the methods and processes involved in the
creation and delivery of content across a number of media, as
Assessment evidenced by required deliverables; (LO2)
Criteria · The effectiveness of the content delivery and access
interfaces across a number of specified platforms. (LO3)
Individual Project Journal
· Evidence of project planning and management in relation to
the individual contribution’s and reflection upon the overall
project management; (LO4)
· Evidence of effective collaboration across the duration of the
project. (LO5, LO6)

Unit Relevant Books
Pagani, Margherita. (2003) Multimedia and interactive digital TV:
Managing the opportunities created by digital convergence, IRM
Press.
Srivastava, Hari Om. Artech. (2002) House Interactive TV
technology and markets, Artech House.
Bulterman, Dick and Rytledge, Lloyd. (2004) SMIL 2.0: Interactive
Multimedia for web and mobile devices, SpringerVerlag.
Negroponte, N. (1995) Being Digital, MIT.
Indicative
Reading List
Oliver, R. (2000) Understanding Hypermedia, Phaidon.
Unit Relevant Trade Journals
Broadcast
New Media Age Computer Arts
Screen writer
Viewfinder
American Cinematographer

Unit Title Usability
Unit Code ACT105

This unit introduces the concepts underlying usability. Students will
be given an interactive context and asked to solve the problems
arising out of the specific conditions faced by users. Understanding
Introduction the impact of contexts on usability includes the
physical/environmental constraints (such as background noise,
space restrictions, portability etc.) and conceptual constraints arising
from the users expectations.
Indicative
· History of human factors analysis;
Curriculum
· Basic ergonomics/usability;
Outline
· Product semantics;
· Collection and analysis of usability data.
1. Knowledge and understanding of the principles of usability
Unit Learning which influence effective interaction design; (LO1)
Outcomes 2. Knowledge of the historical and sociocultural factors which
impact on usability in interaction design. (LO2)
Skills
3. The ability to apply user need analysis in the design of
artefact functions in interaction design. (LO3)
· Briefing(s);
Teaching and · Lectures;
Learning · Seminars/discussion groups;
Strategies · Demonstration by industry specialists;
· Practical workshops, which will include practical user testing;
· Critique;
· Feedback.

Students will receive written feedback from critiques and tutorials
giving them an indication of their existing performance in relation to
the learning outcomes before the Summative Assessment.
This will include:
· A short Project on a usability task;
· A short Essay or Visual Presentation demonstrating an
Assessable
understanding of fitting functions to user needs, Human factor
Elements
analysis and product semantics (1500 words);
· A Project Log.
Short Project 40%
Essay/Visual Presentation 40%
Project Log 20%
Essay/Visual Presentation
· Evidence of knowledge of a range of human factor analysis
techniques and their development such as timed tasks and
the use of graphs to determine optimum usability; (LO1)
· Focus, structure, referencing and organisation of the project
matter. (LO3)
Assessment
Project
Criteria
· Application of principles of usability in the design of an
interface; (LO3)
· Evidence of the application of knowledge gained through
testing in the development of the design. (LO1)
Project Log
· Evidence that the student understands the strengths and
limitations of these techniques within usability design. (LO1,
LO2)

Unit Relevant Books
Dix, Alan. (2004) HumanComputer Interaction, Pearson.
Apple Computer, Inc. (1992) Human Interface Guidelines: The Apple
Desktop Interface.
Norman, Donald. (1993) Things that make us smart, Perseus.
Papanek, Victor. (198595) Everything/anything.
Courage, Catherine. (2005) Understanding Your Users: a practical
guide to user requirements: methods, tools and techniques, Morgan
Kaufmann.
Indicative
Reading List
Nielsen, Jakob. (1993) Usability Engineering, Academic Press.
Norman, Donald. (1988) The Design of Everyday Things.
Norman, D. and Draper, S. W. (1986) User Centered System
Design.
www.useit.com
http://www.usabilityfirst.com/
http://usableweb.com/

Unit Title Interactive Narrative
Unit Code ACT106
This unit aims to introduce students to the concepts of interactive
nonlinear narrative.
Non linear storytelling is not a new concept. However, its
development was hampered by the linear nature of the media
available. The advent of digital technologies allows users to interact
Introduction and influence the narrative.
Students will learn how to tell a dramatic, compelling story in which
the sequence of events or the outcome of the story may be
influenced by the intervention of the audience. They will learn to
approach script writing and narrative development in a manner
appropriate to non linear interaction.
Topics which may be covered in the unit may include:
Indicative · Storyline development;
Curriculum · Narrative development for non linearity;
Outline · Writing treatments;
· Script writing for non linear narrative;
· Impact of interaction on drama.
1. An understanding of non linear narrative structures and of
“architectures” within non linear narrative; (LO1)
2. An understanding of the interface needs of users in non linear
environments; (LO2)
3. Understand the relationship between content and screen
Unit Learning aesthetics within the non linear narrative genre and how
Outcomes these influence each other. (LO3)
Skill
4. The ability to exploit non linear narrative techniques and
structures to form coherent visual presentations; (LO4)
5. The ability to produce an interactive story using non linear
media. (LO5)

· Lectures, which will include architecture and future of
Teaching and interactive narrative;
Learning · Self directed learning and research;
Strategies · Seminar, which will include discussion of research and
concepts;
· Critique of treatment;
· Feedback.
Students will receive critique and feedback of concept storylines and
architecture.
This includes:
· Treatment (from a list of given topics);
Assessable · The Negotiated Project;
Elements · Project Log.
Treatment 20%
Negotiated Project 60%
Project Log 20%

Student will be assessed on:
Treatment (from a list of given topics)
· The degree to which the treatment sells the given topic; (LO3)
· The degree to which the treatment shows an understanding of
non linear narrative structures. (LO1)
Negotiated Project
Assessment · The degree to which the story exploits the potential of
Criteria interactive media; (LO4)
· The usability of the story interfaces; (LO2)
· The aesthetic match of the content and the story vehicle.
(LO5)
Project Log
· Evidence of exploration of alternative concepts,
representational solutions and narrative structures in the
development of the project. (LO3)
Unit Relevant Books
Field, Syd. (1994) Screenplay: The Foundations of Screenwriting,
Dell.
Cowgill, Linda. (1997) Writing Short Films: Structure and Content for
Screenwriters, Lone Eagle.
Duranti, A. (1992) Rethinking Context: Language as an Interactive
Phenomenon, Cambridge University Press.
Brunhild, Bushoff. (2005) Developing interactive narrative content,
HighText Verlag.
Indicative
Reading List
Wolf, Mark. and Perron, Bernard. (2003) The video game theory
reader, Routledge.
Unit Relevant Films
Gilliam, Terry. (Dir) (1995) 12 monkeys.
http://www.boxesandarrows.com/view/use_of_narrative_in_interactiv
e_design
http://vismod.media.mit.edu/vismod/demos/kidsroom/kidsroom.html

Unit Title Personal and Professional Development 1
Unit Code PPD1/ACT107
Credits 10 Level 1 Unit Status Core Mandatory
Reflection upon experience is central to both academic learning and
professional development. This unit will support and focus on the
development of learners’ selfawareness, patterns and habits of
learning, and their study, organisation, selfmanagement and
communication skills. It provides the opportunity for structured self
Introduction reflection that can be built upon, as learners work towards a
continuing process of critical analysis of their professional practice.
It will play an important role in setting students up for their course
and supporting them to develop increasingly independent
approaches to learning.
Students will attend a number of lectures, workshops and seminars
and be directed to supporting material covering areas such as the
following:
Primary Topics
Indicative
Curriculum · Learning styles/patterns and how these relate to other areas
Outline such as:
o Team working strategies and group processes;
o Study skills;
o Project/time management;
o Problem solving.
· Goal setting in relation to own strengths and weaknesses.

Skills
In order to pass this unit, the learner must demonstrate their ability
to:
Unit Learning
1. Consider their own strengths and weaknesses, particularly as
Outcomes
a learner; (LO1)
2. Develop personal and professional goals, particularly in
relation to learning; (LO2)
3. Collect and present evidence of personal and professional
development. (LO3)
Overview
Students will be exposed to key concepts and methodologies
through lectures, seminars and workshops. However the majority of
learning will take place through the development of their Personal
and Professional Development File.
Personal and Professional Development File
The Personal and Professional Development File will be made up of
three main elements:
Learning Plan
The Learning Plan will set out the students’ position in relation to
their course/learning and possible future directions. This will mostly
be produced by considering their strengths and weaknesses in
Teaching and
relation to their course and goals.
Learning
Strategies
Reflective Commentary
The Reflective Commentary will identify specific evidence from the
Evidence Base (below) in order to demonstrate the achievement of
learning outcomes (some of which may not be specifically delivered
within this unit).
Evidence Base
The Evidence Base will contain documents and other evidence to
support both the Learning Plan and the Reflective Commentary.
Teaching Methods
Students will be supported in developing knowledge and skills within
this unit by the models used and the ways in which elements such
as the Learning Plan, the Reflective Commentary and formative
assessment are structured.

Lectures/Guest Lectures/Workshops
23 per term.
Lectures and workshops will introduce underlying concepts,
processes and models in areas such as learning styles, project/time
management, communication skills and goal setting. Guest lectures
may be used to help learners understand these concepts within a
wider context where appropriate.
Small Group Seminars/Workshops
23 per term.
These will be used to encourage discussion and reflection on the
learning/working experience and to ensure learners gain from
shared experiences.
SelfDirected Study
The majority of learning for this unit is selfdirected. Students will
learn by doing within the framework of structured and supported
review already described.
Tutorials
23 per year.
Personal and Professional Development File – Indicative
Contents
The list below details the type of content expected to demonstrate
the attainment of the unit learning outcomes. While the list below is
neither exhaustive nor prescriptive, most Personal and Professional
Development Files will contain examples of the work detailed below:
· Learning Plan
o Personal and professional goals
Assessable o Self analysis – strengths and weaknesses as a learner
Elements · Reflective Commentary (750 – 1000 words or equivalent)
o Significant milestones in learning and in meeting goals
o Reasons for changes in direction or goals
· Evidence Base
This may include, as appropriate:
o Initial portfolio
o Tutor/peer feedback
o Responses to Project Briefs
o Schedules/project plans/personal timetable
o Evidence of independent study/engagement
o Research notes

There are normally formative assessment points during each term
for students to receive feedback on their Personal and Professional
Development File and progress. This will give students an indication
of their existing performance in relation to the learning outcomes
before submitting the File for summative assessment.
The Personal and Professional Development File is submitted for
interim feedback and then as a final submission. The percentages of
the final grade are weighted accordingly.
Personal and Professional 25%
Development File (1 st submission,
normally start of term 2)
nd
Development File (2
submission, normally in term 3)
Achievement in this unit will be assessed on evidence, within the
Personal and Professional Development File, of the level to which
learners have demonstrated their ability to:
· Thoroughly review their own strengths and weaknesses
(particularly as a learner) and relate these to relevant models,
Assessment such as learning styles; (LO1)
Criteria
· Develop and set out personal and professional goals,
particularly in relation to learning, that are informed by the
models covered within the unit; (LO2)
· Evidence their learning and personal and professional
development by gathering relevant material and presenting
this in an appropriate form. (LO3)

Students will be referred to relevant models, texts and discussions
during and in support of other teaching. What follows is a more
general guide:
Marshall, L. (1998) A Guide to Learning Independently, Open
University Press.
Lakoff & Johnson. (1981) Metaphors We Live By, University of
Chicago Press.
Indicative
Reading List
http://www.support4learning.org.uk/education/lstyles.htm links to
many useful resources on learning styles, progress files, mind
mapping etc.
http://www.peterhoney.com/learning
online questionnaire on learning styles.
http://www.varklearn.com/english/page.asp?p=questionnaire –
additional model of learning styles.

Unit Title Contextual Studies Elective 1
Unit Code C102/ACT108
Elective 1 is concerned with the notion that the disciplines of design
and communication media are located within a broader context of the
creative arts, including fine art, cinema, performance, writing and
music. Developments in the creative arts impact on the theories and
practices of design and communication media, providing them with
rich sources of inspiration and content, and different ways of
thinking.
This elective enables students to begin, through experience,
documentation and critical reflection, to exploit the relationship
between design/communication media and the broader world of the
creative arts. It requires them to move out of their normal framework
of thinking and doing in their home discipline, and into an unfamiliar
realm of experience in the creative arts.
Students choose one out of approximately 5 contextual projects
offered, dealing with areas such as:
Introduction
History of Cinema – filming or scriptwriting
Creative writing – e.g. poetry, rap, songwriting
Theatre – drama
Dance – choreography
Music – e.g. vjing or djing
Students are expected to immerse themselves in the project
‘experience’; exercise their imagination and develop new interests;
experiment with new ways of making, doing, seeing or
communicating; and begin to build connections between this
unfamiliar project ‘experience’ and their own world of design or
communication media.
Term Two, crossCollege, varying timeblocks but normally:
2week block (64 hours total), plus 36 hours of independent work
and Summative Assessment.
30 hours delivered learning (approximately 5 days teaching).
70 hours independent learning.

Aims
This unit aims to:
· Introduce students to a broader view of the world of creative
arts and the practitioners working within it;
· Encourage students to undertake an unfamiliar experience in
the arts and relate it to their principle studies – thereby
discovering a new source of content, a new influence or a
different way of thinking;
· Enable students to explore different ways of recording
experiences in written or oral form (both new and existing
uses of language).
In this unit students learn:
· An introduction to their chosen area of the creative arts
(historical/contextual aspects, practitioners and examples of
their work, movements);
· Skills, techniques, methods or processes involved – i.e. how
Indicative
to create a performance or artefact (appropriate in scale or
Curriculum
length) or instruct/direct someone else to do so;
Outline
· How to make connections between the creative arts and
design and communication media (comparisons of themes,
experiences, content, processes or ways of thinking) via
discussions or seminars;
· Exploration of conventional and unconventional methods of
documentation and recording.
On successful completion of this unit students will be able to:
1. Appreciate a broader view of the creative arts, such as fine
art, performance, writing and other activities; (LO1)
2. Understand and experience a (formerly) unfamiliar area of the
Unit Learning
creative arts; (LO2)
Outcomes
3. Evaluate possible connections between that unfamiliar
domain of creative activity and the student’s main field of
study. (LO3)
Skills
4. Document that experience in written or oral form. (LO4)

· Tutorials for formal, individual support;
· Lectures or workshops for group instruction, demonstration or
studio work;
· Seminars, as a context for group discussions and group
work;
· Directed, specialist reading to encourage independent
learning;
Teaching and
Learning · Study visits to galleries, museums, collections, professional
Strategies studios, city locations, film showings or theatrical events may
be used for in situ discussions or direct experience of
designs, artefacts or people;
· Guidelines (brief, select handouts) intended to inform and
aid students during independent study;
· Individual dyslexia support and language mentoring as
appropriate.
Students are also encouraged to make independent study visits to
galleries, museums, professional studios and other sites.
Assessment Strategy
Varying timeblocks but normally: 2week block (64 hours total);
Followed over the next few weeks by 36 hours of independent work
Weeks 1 – 2:
Lectures or workshops, with discussions or seminars.
Formative Assessment:
Group seminar(s) or critique(s), end of week 2.
Assessable
Elements
Spread over weeks 3, 4, 5 or 6 (varies): a total of 36 hours, including
independent work and a Summative Assessment.
Summative Assessment:
Delivery of a short performance or artefact created by an individual
or group;
and;
Submission of a written or oral/sound text (journal, diary, blog,
archive or other form) that documents the creative and learning
process involved in the above (10001500 words), with a
bibliography.

Assessable Elements – Percentage of Final Grade
· Group seminar(s) or critique(s).
· Delivery of (group or individual) short performance or artefact;
· Submission of written or oral/sound text (10001500 words)
with bibliography.
Delivery of (group or individual) 40%
short performance or artefact
Submission of written or 60%
oral/sound text (10001500 words)
with bibliography
Students will be assessed for:
· Acquired introductory knowledge and understanding of their
chosen area of the creative arts. (LO1)
The Experience: creating a short performance or artefact (group or
individual)
· Development of the concept and its communication or
manifestation; (LO2)
· Use of new and known skills, methods or techniques in order
Assessment to execute a short performance or artefact; (LO1)
Criteria · Ability to complete (the making of) the short performance or
artefact in the time allowed. (LO2)
Documenting the Experience
· Appropriateness and invention in the recording or
documentation of the Experience; (LO4)
· Skills in observation, listening and analysis; (LO2, LO3)
· Reflection on the Experience and how it has changed the
student and their thinking; (LO1, LO4)
· A sense of exploration and risktaking throughout the entire
project. (LO2, LO3, LO4)

Project Reading Lists will be supplied by their respective tutors.
Texts of general interest are also recommended, such as:
Adams, Brooks et al. (2003) Sensation: young British artists from the
Saatchi collection, Thames & Hudson. (First pub. 1997).
Berger, John. (2003) Ways of Seeing, Penguin Books. (First pub.
1972).
Carnes, Mark C. (ed.) (1996) Past Imperfect: history according to the
movies, Henry Holt and Company.
De Oliveira, Nicolas et al. (1996) Installation Art, Thames and
Hudson.
Sabin, Roger. (1996) Comics, comix & graphic novels: a history of
comic art, Phaidon Press.
Wolfe, Tom. (1990) From Bauhaus to Our House. Cardinal.
Zipes, Jack. (1991) Fairy Tales and the Art of Subversion: the
Indicative classical genre for children and the process of civilization, Routledge.
Reading List
Barney, Matthew. (19942002) Cremaster, US.
Lothe, Jakob. (2000) Narrative in fiction and film: an introduction,
Oxford University Press.
Morley, Simon. (2003) Writing on the wall: word and image in
modern art, London: Thames & Hudson.
Morrison, Bill. (2002) Decasia: US.
Siddons, Suzy. (1999) Presentation skills, London, Institute of
Personnel and Development.
Staniszewski, Mary Anne. (1995) Believing is Seeing: Creating the
Culture of Art, Penguin Books.
Stott, Rebecca. and Young, Tory. and Bryan, Cordelia. (eds) (2001)
Speaking your mind: oral presentation and seminar skills, Harlow:
Longman.
Watching BBC2 00.12.03.

Unit Title The Design Elective
Unit Code D101/ACT109
The unit will look at the importance of drawing and colour as a
central element in each of the four subject disciplines: Fashion,
Product Design, Interior Design Environment Architectures and
Design for Interaction. It will explore the similarities and differences
in approach to drawing, colour and method in each of the disciplines.
The unit also introduces students to the interdisciplinary nature of
design, the working methods, creative design processes and
practical applications and approaches to communicating ideas and
design resolutions adopted in subject specialisations beyond their
Introduction
own.
It will ask students to reflect on the learning process, particularly on
the new/extended methodologies and knowledge they have
experienced, and how this can benefit their approach to their main
subject discipline.
The same project is delivered by each of the four course teaching
teams. Students are asked to choose to work in one of the three
disciplines outside of their own.
· The development of drawing and visual research as part of
Indicative the design process;
Curriculum · An introduction to the importance of colour in the development
Outline of design ideas and the use of interactive colour;
· Relevant technology and studio materials;
· The interrelationship of colour/line and materials;
· Presentation techniques.

1. Appreciate and gain knowledge of the differences in the way
colour and line are affected by the delivery substrate or
medium in the four design disciplines; (LO1)
Unit Learning 2. Understand the importance of drawing and colour in the
Outcomes design process; (LO2)
3. Understand the interrelationship between sourcing;
information, visual research, drawing and the development of
ideas as part of an effective design process. (LO3)
Skills
4. Understand the importance and the benefits of team work.
(LO4)
The unit will make use of the following:
· Initial briefing;
· Learning to collaborate with their peers – working in teams;
Teaching and
· Introduction to methodologies of other design disciplines;
Learning
· Demonstrations and studio workshops;
Strategies
· Group seminars and critiques;
· Individual studio tutorials;
· Interim presentation/critique;
· Final oral and visual presentations and critique in groups.
The assessable elements will be assessed as one body of work:
Assessable
Elements Assessable Elements Percentage of Final Grade
Project work and presentation 100%

Evaluation will focus upon the delivery of a final oral and graphic
presentation, accompanied by a supporting portfolio of project
development work, showing evidence of the following:
· An investigative and experimental approach to drawing and
Assessment the use of colour; (LO1, LO2)
Criteria
· The design process: initial ideas, experimentation and
development through a series of ideas, and the solution to the
project brief has been carried out successfully; (LO3, LO4)
· The relevance and depth of the presentation and the solution
to the project brief. (LO2)
Unit Relevant Books
Beasley, David. (1984) Design Presentation: Layout and Colouring
Techniques. Heinemann.
Mulherin, Jenny. (1988) Presentation Techniques For The Graphic
Artist, Phaidon.
Beazley, Mitchell. (1980) Colour.
Indicative
Reading List Itten, Johannes. (1973) The Art of Colour, Van Nostrand Reinhold.
Powell, Dick. (1985) Presentation Techniques: a guide to drawing
and presenting design ideas, MacDonald Orbis.
www.colormatters.com
www.colorvoodoo.com

Unit Title Design and Communication Media, Theory and Context
This unit provides an introduction to the critical theories and
historical analyses of design and communication media in the 20 th
and 21 st century.
It shows how design and communication media influence, or are
influenced by, the thinking and events of a particular time and
place, located within a wider context of historical change and
evolution. It explores issues of social, cultural and historical context,
and local and global perspectives.
It is progressed in two parts, over two terms.
Part One – Theory (Term One, crossCollege): a series of lectures,
panel sessions and seminars dealing with some key critical theories
and issues, from both local and global perspectives.
Part Two – Historical Context (Term Two, coursespecific but
shared in part by courses): a series of lectures, panel sessions etc.
dealing with historical perspectives.
Introduction
Term One: 2 hrs/wk x 10 weeks = 20 hours delivered
8 hrs/wk x 10 weeks = 80 hours independent learning
Term Two: ditto
Total both terms: 40 hours delivered learning plus 160 hours
independent learning.
Aims
This unit aims to:
· Introduce students to key issues in the understanding of
design and communication media and their processes, as
developed in a global context of cultural and historical
change;
· Raise students’ awareness of and enable engagement with
recent developments in the study of design/communication
media;

· Introduce students to ethical issues for influencing their
interpretation of design/communication media and their own
practice;
· Enable students to acknowledge and understand the
inspirational role of history;
· Enable students to learn to ask questions – in order to
investigate, research, challenge opinions or preconceptions
and form their own standpoint;
· Develop students’ skills and confidence in conducting
research and presenting their written ideas effectively and to
a recognisable academic standard;
· Provide students with a supportive environment in which to
articulate individual thinking and experience team work and
group discussions.
Part One – Theory: focuses on critical theories, issues and
significant movements relating to design and communication media
in a current global context, such as:
· Fundamental concepts of design theory and communication
theory;
· Consumers and audiences;
· Ethics in design and communication media;
· Gender and ethnicity in design and communication media;
· The power of persuasion in design and the media (the
individual vs. the mass);
· Storytelling, myth and geography;
Indicative · The personal is political;
Curriculum · Law, ownership and social responsibility;
Outline · Meaning and value in research;
· Basic research skills and an introduction to the referencing of
sources.
Part Two – Historical Context: focuses on ways in which design or
communication media affect or are affected by historical and cultural
context, with consideration for social, economic and technological
developments relating to the student’s course subject area,
including:
· An introduction to the notions of sequence of time and
consequentiality;
· Some significant art, design and media movements;
· The works of key art, design or media practitioners;
· The making of designs, artefacts or media texts as an
evolutionary process;
· The analysis and critique of key exemplars – designs,
artefacts or media texts – within an historical context;
· The historical implications of the production and consumption
of design and communication media.
Students should be able to:
1. Demonstrate a comprehension of design and communication
media as constructs in a global context of cultural and
historical developments; (LO1)
2. Show their application of the skills of observation, description
and analysis of artefacts in a wider context of theory and
history of design and communication media; (LO2)
Unit Learning
3. Demonstrate basic application of ethical issues in their
Outcomes
interpretations and analyse the meanings and values of
design and communication media. (LO3)
Skills
Students should:
4. Apply basic research skills and understand the need for
referencing; (LO4)
5. Use information technologies effectively to locate and
correctly retrieve/record research; (LO5)
6. Effectively employ information technologies in support of
research and for delivery of a written text to a deadline. (LO6)
· Lectures, interviews or panel sessions (i.e. a panel of
experts), supported by still or moving images;
· Moving image presentations, to provide experience of an
artefact or evidence for interpretation of an artefact;
· Seminars, as a context for group discussions and group
work;
· Student (oral) group presentations, to develop confidence in
oral communication and argument;
Teaching and
Learning · Directed, specialist reading to encourage independent
Strategies learning;
· Study visits to galleries, museums, collections, professional
studios, city locations, film showings or theatrical events may
· Structured workshops (by the LRC) on basic research skills.
Students are encouraged to make independent study visits to
galleries, museums, professional studios and other sites for direct
experience of designs, artefacts or people (interviews, discussions
etc).
Part One – Theory (Term One, crossCollege)
Weeks 1 – 4, each week involves:
A onehour lecture, interview or panel session (aided by still/moving
images), followed by a onehour discussion and/or questionand
answer session.
Week 5 involves:
Assessable A studentcentred panel or seminar based on topics from lectures 1
Elements – 4
images), followed by a onehour seminar.
Week 10 involves:
A panel or seminar, based on topics from lectures 6 – 9, and

The submission of an individual researched text (8001000 words)
based on a topic or issue from lectures 1 – 4 or 6 – 9, with a
bibliography evidencing a variety of sources.
Part Two – Historical Context (Term Two, coursespecific, shared
elements)
Week 1 involves:
A onehour feedback panel on previous term’s formative
assessment, followed by a onehour session on how to correct
weaknesses in the texts submitted.
Week 5 involves:
Group presentations by students based on topics from lectures 2 –
4.
Week 10 involves:
A panel or seminar, based on topics from lectures 2 – 4 or 6 – 9,
and Summative Assessment:
The submission of an individual researched text (10001500 words)
showing analysis/critique of a design(s), artefact(s) or media text(s)
within a theoretical and historical context, and with a bibliography
evidencing a variety of sources.
Part One – Theory
Researched text (8001000 words) with bibliography 20%
Part Two – Historical Context
Researched text (10001500 words) with bibliography 80%
Researched text (8001000 words) 20%
Researched text (10001500 80%
words)

Contextual understanding
· Ability to relate design and communication media to a
theoretical context; (LO2)
· Ability to understand historical context and its relevance to
design and communication media. (LO1, LO2)
Analysis
· Observation and analysis of design and communication
Assessment media artefacts, processes and practice; (LO2)
Criteria · Application of ethical issues to the analysis of design and
communication media (and its effect on meanings and
values); (LO3)
· Application of theoretical, contextual and analytical learning
to current design/communication media practice. (LO1)
Research
· Ability to carry out meaningful research, as well as presenting
it; (LO4, LO5)
· The use of information technologies to support research and
oral and written delivery to a deadline. (LO5, LO6)
Brand, Stewart. (1995) How Buildings Learn, Penguin Books.
Caplan, Ralph. (2005) By Design: why there are no locks on the
bathroom doors in the Hotel Louis XIV and other objects, Fairchild.
Gregory, Richard L. (2003) Eye and Brain: the psychology of seeing,
Oxford University Press. (First edition 1966).
Klein, Naomi. (2000) No Logo: taking aim at the brand bullies,
Indicative
Flamingo.
Reading List
Mander, Jerry. (1978) Four Arguments for the Elimination of
Television, Perennial.
McQuiston, Liz. (1993) Graphic Agitation: social and political
graphics since the sixties, Phaidon Press.
McQuiston, Liz. (2004) Graphic Agitation 2: social and political
graphics in the digital age, Phaidon Press.

Miyazaki, Hayao. (1997) Princess Mononoke, Jap. (Film).
Molotch, Harvey. (2003) Where Stuff Comes From: how toasters,
toilets, cars, computers and many other things come to be as they
are, Routledge.
Negroponte, Nicolas. (1995) Being Digital, The MIT Press.
BuckMorss, Susan. (1993) The Dialectics of Seeing, MIT Press.
Caws, Mary Ann. (ed) (2001) Manifesto: A Century of ISMS Lincoln,
University of Nebraska Press.
Crow, David. (2003) Visible signs: an introduction to semiotics for art
and design students AVA, Worthing.
Eco, Umberto. (1987) Travels in hyperreality: essays, Picador.
Kepes, Gyorgy. (1964) Language of Vision; Painting, Photography,
Advertising, Design, Paul Theobald & Co.
The Century of the Self, BBC2 series 2002 video.
Tate Modern Collection: Soviet Posters
www.tate.org.uk/servlet/CollectionDisplays?roomid=3279.
Aynsley, Jeremy. (2001) A Century of Graphic Design: Graphic
Design Pioneers of the 20th Century.
Barthes, Roland. (1977) Image music text, Fontana.
Stevenson, Nick. (2002) Understanding media cultures: social
theory and mass communication, Sage: London.
Thurstun, Jennifer. (1998) Exploring academic english: a workbook
for student essay writing, Sydney: NCELTR.
Poynor, Rick. (2004) Communicate: independent graphic design
since the sixties. London: Lawrence King.
Redman, Peter. (2001) Good essay writing: a social sciences guide,
London: Sage Publications.
Weston, Richard. (1996) Modernism, Phaidon.
Williamson, Judith. (1978) Decoding advertisements. Ideology and
meaning in advertising, Marion Boyars.

Level 2
In Level 2, students consolidate the skills developed in the first level and reevaluate
their application in the more challenging and complex media and environments which
they will encounter in this level.
Level 2 of the course aims to produce students who:
i) Have a critical understanding of the established principles, skills and
techniques associated with interaction design and can apply the principles,
techniques and skills developed on the course effectively and confidently
beyond the context in which they were learned;
ii) Understand the way in which interaction design has developed and is
developing and how the broader social, cultural and historical context of
the subject impacts on it;
iii) Can critically evaluate a problem, brief or task in interaction design and the
different approaches which can be taken to solving or completing it and
can confidently propose and deploy solutions;
iv) Understand the limits of their knowledge and skills, and the boundaries of
their professional role and how this impinges on the completion of a brief
and work related tasks;
v) Effectively communicate information, arguments and analysis related to
interaction design in a variety of forms, to specialist and nonspecialist
audiences;
vi) Have the qualities and transferable skills necessary for employment
requiring the exercise of personal responsibility and decisionmaking;
vii) Are prepared to develop existing skills and acquire new competences that
will enable them to assume significant responsibility within employment
situations;
viii) Have the academic and professional skills necessary to underpin honours
level study.
The curriculum shifts from a focus on flat screen based activity to an engagement
with complex virtual and physical environments. The possibilities of semiimmersive
and immersive environments are explored through units focused on games design
and virtual environments.
The course explores the design and the representational factors which facilitate ease
of interaction in such environments. There is particular emphasis on the
organisational principles which underpin the storage and retrieval of data for the
minimisation of complexity in rich virtual environments.
Students explore the uses to which interaction technology can be put in real world
situations through a project focused on the solution of social or urban problems
related to a real physical area of a city. This latter project is one which may involve
students working in collaboration with students from other courses in multi

disciplinary teams. Students develop an understanding of the ways in which
practitioners in complementary fields can work together.
Personal and Professional Development at Level 2, complements this academic and
professional development by focusing on skills and techniques of selfpromotion, CV
writing, networking and understanding the employment market and its requirements.
Contextual Studies units at Level 2 continue the students’ reflection on key aspects
of contemporary society and their impact on design practice. These units develop
students’ frameworks of understanding and provide them with conceptual tools that
can be applied in contextualising their own design praxis. The Dissertation
Preparation unit develops students’ academic research skills and supports them in
defining suitable research questions in advance of undertaking an extended study in
the next level.

Unit Title Games
Unit Code ACT201
The spread of gaming from traditional platforms like PC and game
consoles to handheld computers, iTV and mobile phones and its
uptake by wider demographic groups means that gaming is a
growing sphere of activity for interaction designers.
Games design involves the design of sophisticated humancomputer
interactions. Differences in the platforms available for gaming (i.e.
Introduction screen space or processing power) increase the creative challenges
for games designers. However, these challenges place greater
emphasis on the skill of the gameplay creator as greater emphasis
is placed upon the storyline and the simplicity of on screen
interactions. These underlying skills underpin games development
regardless of the platform.
The unit looks at the elements that make a good game.
The curriculum covered in this unit may include:
Indicative · Story development for gaming;
Curriculum · Types, genres;
Outline · Platforms for gaming;
· Basic game architecture;
· Game graphics and animation technique.

1. An understanding of how people interact with and react to
semiimmersive environments; (LO1)
Unit Learning
2. An understanding of the range of narrative mechanisms
Outcomes
within game genres and structures. (LO2)
Skills
3. The ability to create a simple game for a specified platform
and genre; (LO3)
4. The ability to make basic games animations. (LO4)
Teaching and
· Lectures games storyline, structure and strategy;
Learning
· Workshops, practical gameplay and animation;
Strategies
Students will receive critique and feedback on game concepts.
Assessable proportions shown in the following table:
Elements
Game Synopsis 20%
Game Project 60%
Project Log 20%

Students will be assessed on the following:
Game Synopsis
· The clarity of explanation of intent of the game; (LO1)
· The appropriateness for the given genre; (LO2)
· The feasibility of the game. (LO1, LO2)
Game Project
· Whether the game works and conforms to the parameters set
out in the synopsis; (LO3)
Assessment
· Creativity in the deployment of narrative mechanisms suitable
Criteria
for 2D/3D game; (LO4)
· The efficiency of human game interaction and level of game
play challenge presented to the user; (LO1)
· Effective use of games scripting. (LO2)
Project Log
· Evidence of a creative exploration/experimentation with a
range of narrative mechanisms in the development of the
project; (LO1)
· Evidence of project planning and management. (LO4)
Unit Relevant Books
Rollings, Andrew and Adams, Ernest. (2003) On Game Design, New
Riders Publishing.
Indicative Salen, Katie. and Zimmerman Eric. (2004) Rules of Play, Game
Reading List Design Fundamentals, the MIT Press.
Rolfings, Andrew. and Dave Morris. (2003) Game architecture and
design, New Riders Publishing.
Crawford, Chris. (2003) On Game Design, New Riders Publishing.

Unit Title Virtual Environments
Unit Code ACT202
The use of computer controlled environments for training purposes
is no longer the preserve of the military and aircraft manufacturers.
They are increasingly used in industry to prototype and test
proposed physical systems or to represent them for training or
marketing purposes. Museums and historical sites now use
interactive virtual experiences to replicate the real world.
This unit introduces students to the possibilities opened up by virtual
Introduction
environments. It involves a reevaluation of the common metaphors
used in the typical twodimensional computer interface environments
and how these might be translated into virtual environments.
The unit looks at how information can be effectively organised in 3D
virtual environments without increasing complexity. Students are
introduced to 3D modelling and their use in interactive design
processes.
Topics covered in this unit include:
Indicative
· The challenge of usability in 3D;
Curriculum
· Navigation and orientation;
Outline
· VR technology;
· 3D modelling.

1. Understand the iconographic challenges and metaphoric
issues raised by 3D environments; (LO1)
Unit Learning
2. An understanding of the usability and navigational issues in
Outcomes
designing interactive virtual spaces; (LO2)
3. Critical understanding of the concepts. (LO3)
Skills
4. Use 3D modelling software to create virtual objects and
environments. (LO4)
Teaching and · Lectures on VR, VRML and scripting;
Learning · Workshops on 3D modelling for VRML;
Strategies · Seminars to discuss concepts and the context of the
technology;
· Critique and feedback.
At this time students will be assessed on the quality depth and
relevance of their research and receive critique and feedback on
their concepts/proposals.
Research folder and project 40%
journal
Project 1 30%
Project 2 30%

Students are assessed on:
Project
· Their ability to use metaphors and iconography in different
domains; (LO1)
· Their ability to construct virtual environments that enable
users to retrieve assets; (LO4)
· Their degree to which the performance envelope of the
Assessment
technology have been explored. (LO3)
Criteria
Project Research folder and journal
· Evidence of relevant background research and its collation;
(LO3)
· Evidence of a critical evaluation of the user issues relating to
the project; (LO2)
· Evidence of mind mapping in the development of the project
design. (LO1)
Unit Relevant Books
Bowman, D. (2005) 3D user interfaces, AddisonWesley.
Engeli, M. (2001) Bits and Spaces: architecture and computing for
physical, virtual, hybrid realms: 33 projects by Architecture and
CAAD, Birkhauser.
Schneiderman, B. (1986) Designing the User Interface: Strategies
for Effective Human Computer Interaction, Reading MA: Addison
Wesley.
Indicative
Reading List
Lakoff, G. and Johnson, J. (2004) Metaphors We Live By, Chicago:
University of Chicago Press, Kline, Kevin.
Churchill, Elizabeth, F. (et al) (2001) Collaborative virtual
environments: digital places and spaces for interaction, Springer.
http://wp.netscape.com/eng/live3d/howto/vrml_primer_index.html
http://sim.di.uminho.pt/vrmltut/toc.html

Unit Title Content Management Systems
Unit Code ACT203
The aim on this unit is to enable students to gain an understanding
of the principles of content management and the interaction of such
systems with the user interface and subsequently with the user.
Content management systems are used to prepare, organise and
publish information to an audience for consumption and interaction
Introduction
through various media channels. This makes them an important tool
for the interaction designer.
The unit looks at the relationship of ‘front end’ design to the content
management systems and databases to which they relate and their
interoperability.
Indicative
· Relational databases;
Curriculum
· Clientserver computing;
Outline
· Programming techniques;
· Asset management.

1. Knowledge and understanding of organisational structures
within content management systems; (LO1)
2. Understand the possibilities of dynamic content generation;
(LO2)
Unit Learning
3. Understand the workflow management and security issues
Outcomes
related to clientserver computing. (LO3)
Skills
4. Create and manage databases for the purposes of creating
dynamic content retrieval systems; (LO4)
5. Interface front end designs with databases; (LO5)
6. Use clientserver scripting and SQL in content management
systems. (LO6)
Teaching and
· Lectures on database structure, creation and use;
Learning
· Workshops on project management;
Strategies
Students will receive critique and feedback on concepts.
Project 80%
Project Log 20%

Project
· The ease with which a user can interface with the system (i.e.
add, search for and extract content); (LO4)
· The efficiency of the underlying system (database) for the
management of content; (LO1, LO2, LO3)
Assessment
· The effective use of scripting in the retrieval system; (LO2,
Criteria
LO3, LO4, LO5, LO6)
· The degree to which workflow and security issues have been
dealt with in the design. (LO4, LO5)
Project Log
· The account taken of the organisational relationships within
content in the design of the database and its interfaces. (LO1)
Unit Relevant Books
Newman, William M. and Lamming, Michael G. (1995) Interactive
System Design, Reading MA: AddisonWesley.
Williams, Hugh. (2004) Web Database Applications with PHP and
MySQL, O’Reilly.
Van Dijck, Peter. (2003) Information architecture for designers,
RotoVision.
Indicative Riewoldt, Otto. (1997) Intelligent Spaces / Architecture for the
Reading List Information Age, Lawrence King.
For PHP reference check: www.php.net
For mySQL reference check: www.mysql.org
http://www.wdvl.com/Authoring/ASP/Content_Management/what_is.
html
http://www.oscom.org/

Unit Title Design for Urban Communities
Unit Code ACT204
Wireless access to the internet increasingly renders the whole city
not just its buildings, equipment and furniture an interface to the
world. (Jan Vervinjen. Spark 2003).
This unit looks at the impact which technological developments such
as mobile technology and the internet might have on the ways we
think about and inhabit our localities and the urban environment.
Technological developments have influenced the evolution of cities
over time. Communication and interaction technologies will also
impact on the social and physical fabric of the city. The traditional
marketplace, the sites of political debate and communal interaction
are no longer bounded by the physical environment. While the
interaction of the community and the individual with the physical
urban environment can be mediated by the use of interaction and
communication technology.
Introduction
This unit explores the use to which interaction and communication
technology could be put in an urban environment and the ways in
which it can be used to improve the quality of communal and urban
life. It revolves around an examination of a designated urban
location and the needs of its communities.
The unit project will involve students in working with students from
other courses in cross course teams. For instance, they may join
students from the BA (Hons) Interior Design Environment
Architectures (IDEA) course in groups where each team member
adopts a role related to their course specialism. While IDEA students
will identify an architectural intervention in the locality designed to
enhance it for its community, Design for Interaction students will
identify ways in which information and communication technology
can be used to enhance the urban environment and/or communal
life.

Indicative · Socioeconomic development of urban environments;
Curriculum · Communities – physical and virtual;
Outline · Technology and socioeconomic change;
· Collaborative communication technologies;
· Display and presentation technologies.
1. Knowledge and understanding of the use of interaction and
communication technology to support communities and their
environments; (LO1)
2. Understanding of the interrelationship between design
proposals and their broader socio economic, geographic and
Unit Learning cultural contexts. (LO2)
Outcomes
Skills
3. Define, research and critically analyse the needs and
requirements of an urban community or locality; (LO3)
4. Conceptualise an interaction design proposal to address a
perceived communal or local need; (LO4)
5. Work collaboratively in the production of a design proposal for
a specific site in an urban context; (LO5)
6. Communicate a comprehensive project proposal to non
specialists. (LO6)
· Briefing(s);
· Lectures;
Teaching and
· Software workshops;
Learning
· Self directed and group research;
Strategies
· Seminars/discussion groups concepts;
· Site visits;
· Critique;
· Feedback.

Students will be assessed initially on a course based group
presentation of the project proposal and supporting research
documentation.
Initial group based presentation 30%
Final group presentation 30%
Individual report, sketchbook and 40%
journal
Students are assessed on:
Initial group based presentation
· Appropriateness of presentation and use of media for
proposal and audience; (LO6)
· Grasp of the arguments germane to the proposal and
attendant research; (LO3)
· Feasibility of proposal for the implementation. (LO4)
Final group presentation
· Effective response to site specific contexts; (LO4)
· Level of understanding of the socioeconomic imperatives
Assessment attached to the development; (LO2)
Criteria · Arguments fully and logically developed and supported by
evidence; (LO6)
· An understanding of design and technological opportunities,
factors and issues associated with the proposal; (LO1)
· Coherence of presentation for a public audience of non
specialists. (LO5, LO6)
Individual report, sketchbook and journal
· Evidence of appropriate research underpinning the
development of design proposals; (LO3)
· Their understanding of the researched community and the
level of articulation of historical, contextual and theoretical
dimensions of the problems; (LO2)

· The extent to which appropriate technologies have been
creatively employed in the meeting of community needs as
evidenced in the project outcomes; (LO1)
· The level of professionalism evidenced at the presentation of
the final outcomes; (LO6)
· Evidence of an understanding of and commitment to the
group dynamic as evidenced through the individual project
journal. (LO5)
Unit Relevant Books
Verwijnen, Jan. (2004) Spark! Design and locality, University of Art
and Design Helsinki.
Norman, Donald. (1990) The Design of Everyday Things, New York:
HarperCollins.
Dowmunt, Tony. (1993) Channels of Resistance: Global Television
and Local Empowerment, BFI Publishing in association with
Channel Four Television.
Bell, David. (2004) Cyberculture: The Key Concepts, Routledge.
Burry, M. (2001) Cyberspace.
Indicative Zellner, P. (1999) Hybrid space, New York: Rizzoli.
Reading List
Migayrou, F. and Brayer, M. (2003) Radical experiments in Global
architecture, Thames and Hudson.
Historical documents etc. for the chosen site.
Unit Relevant Magazines and Periodicals
The architectural Review
Abitare
Domus
Metropolis
Journal of space syntax UCL
UCL.ac uk bartlett school of architecture space syntax
Harvard school of design and architecture lagos project
Documenta.org
URLs relating to the chosen site.

This unit builds on the Personal and Professional Development unit
at Level 1, to enable students to reflect upon their own learning,
Introduction performance and achievement, and to plan for their professional,
educational and career development. Students will be required to
negotiate and develop their own Personal and Professional
Development File, which builds on the learning at Level 1.
This module focuses on personal and professional development and
will include:
· Presentation techniques, including pitching;
· Self promotion and selfbranding: preparing a selfpromotion
pack, including business cards and press releases and
personal/professional ‘mission statement’;
Indicative · Portfolio development;
Curriculum · CV writing;
Outline
· Applications and interviews;
· Selfawareness and selfassessment;
· Information gathering and analysis;
· Networking;
· Industry awareness;
· Understanding the employment market and identifying
employer requirements.
Skills
1. Identify and record a range of skills derived from College
Unit Learning based learning and wider activities; (LO1)
Outcomes 2. Evaluate the usefulness of these skills to personal and
professional development; (LO2)
3. Reflect on how skills can be applied and evidenced in new
situations; (LO3)
4. Identify areas for personal and professional development,
and adapt the Personal and Professional Development File
accordingly. (LO4)

Overview
Students will be exposed to key concepts through lectures,
workshops and seminars. The majority of learning will take place
through an ongoing process of reflective practice evidenced in the
Personal and Professional Development File.
The Personal and Professional Development File will contain three
main elements: a learning plan, reflective commentary and
evidence.
Teaching Methods
Learning in this unit will be gained primarily through a combination
of:
Teaching and
Learning
23 per term.
Strategies
Lectures and workshops will introduce underlying concepts, process
and models. Guest lectures will help develop students’ awareness of
industry and current developments.
Small Group Seminar/Workshops
23 per term.
These encourage discussion and reflection on the learning/working
experience and ensure learners gain from shared experiences.
SelfDirected Study
The majority of learning from this unit is selfdirected.
Tutorials
23 per year.

Development File. This will give them an indication of their existing
performance in relation to the learning outcomes before submitting
the File for summative assessment.
Students will be required to develop a Personal and Professional
Assessable Development File detailing professional, educational and personal
Elements objectives. The File will consist of three main elements: a learning
plan, reflective commentary and evidence.
st
Development File (1 submission,
Development File (2 nd
submission, normally in term 3)
Students are required to create a Personal and Professional
Development File which will contain:
· A comprehensive record of skills and understanding, from
Assessment both the course and wider activities; (LO1)
Criteria · Reflection upon their skills and achievement in relation to
personal and professional development; (LO2)
· Evidence of evaluation of skills gained; (LO4)
· Evidence of reflection upon the application of skills in new
situations. (LO3)

Vickers, T. (1997), From CV to Shortlist, Kogan Page.
Drew, S. & Bingham, R (2001), The Student Skills Guide, Gower.
Ruggiero, V. (2001) Becoming a Critical Thinker, Houghton Mifflin.
Allison, B et al. (1996), Research Skills for Students by Brian, Kogan
Page.
Siddons, S. (1999) Presentation Skills, Chartered Institute of
Personnel and Development (CIPD).
Mumford, A. (1999), Effective Learning, Chartered Institute of
Personnel and Development (CIPD).
Bolton, G. (2001) Reflective Practice: Writing and Professional
Development, London: Paul Chapman.
Hawkins, P. (1999) The Art of Building Windmills: Career Tactics for
Indicative
the 21 st Century, University of Liverpool: Graduate into Employment
Reading List
Unit.
Caperez, E. (2004) Careers Uncovered Series: Art and Design
Uncovered, Trotman.
Harris, C. (2004) Careers Uncovered Series: Media Uncovered,
Trotman.
Appropriate journals and trade magazines.
Useful Websites
http://www.designcouncil.org.uk
http://www.skillset.org
http://www.bbc.co.uk/education/work
http://www.presentersonline.com/

Unit Title Interactive Spaces
Unit Code ACT206
‘The future of artistic and expressive communication in the varied
forms of film, theatre, dance and narrative is moving toward a blend
of real and imaginary worlds in which moving images, graphics, and
text cooperate with humans and among themselves in the
transmission of a message’. (Sparacino et al, 2000).
This unit introduces students to the impact of ubiquitous computing
and the way that it is reshaping our world as consumer devices and
our physical environment itself incorporates instrumentation, sensors
and displays. Our private and public spaces are increasingly
Introduction adorned with displays and screens. Interaction is no longer confined
to small screens, mouse movements and clicks but is becoming a
part of our everyday experience. Large scale public and miniature
personal digital displays combined with sensing intelligence blurs
and the boundary between the virtual and the real.
The unit centres around a group project in which students engage
with the design and creation of an interactive space for the purposes
of a narrative or thematic experience. This will involve equipping the
space with sensors, displays, projections and automata and defining
the patterns of interactions with the users.
Indicative · Sensors and sensing;
Curriculum
· Signal processing (currently MaxMSP);
Outline
· Spatial awareness and relationships;
· Intelligent ambience.

1. Knowledge and understanding of the opportunities and issues
raised by interactive/reactive spaces; (LO1)
2. Knowledge and understanding of design and usability issues
Unit Learning in interactive physical spaces. (LO2)
Outcomes
Skills
3. The ability to design interactive environments for narrative,
thematic or experiential purposes; (LO3)
4. The ability to deploy sensory and projection technologies for
use in interactive spaces; (LO4)
5. The ability to use scripting for sensors and signal processing
in interactive spaces. (LO5)
Teaching and · Lectures on applications and the use of sensors;
Learning · Workshops on practical sensor scripting;
Strategies · Self directed practical experimentation;
Students will be assessed at interim point in the unit on the group
project proposal, its supporting research and its feasibility.
Assessable proportions shown in the following table:
Elements
Project proposal and collated 20%
underpinning research folder
Project 60%
Individual Project Log 20%

Project proposal and research
· Identification and collation of appropriate concepts,
technologies and processes pertinent to the project proposal;
(LO3)
· Feasibility of proposed interactive environment; (LO2)
· Appropriateness of proposed interactive environment for the
purposes specified in the brief. (LO1)
Project
Assessment
· Creative exploitation of technologies in the design of the
Criteria
physical interactions; (LO4, LO5)
· The quality of the designed interactive experience in the
space; (LO3)
· The degree to which the realised project fulfils the purposes
and specifications set out in the original brief and the
intentions set out in the project proposal. (LO4, LO5)
Individual Project Log
· Evidence of individual contribution to a collaborative and
iterative process in the design and development of the
project. (LO3)

Unit Relevant Books
Courage, Catherine. and Baxter, Cathy. (2005) Understanding Your
Users: A practical guide to user requirements, Morgan Kaufmann.
Harris, Randy. (2005) Voice Interaction Design: Crafting the new
conversational speech systems, Morgan Kaufmann.
Kelley, Tom. (2001) The Art of Innovation, Harper Business.
Sparacino (et al) (2000) Media in performance: Interactive spaces
for dance, theater, circus, and museum exhibits, IBM Systems
Indicative
Journal.
Reading List
http://ic.media.mit.edu/Publications/Journals/MediaInPerformance/P
DF/MediaInPerformance.pdf
http://www.research.ibm.com/journal/sj/393/part1/sparacino.html
http://www.ampfea.org/pipermail/idmmaking/2004July/000623.html
http://www.makingthings.com/products/documentation/teleo_user_g
uide/max_msp.html

Unit Title Contextual Studies Elective 2
Elective 2 offers students the opportunity to engage with some of the
more controversial historical or political aspects of design and
communication media.
Focussing on a particular chosen theme, students receive lectures
and undertake the research of images, issues and case studies for
debate and discussion in groups. They are also required to reflect
on how such matters may impact on their own future professional
practice or career path, or alter their own ‘world view’.
Students choose one out of approximately 5 contextual projects
offered, dealing with themes such as:
The Media and War
Design and Health Campaigns
Introduction
The Politics of Clothing/Fashion
A Visual History of Political Satire
The Threat of Games and Virtual Reality
Imagined Futures
Consumption as Obsession and Dependency
This unit also acts as a precursor to the Dissertation Preparation unit
in Term Three, as it offers a possible source of, or pathway to,
subjects for investigation in Dissertation work.
Term Two, crossCollege, varying timeblocks but normally:
2week block (64 hours total), plus 36 hours of independent work
30 hours delivered learning (approximately 5 days teaching).
70 hours independent learning.

· Some contextual and/or historical information of significance
to their chosen theme;
· To formulate a critical point of view or argument with regard
to their chosen theme;
· To acknowledge different attitudes towards and opinions on
their chosen theme;
Indicative · To articulate a personal and political stance with regard to
Curriculum their chosen theme;
Outline · The currency and validity of their chosen theme in local and
global terms;
· The use of a variety of research (information gathering)
techniques and the application of an appropriate method of
referencing sources;
· The application of relevant research;
· Examples of the appropriateness of different modes of writing
or oral presentation with regard to subject and target
audience.
Students should:
1. Demonstrate an informed understanding, and some
contextual and/or historical aspects, of their chosen theme;
Unit Learning
(LO1)
Outcomes
2. Understand their chosen theme as a polemic – and a source
of inspiration (for further study); (LO2)
3. Understand and appreciate different attitudes towards and
opinions on issues of critical consequence; (LO3)
4. Formulate their own attitudes and an ethical/political stance
with regard to their chosen theme; (LO4)
5. Think of themselves and their work as part of an international
design/communications industry – or community of
professionals. (LO5)

Skills
6. Apply a variety of research techniques and use an
appropriate method of referencing; (LO6)
7. Begin to conduct relevant research; (LO7)
8. Communicate in an appropriate form/mode of writing or oral
presentation with regard to subject and target audience.
(LO8)
· Lectures, supported by still or moving images;
· Seminars, as a context for small group discussions (of ideas
and research) and group work;
· Directed, specialist reading to encourage independent
learning;
Teaching and
Learning · Study visits to galleries, museums, collections, professional
Strategies studios, city locations, film showings or theatrical events may
· Individual dyslexia support and language mentoring as
appropriate.
galleries, museums, professional studios and other sites.

Varying timeblocks but normally: 2week block (64 hours total),
followed over the next few weeks by 36 hours of independent work
Weeks 1 – 2:
Lectures, with discussions or seminars and a possible study visit.
Group seminar(s) end of week 2.
Spread over weeks 3, 4, 5 or 6 (varies): a total of 36 hours including
independent work and a Summative Assessment.
Group or individual submission, negotiated with the tutor, of what
has been learnt including research and critical reflection on their
Assessable topic and study experience – in the form of a written or oral/sound
Elements text (journal, diary, blog, script, oral history or other form) of 1500 –
2000 words, with a bibliography.
Group seminar(s).
Group or individual submission of 100%
written or oral/sound text (1500
2000 words) with bibliography

Group or Individual Submission (written or oral/sound text)
· Evidence of acquired knowledge (contextual and/or historical)
and an informed understanding of their chosen theme; (LO1)
· Analysis of their chosen theme as a polemic; (LO2)
· Recognition and understanding of different attitudes towards
and opinions on their chosen theme; (LO3)
· The formulation of a personal and political stance with regard
Assessment to their chosen theme; (LO4)
Criteria · Critical reflection on how this study experience has affected
the student’s international perspective with regard to their
future work or career; (LO5)
· Application of a variety of research techniques and an
appropriate method of referencing; (LO6)
· Evidence of an understanding of relevant research; (LO7)
· Ability to communicate ideas and researched material in a
distinctive mode/form of writing or oral presentation; (LO8)
· The appropriateness of the mode/form of writing or oral
presentation with regard to subject and audience. (LO6, LO8)
Project Reading Lists will be supplied by their respective tutors.
Texts of general interest are also recommended, such as:
Dick, Philip K. (2005) Do Androids Dream of Electric Sheep? (aka
Blade Runner), Orion. (First Pub. 1968).
Hudson, M. and Stanier, J. (1999) War and the Media, Sutton
Publishing.
Leonard, Mark. (2005) Why Europe will run the 21 st century, Fourth
Indicative
Estate.
Reading List
Lévy, BernardHenri. (2004) War, Evil, and the End of History,
Duckworth & Co.
Molotch, Harvey. (2003) Where Stuff Comes From: how toasters,
toilets, cars, computers and many other things come to be as they
are, Routledge.
Baudrillard, Jean. The transparency of evil: essays on extreme
phenomena (trans. James Benedict), Verso.

Crimp, Douglas. (1990) AIDS Demographics, San Francisco: Bay
Press.
Resnais, Alan. (1955) Nuit et Brouillard /Night And Fog FR.
Ross, Andrew. (1991) Strange Weather: Culture, Science and
Technology in the Age of Limits, Verso.
Tofts, Darren. and McKeich, Murray. (1997) Memory Trade; A
Prehistory of Cyberculture, Australia: Interface.
Wurman, Richard Saul. (1991) Information Anxiety London, Pan
Books.
Riefenstahl, Leni. (1934) Triumph of the Will, GER.
Films
Godard, JeanLuc (Dir). (1965) Alphaville, Fr/It.
Kubrick, Stanley (Dir). (1968) 2001: A Space Odyssey, GB.
Lang, Fritz (Dir). (1926) Metropolis, Ger.
Miyazaki, Hayao (Dir). (1986) Castle in the Sky, Laputa, Jap.
version.
Moore, Michael (Dir). (2002) Bowling for Columbine, USA.

Unit Title Know Your Audience: Society, Culture and Politics
This unit explores some key aspects of contemporary society and
models of audiences within it.
It offers students the opportunity to reflect critically on notions of
social groupings such as subcultures and tribes, on current cultural
issues and debates such as inclusivity Vs diversity and on other
movements and concerns that are evidence of social change.
The unit also looks at different approaches to researching society
and how those tools of analysis are applied to commercial, social or
political purpose in design and communication media.
Level Two, Term One, coursespecific, with some elements shared
between courses:
Introduction 2 hours/week x 10 weeks = 20 hours delivered learning
8 hours/week x 10 weeks = 80 hours independent learning
Aims
This unit aims to:
· Relate students’ awareness of contemporary society and
current sociopolitical issues to their main field of study;
· Introduce students to tools for measuring and researching
society, and their use and abuse;
· Explore the definition and importance of target audiences and
their role in design and communication media;
· Encourage students’ appreciation of design and
communication as peoplecentred activities.

· Cultural diversity: subcultures, tribes, issues of gender, class,
ethnicity;
· Cultural identity and representation;
· Social codes and behaviour;
· Social anthropological and cultural approaches to research;
Indicative · Sociological research methods: demographics, statistics and
Curriculum extrapolations;
Outline · How audience research or its presentation can be
manipulated (e.g. marketing, branding);
· Meeting the needs of a target audience: success and failure;
· A variety of research (information gathering) techniques and
the use of referencing;
· The notion of relevant research and the
qualities/characteristics of different modes of writing or oral
presentation.
On successful completion of this unit, students will be able to:
1. Identify and appreciate some of the characteristics of, and
groupings within, our everchanging contemporary society;
(LO1)
2. Understand some of the tools and methods used for
communication within, or designing for, society such as
measuring, researching and defining target audiences; (LO2)
Unit Learning
3. Criticise the effectiveness of a media text or a design
Outcomes
(campaign, product, service or other) with regard to
interaction with its target audience. (LO3)
Skills
4. Apply a variety of research techniques and use a method of
referencing; (LO4)
5. Understand the notion of relevant research; (LO5)
6. Communicate ideas and researched material in a considered
form/mode of writing or oral presentation. (LO6)

· Lectures, interviews or panel sessions (i.e. a panel of experts),
supported by still or moving images;
· Seminars, as a context for group discussions and group work;
· Directed, specialist reading to encourage independent learning;
Teaching and · Structured workshop(s) by the LRC on sociological and
Learning anthropological approaches to research.
Strategies
etc.).
Debates may also be staged within courses, or crossCollege.
Week 5:
Group seminar(s).
Week 10 involves:
Group Presentation: an oral critique of the effectiveness of a media
Assessable
text or design (campaign, product, service or other) with regard to its
Elements
target audience.
and
Submission of an individual researched text in a considered
form/mode of writing (10001500 words), with a bibliography
evidencing a variety of sources.
Group seminar(s).
Group presentation (oral) 40%
Researched text (10001500 60%
words) with bibliography

· Evidence of researched knowledge of background/history or
current debate relating to a social group(s), subculture(s) or
event(s); (LO1)
· Evidence of understanding the role and use of a target
audience in design/communication media; (LO2, LO3)
· Evidence of knowledge of a number of tools and methods for
researching and measuring target audiences; (LO2)
· Demonstrating an ability to analyse the effectiveness of a
Assessment
design/media text with regard to its interaction with the target
Criteria
audience; (LO3)
· Evidence of working productively in a group or team for the
purpose of a seminar and presentation; (LO6)
· The use of a variety of research (information gathering)
techniques and a method of referencing; (LO4)
· Evidence of understanding the notion of relevant research;
(LO5)
· An ability to communicate ideas and researched material in a
distinctive, considered mode/form of writing and oral
presentation. (LO6)
Bailey, David A. et al. (2005) Shades of Black: Assembling Black
Arts in 1980s Britain. Duke University Press.
Benedetti, P. and DeHart, N. (eds.) (1996). Forward Through the
Rearview Mirror: reflections on and by Marshall McLuhan. The MIT
Press.
Brittain, V. and Slovo G. (2004) Guantanamo: ‘honor bound to
defend freedom’. Oberon Books. (Script of the play).
Indicative
Canetti, Elias. (2000) Crowds and Power. Weidenfeld & Nicholson
Reading List
history (First pub. 1960).
Faludi, Susan. (1993) Backlash: The Undeclared War Against
Women. Vintage.
Faludi, S. (1999) Stiffed: the betrayal of the modern man. Chatto &
Windus.
Hebdige, Dick. Subculture: the meaning of style. New Accents 1981.
(First pub. 1979).

Paxman, Jeremy. (1999) The English: a portrait of a people.
Penguin Books.
Tulloch, Carol (ed.) 2004 Black Style. V&A Publications.
Douglas, Mary. (1987) How Institutions Think, Routledge and Kegan
Paul.
Sabin, Roger. and Triggs, Teal. (eds) (2000) Below critical radar:
fanzines and alternative comics from 1976 to now, Brighton: SlabO
Concrete.
Singer, Marc. (2000) Dark Days, US.
Helen Hamlyn Research Centre
www.hhrc.rca.ac.uk
Innovation RCA
www.innovation.rca.ac.uk

Unit Title Dissertation Preparation
This unit is designed and conducted as the preliminary stage leading
to the Dissertation unit in Level 3.
It provides students with the means of beginning and progressing an
extended study. It does this by introducing them to the use of
‘creative questioning’ as a way of formulating a lead question and
driving a research strategy.
This introduction to the dissertation process therefore offers
students a tool of empowerment, with emphasis on a transparent
process of questioning that allows them to make discoveries and
learn for themselves.
Level 2, Term Three (coursespecific, with LRC workshops or one
toones):
Introduction 3 hours/week x 10 weeks = 30 hours delivered learning
7 hours/week x 10 weeks = 70 hours independent learning
Aims
This unit aims to:
· Introduce students to thinking skills and the process of
creative questioning as tools for developing professional and
life strategies;
· Challenge students’ preconceptions about dissertation work
and demonstrate the relevance of skills and processes
involved to their future personal and professional
development;
· Provide a foundation for the extended independent study to
be further developed in Level 3.

· An introduction to the dissertation process;
· An introduction to the ‘progress map’ (a documented record
of key contacts, experiences, decisions etc in notes or
phrases marked on a calendar – accompanied by supporting
material such as notebooks);
· The art of asking questions…and what is a lead question?
Indicative · The value and appropriate use of desk research (the use of
Curriculum books, magazines, newspapers, the internet etc) and the
Outline value and appropriate use of discovery research (the use of
observation, experience and experts/people);
· What is a research strategy?
· How to reflect on your research findings;
· How to communicate your research findings.
LRC learning support workshops will be provided on information
gathering and management, and individual dyslexia support and
language mentoring as appropriate.
On successful completion of the unit students will be able to:
1. Understand what is meant by a lead question and its value in
Unit Learning
focussing both research and analysis; (LO1)
Outcomes
2. Identify and formulate a lead question; (LO2)
3. Understand what is meant by a research strategy; (LO3)
4. Identify and design a research strategy;(LO4)
5. Understand the process involved in undertaking and
communicating an extended study. (LO5)

· Tutorials for formal small group support;
· Lectures, supported by still or moving images (diagrams,
models);
· Student (oral) presentations, to develop confidence in oral
communication and argument;
Teaching and · Directed, specialist reading to encourage independent
Learning learning;
Strategies · Guidelines (brief, select handouts) intended to inform and
· Structured workshops (by the LRC) on information gathering
and management, and individual dyslexia support and
etc).
Weeks 1 and 2, each week involves:
A lecture followed by a seminar.
Week 3:
Students submit a lead question for discussion in a seminar session
(followed by the discussion ‘What is a research strategy?’)
Weeks 4 and 5, each week involves:
Assessable A lecture followed by a seminar.
Elements
Week 5:
Submit draft of lead question and research strategy.
Weeks 6 – 9:
Individual tutorials.
In week 7 or 8, Guidelines are handed out in the form of ‘Questions
you should be asking yourself’.

Week 9:
Submission of a lead question and research strategy, plus a
‘progress map’ (a documented record of key contacts, experiences,
decisions etc in notes or phrases marked on a calendar –
accompanied by supporting material such as notebooks).
Week 10:
Group feedback session of identified issues, and briefing for the
followon unit (the Dissertation).
Guidelines are handed out explaining the possibilities of producing a
dissertation which is read, viewed, heard or experienced (and how
the mode of communication must be the best means of
communicating the argument).
A dissertation which is read should have a minimum of 6,000 words
and a maximum of 12,000 words.
Draft of lead question and research strategy.
Each assessed element will contribute to the final grade, in
proportion shown in the following table:
Lead question and research 95%
strategy
Progress map (evidence of self 5%
management)

The Lead Question
(What do I want to find out?)
· Formulation of the lead question; (LO1, LO2)
· Development of the lead question. (LO1, LO2)
The Research Strategy
Assessment (How do I go about finding it out?)
Criteria · Formulation of the research strategy; (LO3)
· Development of the research strategy; (LO4)
· Plausibility of the research strategy. (LO3, LO4)
Selfmanagement
(How do I plan out this whole process?)
· Evidence of planning out what needs to be done and how it
needs to be done against the timeframe of the deadline.
(LO5)
Students compile their own subjectspecific bibliographies aided by
the dissertation tutors. Texts that may be useful during the research
process include:
Study Guides and Module Outlines on Research Techniques (6 –
COMM1670), Making Notes (2 – STSK1020) and other useful
subjects.
Download from the Institute of Communications Studies, University
of Leeds. http://ics.leeds.ac.uk/icsmods/index.cfm
Indicative Or http://www.angelfire.com/or3/tss/millsoic.html
Reading List
Truss, Lynne (2003). Eats, Shoots and Leaves: the zero tolerance
approach to punctuation, Profile Books.
Wright Mills, C. (2000) ‘On Intellectual Craftsmanship’, an Appendix
in The Sociological Imagination, Oxford University Press. (First pub.
1959).
Allison, Brian. (1996) Research skills for students, De Montfort
University, London: Kogan Page.
Cottrell, Stella (1999) Study skills handbook, Macmillan.

Glendinning, Eric H. and Holmstrèom, Beverly A. S. (1992) Study
reading: a course in reading skills for academic purposes,
Cambridge [England] New York, Cambridge University Press.
Kuniavsky, Mike. (2003) Observing the user experience: a
practitioner's guide for user research, San Francisco, Calif, Morgan
Kaufmann Oxford, Elsevier Science.
Rudestam, Kjell Erik. and Newton, Rae R. (2001) Surviving your
dissertation: a comprehensive guide to content and process, Sage
Publications.
Walliman, Nicholas. (2001) Your Research Project, Cambridge
University Press.
Key Skills 98.03.26 BBC2.
Short Cuts 99.06.03 /Communication At Work BBC2.
Design Observer: www.designobserver.com
Design Talk Board: www.designtalkboard.com
Herb Lubalin Study Center of Design and Typography:
www.cooper.edu/art/lubalin
LRC user guides; Resources for Graphic Design, Using Other
Libraries, How To Reference Academic Work, Conducting Research
on the WWW, E Resources: Databases & Newspapers.

Level 3
In Level 3, students develop more individual and independent lines of enquiry in the
subject area through the medium of self initiated projects and an accompanying
dissertation.
Students strengthen and refine the range of design, technical and transferable skills
developed in the first and second level of the course and focus them on projects
which reflect their design ambitions and career trajectory and allow them to explore
aspects of interaction design independently. Reflecting the realities of professional
practice, one of these projects is collaborative.
In the early part of the academic year, students complete a major independent study
leading to a dissertation. This builds on the contextual knowledge and academic
skills built up during the course and encourages students to make links and
connections across different contexts and apply them.
The collaborative and individual Major Projects allow students to hone their
professional skills and normally involve the design and development of a functioning
artefact. Some students have chosen to undertaken work of a more exploratory
nature with more documentary outcomes. Artefacts created at this level have in the
past ranged from multi user musical instruments, interactive TV, screen based
interfaces, relational repositories for images and memories or innovative web sites.
All students are required to submit a Major Project Report reflecting on the
development of their individual Major Project. This will articulate the conceptual,
technical and creative issues which surround the development of their individual
Major Projects and give an insight into its contexts.
Personal and Professional Development in this level focuses students on the
transition to work and/or further study. Students reflect on their career goals in
relation to their professional development and the areas of enterprise and business
start up are also explored.

Unit Title Dissertation
This unit builds on the work which has progressed from the
Dissertation Preparation unit in Level 2 and continues the use of
‘creative questioning’ as the mode of operation that is driving the
research strategy.
In this stage of this extended study, emphasis is on the iterative
process of questioning and reflection that leads to the construction of
a coherent argument and finally, a defensible conclusion.
The unit also requires that students develop personal strategies for
selfmanagement, valued as an empowering lifeskill. They must
maintain control of the dissertation process within a defined
timeframe, while proving their ability to make meaningful use of
independent study.
Level 3, Term One (coursespecific, with LRC workshops or oneto
Introduction ones).
Aims
This unit aims to:
· Provide Ravensbourne students with a process for
developing an extended study leading to a dissertation, which
is relevant and useful to them as creative designers and
communicators;
· Help students acquire a process of independent learning
through questioning, and to understand the value of their own
selfdevelopment and discoveries;
· Enable students to develop effective selfmanagement of
time, resources and processes through an extended study on
a subject of personal and professional interest.

· The formal elements of the dissertation (structure,
referencing, bibliography etc);
· The issues surrounding plagiarism and its consequences;
· How to further review and refine a lead question and
Indicative research strategy;
Curriculum · How to analyse research material;
Outline · How to use conceptual models in developing an argument;
· How to apply an iterative process of questioning and
reflection throughout;
· How to develop tools for selfmanagement;
Learning support will also be provided such as dyslexia support and
On successful completion of the unit students will be able to:
Skills
1. Review and refine a lead question; (LO1)
2. Review, refine, test and implement a research strategy; (LO2)
Unit Learning
3. Think creatively: analyse research material and draw
Outcomes
conclusions, develop models and concepts that lead to
insights, and develop a coherent argument; (LO3)
4. Communicate effectively the outcomes of the study; (LO4)
5. Support the communication of the study with accurate and
traceable evidence of sources, experiments etc; (LO5)
6. Manage an extended, selfdirected study. (LO6)

· Tutorials (individual and small group);
· Lectures, supported by still or moving images (diagrams,
models);
· Student (oral) presentations, to develop confidence in oral
communication and argument;
Teaching and · Directed, specialist reading to encourage independent
Learning learning;
Strategies · Guidelines (brief, select handouts) intended to inform and
· Structured workshops (by the LRC) on plagiarism and
referencing, and individual dyslexia support and language
mentoring as appropriate.
etc).
Week 1:
Seminars or individual tutorials: show ‘progress map’ and supporting
material.
(A progress map is a documented record of key contacts,
experiences, decisions etc in notes or phrases marked on a calendar
– accompanied by supporting material such as notebooks).
Weeks 24:
Seminars or individual tutorials.
Assessable
In week 2 or 3, a lecture is held and Guidelines are handed out
Elements
describing the formal elements of the dissertation and referencing
(ways of supporting the study with traceable evidence of sources,
experiments etc).
Week 5:
Submit draft of dissertation.
Weeks 6 – 8:
Individual tutorials, feedback on drafts.

Week 10:
Submission of the dissertation, plus the completed progress map.
Submit draft of dissertation.
Normally, students will submit a dissertation which shall be between
7000 and 9000 words in length on a subject related to their main
area of study and agreed in advance with their assigned dissertation
tutor.
Submit dissertation (7000 – 9000 95%
words)
Submit completed progress map 5%
(evidence of selfmanagement)
Subject to negotiation and agreement with the dissertation tutor, and
provided the subject matter lends itself to exploration and articulation
in this way, an alternative format for the dissertation may be
proposed.
Alternative assessment arrangements may be made or additional
learning support (see above) arranged for students with disabilities
or medical conditions which would impair their performance in
Assessment
meeting the above requirements and who have registered in
Criteria
advance with Student Support.
The Lead Question
(What do I want to find out?)
· Review and refinement of the lead question; (LO1)
· Quality of the lead question. (LO1)

The Research Strategy
(How do I go about finding it out?)
· Review and refinement of the research strategy; (LO2)
· Implementation of the research strategy; (LO2)
· Effectiveness and elegance of the research strategy; (LO2)
· Appropriateness of research methods and techniques used;
(LO2)
· Ability to acknowledge quality of status to research sources.
(LO2)
Reflection
(How do I make sense of what I found out?)
· Evidence of analysis of research; (LO3)
· Quality of analysis of research findings; (LO3)
· Development of models and concepts that lead to insights;
(LO3)
· Development of frameworks that lead to a coherent
argument; (LO3)
· Ability to maintain a distance from the subject of the research.
(LO3)
Communication
(How do I communicate it in the most appropriate form?)
· Appropriateness of form; (LO4)
· Appropriateness of tone of voice; (LO4)
· Ability to maintain a balanced stance in relation to your
material; (LO4, LO5)
· Provide appropriate, accurate and traceable evidence of
sources, experiments etc; (LO5)
· Communication of insights; (LO4)
· A conclusion that expresses the author’s own confident,
defensible point of view. (LO4, LO5)
Selfmanagement
(How do I manage this whole process?)
· Ability to manage all the stages of the dissertation as an
iterative process; (LO6)
· Evidence of weighing what needs to be done against the
timeframe of the deadline; (LO6)
· Identifying support needed for independent study and
acquiring it. (LO6)

Students compile their own subjectspecific bibliographies aided by
the dissertation tutors. Texts that may be useful during the research
and writing processes include:
Hicks, Wynford. (1998) English for Journalists, Routledge.
Coe, Norman. (1983) Writing skills: a problemsolving approach for
upperintermediate, Cambridge University Press.
Glatthorn, Allan A. (1998) Writing the winning dissertation: a stepby
step guide, Thousand Oaks, Calif. London: Corwin Press.
Hampson, Liz. (1994) How's your dissertation going? Students share
the rough reality of dissertation and project work, Unit for Innovation
in HE.
Swetnam, Derek. (2000) Writing your dissertation: how to plan,
Indicative prepare and present successful work, Oxford, How to Books.
Reading List
Study Guides and Module Outlines on Research Techniques (6 –
COMM1670), Making Notes (2 – STSK1020) and other useful
subjects.
Download from the Institute of Communications Studies, University
of:
Leeds. http://ics.leeds.ac.uk/icsmods/index.cfm
Truss, Lynne. (2003) Eats, Shoots and Leaves: the zero tolerance
approach to punctuation, Profile Books.
Wright Mills, C. (2000) ‘On Intellectual Craftsmanship’, an Appendix
in The Sociological Imagination, Oxford University Press. (First
pub.1959)
Or http://www.angelfire.com/or3/tss/millsoic.html

Unit Title Negotiated Brief
Unit Code CAVE301/ACT302
Credits 20 Level 3 Unit Status Cave Mandatory
The unit provides the student with the opportunity to take
responsibility for their direction of study while creatively engaging
with the real world constraints provided by an externally set brief.
In negotiation with their tutors, students select an external brief
complementary to their main body of work. It provides students with
the opportunity to take part in design competitions, live projects or
industrial collaborations.
This unit hones the professional and intellectual skills developed in
the earlier levels of the course combining the challenges of
Introduction
creatively interpreting and developing a brief, with the realities of
working independently within the constraints of a client’s
specifications and deadlines. It compels student engagement with
the cutting edge of contemporary practice in the area of their project.
The potential for public or industry exposure elicits innovativeness,
risk taking and a personal creative positioning in students’
responses to the briefs.
Students’ communication skills are sharpened as they meet the
project briefs’ requirements in terms of the communication of design
intent.
The exact curriculum will be directed towards the range of projects in
which the cohort engages. However, it might include as appropriate:
Indicative
· Interpreting and reformulating an external brief;
Curriculum
· Professional communication techniques for remote
Outline
evaluation;
· Specification, succinct report writing and detailing;
· Current and developing visual and physical design polemics.

1. Research and familiarise themselves with the emerging
practices, technologies, materials and techniques in the area
of a design proposal; (LO1)
Unit Learning
Skills
Outcomes
2. Interrogate critically an external brief and its assumptions and
respond effectively and creatively; (LO2)
3. Communicate a design proposal in a professional manner
using media appropriate to the proposal and its audience;
(LO3)
4. Make effective use of time and project management skills
towards the resolution of project work under minimal
supervision. (LO4)
Learning · Tailored lectures and seminars;
Strategies · Topic related group seminars or presentations;
· Tutorials;
· Final presentation.
Students will submit a proposal setting out their project intentions
and intended plan of action (and any associated supporting
materials specified) formulated in response to the external brief.
Assessable Summative Assessment
Elements Summative assessment is through the completed design proposal or
project (and any supporting materials or presentational requirements
specified in the brief).
Final Design Proposal/Project 100%

The extent to which there is evidence that the Final Design
Proposal/Project demonstrates that there has been:
· Analysis of the brief identifying the key criteria, assumptions,
opportunities, issues, concepts, data and areas of ambiguity
relevant to its solution; (LO2)
· Presentation of completed proposal/project, formatted and/or
Assessment
constructed appropriately to meet the competition/external
Criteria
brief requirements; (LO3, LO4)
· Appropriate judgement in the selection and/or specification of
materials, processes and/or technologies appropriate to the
realisation of the design solution; (LO1)
· The response shows creative individuality in response to the
brief and an awareness of its positioning in relation to
contemporary practice. (LO2)
Books
Jones, JC. (1992) Design Methods, John Wiley and Sons.
Butler, J. (2003) Universal Principles of Design: 100 Ways to
Enhance Usability, Influence Perception, Increase Appeal, Make
Better Design Decisions, and Teach Through Design, Rockport
Publishers Inc.
Goodrich, K. (2003) Design Secrets: Products: 50 RealLife Projects
Indicative
Uncovered, Rockport Publishers Inc.
Reading List
Indicative reading will also be suggested in relation to the topic (as
chosen by the student) requirements.
Websites
http://www.designtechnology.info/designcycle/default.htm
http://www.blueclawdb.com/databasesoftwaresolutions/project
managementtools.htm

Unit Title Major Project (collaborative)
Unit Code ACT303
This unit is complementary to the individual Major Project. Students
explore an area of independent negotiated learning but as a
member of multidisciplinary team.
Working in teams with other specialists and nonspecialists is a
fundamental part of the professional life of interaction designers. In
this unit students build upon the earlier experience of collaboration
within the course and learn to function as specialists within a multi
disciplinary team focused on a project initiated by the team itself.
Introduction Students are required to collaborate with at least one other student,
on the proposal and realisation of a project. This may be on a cross
course basis and the timing of the unit facilitates work with
broadcasting students for the annual ‘RaveonAir’ event. Projects in
the past have involved collaborations with student content creators
and programme makers to produce iTV programming.
Students produce and negotiate with their tutors a collaboratively
written brief. The student group then works independently towards
the resolution of that brief within the timescales agreed.
Whilst the teaching in this unit will be responsive to the range of
projects undertaken in any particular cohort, students are likely to be
Indicative
supported by sessions in areas such as:
Curriculum
Outline
· Collaborative brief writing;
· Project management systems (e.g. Gantt or CPA).

1. A critical understanding of the needs and requirements of
other professionals in a multi disciplinary design project;
(LO1)
2. A comprehensive understanding of time and project
management methods for interaction and collaborative
projects. (LO2)
Unit Learning
Outcomes
Skills
3. Contribute confidently, creatively and effectively to the
design, development and resolution of a multidisciplinary
collaborative project; (LO3)
4. Analyse interpret and incorporate the views and opinions of
other project collaborators in the design and development of
a collaborative project; (LO4)
5. Communicate design thoughts and proposals (and the
associated technical issues) to specialists and non
specialists. (LO5)
Learning
· Two to one and one to one tutorials;
Strategies
· Self directed and group research;
· Feedback.
Students will be given critique, direction and assessed on project
concepts and proposals.
Assessable Each of the assessed elements will contribute to the final grade, in
Elements the proportions shown in the following table:
Negotiated Project Brief 20%
Presentation of completed project 60%
Individual Project Log 20%

Negotiated Project Brief
· The challenge of the project proposal for its participants and
the degree to which it provides a learning opportunity for
them; (LO3)
· The degree to which it represents a creative or innovative use
of skill and technology; (LO5)
· Feasibility of project in relation to group expertise within the
timescales of the brief and the professionalism of the project
management underpinning the proposal; (LO2)
· Evidence of research underpinning the proposal in the project
brief. (LO1)
Presentation of completed project
· The degree to which the finished project reflects the design
Assessment
intents set out in the original brief; (LO5)
Criteria
· The level of functionality and quality of the interactivity of the
completed project; (LO5)
· The degree to which the creative opportunities afforded by
the brief have been exploited; (LO5)
· Professionalism of the presentation of the project outcome.
(LO5)
Individual Project Log
· Evidence of analysis, interpretation and critical understanding
of the needs and requirements of other professionals during
the project development; (LO4)
· Evidence of reflexivity and flexibility in relation to the process
of collaboration and effective contribution to the project team;
(LO4)
· Evidence of effective communication with other participants in
the project development. (LO4)

Unit Relevant Books
Dowmunt, Tony. (1993) Channels of Resistance: Global Television
and Local Empowerment, BFI Publishing in association with
Channel Four Television Company.
Holtzblatt, Karen. (2005) Rapid Contextual Design: A howto guide
to key techniques for usercentred design, Morgan Kaufman.
Indicative Roszak, Theodore. (1994) The Cult of Information: The Folklore of
Reading List Computers and the True Art of Thinking, Berkeley, University of
California Press.
http://www.findtech.com/keyword,Interactive+Design+Collaboration+
Planner/search.htm
http://www.arch.usyd.edu.au/kcdc/journal/vol2/dcnet/sub5/transfer.ht
ml

Unit Title Major Project (individual)
Unit Code ACT304
The Major Project unit is an opportunity for students to identify and
develop a substantial and complex area of individual enquiry. The
unit commences with preparation of a project proposal, which is
scrutinised by tutors and student peer group, and is subsequently
refined and developed as the unit progresses.
The work produced for the major projects represents the culmination
of the student’s education at Ravensbourne and should therefore
reflect their ambitions, philosophy and professional direction.
Although the learning outcomes and assessment criteria are
Introduction
described below, students are responsible for the definition of their
own specific project brief and a programme of work, and to present
a fully resolved functional artefact at the end of the unit. However it
is possible, subject to the agreement of the course team, for
students to propose work of a more experimental or investigative
nature which may have a more theoretical resolution, provided the
learning outcomes are fulfilled.
Students are encouraged to contextualise their individual practice,
with the opportunity to embark on industrial collaborations or
consultations where appropriate.
Whilst the teaching in this unit will be responsive to the range of
projects undertaken in any particular cohort, students are likely to be
supported by sessions in areas such as:
Indicative
Curriculum
· Defining, framing and a ‘problem’;
Outline
· Researching and interpreting user needs;
· Developing a personal brief;
· Managing a complex project from conception to realisation.

1. Understand comprehensively the technical, commercial and
professional contexts related to the design proposal. (LO1)
Skills
Unit Learning
Outcomes 2. Conceptualise, develop and realise a personal design
proposal and programme of work; (LO2)
3. Analyse critically the main opportunities, factors, issues and
contexts relating to the brief and synthesise these in the
design resolution; (LO3)
4. Exercise judgement and responsibility in defining and
completing a personal programme of learning and creative
work; (LO4)
5. Effectively present a resolved body of work in a professional
appropriate manner. (LO5)
Teaching and · Self directed research;
Learning · One to one tutorials;
Strategies
· Critique;
· Feedback.
Students will be given feedback on the self written project brief
(submitted at an interim date), concepts and progress.
Students will be required to submit for final assessment:
· Self written brief (to be submitted at a published interim date);
· The finished artefact or proposed solution;
Assessable · A comprehensive finished presentation relating to the finished
Elements artefact or proposed solution (for exhibition);
· Appropriate development prototypes or models and
supporting materials (sketchbooks etc).
The project and associated materials are assessed holistically as a
single body of work.
Self Written Brief 10%
Presentation of completed project 90%

At the end of the unit the students will be assessed on:
Self Written Brief
· Evidence of a critical analysis and integration of the
commercial aspects of the project (e.g. markets, users, costs
etc); (LO2)
· Evidence of an understanding of the relationship of the
project to current or emerging technologies and professional
practice. (LO1)
Completed Project
Assessment
· The degree to which the finished artefact or proposed
Criteria
solution fulfils the intent set out in the self written brief; (LO5)
· Whether the finished artefact or proposal has fully exploited
the creative opportunities afforded by the brief; (LO3)
· The degree to which the design has been underpinned by an
iterative and reflective design process involving the
consideration of alternative ideas/solutions; (LO4)
· The degree to which the project or proposed solution
addresses or resolves the key factors and issues related to
the project; (LO5)
· Professionalism and clarity of the presentation of the project
outcome. (LO1 – LO5)
Unit Relevant Books
Kurzweil, Ray. (2001) The Age of Spiritual Machines: How We Will
Live, Work, and Think in the New Age of Intelligent Machines,
Discovery Institute.
Ronell, Avital. (1989) The Telephone Book: Technology,
Schizophrenia, Electric Speech.
Indicative
Reading List Young, Trevor L. (2003) The handbook of project management: a
practical guide to effective policies and procedures, Kogan Page.
Sharp, John A. (2002) The management of a student research
project, Gower.
http://projectmanage.guideforyou.com/

This unit builds on the Personal and Professional Development units
at Levels 1 and 2, to enable students to critically examine and
Introduction develop their own Personal and Professional Development File, so
that they are prepared for the transition to work and/or further study.
The focus of this unit is on professional development.
This module includes:
· Career planning and career paths;
Indicative
· Developing and managing a portfolio career;
Curriculum
· Enterprise and business startup;
Outline
· Funding opportunities;
· Networking and communications;
· Portfolio preparation and professional planning.
Skills
Unit Learning 1. Reflect upon their career goals in relation to their personal

Outcomes and professional development; (LO1)
2. Diagnose and access resources and services to assist in their
own career planning; (LO2)
3. Diagnose future employment trends in relation to their
discipline and relate this to their Personal and Professional
Development File; (LO3)
4. Effectively communicate their skills and abilities to employers
and future clients. (LO4)

Overview
Students will be exposed to key concepts through lectures,
workshops and seminars. The majority of learning will take place
through an ongoing process of reflective practice evidenced in the
The Personal and Professional Development File will contain three
main elements: a learning plan, reflective commentary and
evidence.
Teaching Methods
Learning on this unit will be gained primarily through a combination
of:
Teaching and
Learning
23 per term.
Strategies
Lectures and workshops will introduce underlying concepts, process
and models. Guest lectures will help develop students’ awareness of
industry and current developments.
Small Group Seminar/Workshop
23 per term.
These encourage discussion and reflection on the learning/working
experience and ensure learners gain from shared experiences.
SelfDirected Study
The majority of learning from this unit is selfdirected.
Tutorials
23 per year.

Development File. This will give them an indication of their existing
performance in relation to the learning outcomes before submitting
the File for summative assessment.
Students will be required to develop a Personal and Professional
Assessable Development File detailing professional, educational and personal
Elements objectives. The File will consist of three main elements: a learning
plan, reflective commentary and evidence.
Development File (1 st submission,
Development File (2 nd submission,
normally in term 3)
Students are required to submit a Personal and Professional
Development File and will demonstrate:
· A critical reflection upon their career goals in relation to their
personal and professional development; (LO1)
Assessment
· An analysis of resources and services available to assist in
Criteria
career planning and professional development; (LO2)
· Evidence of the ability to effectively communicate skills and
abilities to employers and future clients; (LO4)
· Evidence of reflection upon future employment trends and
their relationship to their career pathway. (LO3)

Bolton, G. (2001) Reflective Practice: Writing and Professional
Development, London: Paul Chapman.
Hawkins, P. (1999) The Art of Building Windmills: Career Tactics for
the 21 st Century, University of Liverpool: Graduate into Employment
Unit.
Caperez, E. (2004) Careers Uncovered Series: Art and Design
Uncovered, Trotman.
Harris, C. (2004) Careers Uncovered Series: Media Uncovered,
Indicative
Trotman.
Reading List
Reuvid, J. & Millar, R. (2004) Start up and run your own business.
Kogan Page.
http://www.designcouncil.org.uk
http://www.skillset.org/careers
http://www.fashioncapital.co.uk
Appropriate journals and trade magazines

Unit Title Major Project Report
Unit Code ACT306
Activity in the Major Project Report unit complements the
independent project activity undertaken by the student in the Major
Project (individual).
Its purpose is to make students think about and articulate the
conceptual, technical and creative issues which surround the
development of their individual major projects and to gain insight into
its contexts.
Students document the development of the project from its inception
to its completion and reflect on the opportunities and issues which
Introduction
arose during this process and the constraints which impacted on it.
In the course of developing their major project, they will research
and define user needs, develop prototypes and test usability and
they will record and collate this process in the Major Project Report.
The outcome of this process will be a document in which students
address whether the completed project resolved fully the problem or
intention which they sought to address and the relationship of the
finished artefact to their original design intent as laid out in the brief.
This will be in a format which can be presented to a client or future
employer who may not necessarily be a subject specialist.
The curriculum covered in this unit will involve:
Indicative
· Professional report writing;
Curriculum
· Structuring and writing a reflective design report;
Outline
· Reflection on the process of design and project management;
· Presentation of project research.

1. Situate their design practice critically in relation to current
professional practice; (LO1)
2. Identify, research and synthesise data and information which
Unit Learning
supports an interaction design solution. (LO2)
Outcomes
Skills
3. Communicate effectively all aspects of the intended design
proposition and its development to subject and non subject
specialists; (LO3)
4. Reflect critically upon the development and resolution of
their design. (LO4)
Teaching and
Learning · Self directed research;
Strategies · One to one tutorials;
· Feedback.
· Project report content;
· Research and timeplan;
· Project report presentation;
· Format.
Assessable
Elements Summative Assessment
· Format;
· Depth and accuracy of reporting;
· Clarity of information presented.
Project Report 100%

At the end of this unit students will be assessed on the level to which
their report:
· Provides an accurate and reflective account of the project
development and the realisation of its intended outcome;
(LO4)
· Documents and explores critically the relevant contextual,
Assessment technical and feasibility factors informing the development of
Criteria the project; (LO2, LO3, LO4)
· Explains how the project was planned and managed; (LO1)
· Evidences the application of critical analysis and reflection in
the design process; (LO4)
· Is supported by relevant evidence from research and project
testing; (LO3)
· Shows professionalism of presentation and suitability for a
professional audience. (LO1)
Unit Relevant Books
Bolton, Gillie. (2001) Reflective Practice Writing and Professional
Development, Paul Chapman.
Van den BrinkBudgen, Roy (2000) Critical Thinking For Students:
Learn the Skills of Critical Assessment and Effective Argument.
Indicative
Reading List
http://www.eee.strath.ac.uk/ugprojects/9899/ces/report.htm
http://www.completeteacher.co.uk/report_writing.htm
http://lorien.ncl.ac.uk/ming/Dept/Tips/writing/writeindex.htm

Learning and Teaching Glossary
The learning and teaching activities associated with a course are set out in course
handbooks, programme specifications and unit specifications and in project briefs.
This glossary may be useful for students and other stakeholders to help understand
the terminology used and a guide to the sorts of activities which they can expect to
participate in on their course.
Please note the following list has been organised in alphabetical order.
Assessment Criteria
The criteria by which student work submitted for assessment (see below) will be
judged. These are published in unit specifications and relevant project briefs.
Assessment Deadline
The date by which work completed for assessment must be submitted. Failure to
submit by the deadline is likely to mean that you will fail the unit. Deadlines are
published in project briefs.
Assessment Requirements/Assessable Elements
The work or materials which a student is required to complete and submit for
assessment (by the published deadline) in order to pass a unit. These are set out in
the unit specification in the Course Handbook and in relevant project briefs.
Critique/Crit/Interim Presentations
Presentation of work by students to an audience of peers and staff to facilitate
feedback for reflection.
Demonstrations
A member of staff illustrating the operation of technology, processes and ideas.
E Learning
At Ravensbourne, traditional forms of teaching are increasingly supplemented and
supported by on line materials and activities. Activity will vary from course to course
and may involve the use of the Moodle (see below) virtual learning environment
(VLE) to allow students to access course information and learning materials or to
take part in activities and forums. On line journals and databases may be accessed
via the Learning Resource Centre. Other courses use on line tests to evaluate
student learning or publish electronic materials to support software learning.

Assessment aimed at determining a person's strengths and weaknesses with the
objective of improving them. Generally expressed in words rather than grades, and
generally not used in the final assessment.
Grades
Student work submitted for summative assessment is assigned a letter grade as an
indication of the degree to which the work demonstrates that the learning outcomes
have been met. Grading is conducted on a generic College scale of A to F (amplified
by a '+' or '' sign where this is appropriate) where 'A' is first class work and 'F' is a
failure. More detail is contained in the Academic Regulations.
Grading Descriptors
These relate to the grade assigned to work submitted and are textual descriptions of
the level of student achievement in relation to the learning outcomes (see Academic
Regulations).
Group Projects
Project based learning (see below) specifically designed to require collaboration and
team working by students. These may be inter disciplinary and may sometimes
involve the simulation of real world situations which individual working could not
realise. Normally, summative assessment involves a group submission though an
element of individual work is usually required as well. Peer assessment is often an
element of the assessment.
Group Seminars
These involve presentation(s) to and discussion with a group normally on a
predetermined topic. They are sometimes led by a staff member but sometimes
student led. They normally include plenty of opportunities for interaction between
staff and students and/or students and their peers (i.e. questioning of students by
staff and vice versa).
Guest Lectures
Formal or informal talk on subjects related to the course by a visiting speaker, often
by a noted practitioner or commentator.
Independent Study/Self Directed Study
Learning undertaken in a self directed manner independent of any teaching,
supervision or formal guidance. In order to complete any course at Ravensbourne,
students must undertake independent study in addition to the formal teaching which
takes place on the course. Independent study might involve accessing books,
journals or on line resources, carrying out research, working on skills development or
preparing assessment requirements.

Individual Learning Plan
An individual Learning Plan is one of the elements which make up a student’s
Personal and Professional Development File (see below) which is part of the
assessment requirements of the Personal and Professional Development unit in each
level. It sets out the student’s academic, personal and professional goals and
priorities in relation to their individual strengths and weaknesses.
Individual Tutorial
One on one input from individual staff to a student in relation to a project. This sort of
tutorial more commonly takes place in major project work in the third level.
Induction
Specific organised period of introduction to the College, the Staff and the Course.
Students may also be introduced to specific technology for Health and Safety
purposes.
Initial Briefing
Introduction to the unit and the associated project(s) by unit leader or a member staff
associated with the unit.
Learning Outcomes
Statements indicating what a learner should have acquired at the end of a given
learning period.
Lectures
Formal talk by a staff member given on a subject before an audience or a class, for
the purpose of instruction. The organisation of the lecture will normally include some
opportunities for questioning by members of the audience.
Moodle
This is a virtual learning environment (VLE) utilised by Ravensbourne. It may be used
to post materials relating to the course such as handbooks, project briefs and
timetables. It may also be used to host materials and discussion forums related to
particular topics or projects.
Negotiated Learning Agreement
Some projects, particularly in level three of our courses, allow students substantial
independence to focus their learning and project activity and in some cases to
negotiate their own project brief. Where a unit allows for such an approach, they will
negotiate and agree the parameters of such activity with their course leader or
another designated member of staff at the beginning of the unit.

Peer Learning
As in professional life, students often learn as much from interacting with each other
as they do through formal structured teaching. Opportunities for group learning,
group projects, student presentations and critiques form part of all courses at
Ravensbourne.
Personal and Professional Development File
Throughout their time at Ravensbourne, students are provided with structured
opportunities to think about and plan their future both at the College and afterwards.
In the Personal and Professional Development units in each level of their course,
students develop a Personal and Professional Development File. This is made up of
an Individual Learning Plan, a Reflective Commentary supporting the achievement of
their learning goals and an Evidence Base. Students learn to reflect on what they
want to achieve, make informed academic, personal and professional decisions; set
personal targets and prioritise curricular and extracurricula activities to achieve
them; reflect critically on their performance and progress and to record their
achievement and evidence their skills for employment purposes.
Personal Tutorial
A formal meeting between a personal tutor and an individual student where the
discussion concentrates on overall monitoring, evaluation and planning rather than
instruction (see Tutorial Policy).
Presentations
Students will be required from time to time to make presentations to students and
staff. This is to help them develop communication skills and learn how to articulate
their ideas but also to facilitate peer learning or the wider dissemination of learning
across the group as a whole. Commonly, students may have to make presentations
in relation to an aspect of a subject in a seminar or on their particular research in
relation to a project.
Projectbased Learning
Many units at Ravensbourne centre around a project requiring students to explore an
area of knowledge and/or skills and their application. These projects are often based
on realworld problems and require students to carry out indepth research, apply
problem solving skills and realise a practical outcome. Most projects allow for a
creative personal response to the brief and require independent thinking and working
by the student. Some projects are explicitly group projects, requiring teamwork and
the realisation of a group outcome. Most will involve some element of peer learning
(i.e. through student presentations or crits). Some projects may be interdisciplinary
involving students from other courses.

Small Group Tutorial
Small group of students (3 5) discussing a particular topic, often led by a staff
member or a student. These normally will include plenty of opportunities for
interaction between staff and students (i.e. questioning of students by staff and vice
versa).
Studio Based Lectures
Informal structured talks given by tutors on subject matter related to the unit or the
project. Normally, students are given the opportunity to ask questions in relation to
the subject matter at points during the talk.
Submission Requirements
See Assessable Elements above.
Assessment generally taking place at the end of a course and leading to the
attribution of a grade or a mark to the learner, which will allow the learner to move to
the next part of the course, or which completes the course.
Work Based Learning (WBL)
WBL means any learning which derives from sustained engagement with the
experience of work, whether this is directly in the workplace (through placement) or
though some form of 'close to work', simulated or ‘live’ project experience. Many of
the projects conducted at Ravensbourne replicate real life situations in industry,
including the (often interdisciplinary) team working and the practitionerclient
relationships and simulate the constraints which students will experience in the
workplace.
Workshops
Students learn skills through their practical application with direction or supervision
from a lecturer or technician.

Personal Tutorials Guidelines
Background
Ravensbourne seeks to ensure that all of our students work within a supported
learning environment. During your time at the College you will be offered a variety of
tutorial opportunities in small groups and individually. The Personal Tutorial system is
one of the main ways in which we will offer you personal and academic support.
Objectives
The objectives of our Personal Tutorial system are:
· To enable improved retention and achievement on programmes of study;
· To identify and support the needs of all students;
· To encourage student self evaluation;
· To ensure that students have regular opportunities to reflect on their learning
and progression, and discuss this with a relevant member of staff;
· To offer students the opportunity to discuss individual learning priorities and
plans at key stages of study;
· To promote equality of opportunity for all students through the identification of
individual learner needs;
· To offer all students the opportunity to access additional support when
necessary.
Personal Tutorials are intended to encourage and help you to manage and evaluate
your own learning. They offer a focussed opportunity to discuss your progression,
and identify any difficulties or obstacles to this, with relevant staff. The system aims
to achieve a coordinated view of your achievements and any relevant difficulties.
Personal Tutorials are a central part of your Personal and Professional
Development units at all levels. These units are the main way that we encourage
Personal Development Planning and are designed to support you in the process of
reflecting upon your learning and performance and planning your personal,
educational and career development. They will also help you in developing (and will
make use of) the Personal and Professional Development File that is part of this unit.
You will normally be offered 23 Personal Tutorials per year. Course, Subject or Unit
Leaders will allocate and notify you of your personal tutor and the timing of sessions.
How Personal Tutorials work
Your tutor will normally:
· meet with you individually at least twice per year, usually for 2030 minutes;
· work with you to reflect on your learning and how you are meeting your goals;
· help you to identify difficulties that you are having on your course and consider
possible sources of support such as the Student Services team, for example.

Your tutor will not normally:
· provide you with an academic tutorial on specific projects, or give out grading;
· be able to provide you with immediate solutions to any difficulties identified.
Responsibilities in relation to Personal Tutorials
Your tutor will aim as far as possible to ensure that:
· the date and time of your Personal Tutorial is fixed in advance;
· the place is as private as possible and that you are not interrupted unduly;
· you know what areas are likely to be covered during the tutorial and that you
have the opportunity to raise other relevant issues during the discussion;
· relevant/important documentation is available during the tutorial.
Tutors will work with you to ensure a common understanding and wherever required
ask for clarification. They will aim to ensure that any written record they keep of the
tutorial is accurate and summarises areas such as the issues and targets discussed
and complies with our Data Protection Statement (see Student Contract Handbook).
If they consider it important for your progression or wellbeing tutors may, in some
circumstances, ask for your agreement to share personal information that you have
discussed with other relevant staff. They will not do so without your agreement
except where there is serious danger of harm to yourself or to others or where they
would be liable to civil or criminal court procedure if the data were not disclosed.
You should ensure that you:
· attend the review tutorial on time;
· understand or clarify what areas are likely to be discussed;
· identify any other relevant issues that you wish to cover;
· have completed any relevant preparation that is asked of you;
· bring with you any materials/work that you need to refer to, such as your
You should ensure that you are clear about:
· what follow up work is expected of you and any targets agreed;
· that what has been agreed is achievable within the time scale;
· what the consequences, if any, will be of failure to achieve any agreed targets
in the time agreed;
· what additional support is available and how this can be accessed, for
example, the Student Services team, learning support sessions, counselling;
· who else may be informed of any personal or confidential issues discussed.

Course Committees and Student Course Representation
Student Course Representatives
The College is committed to listening to its students and to taking their views into
account in its decision making. Student Course Representatives are students who
are elected by the other students on the course to represent the views and concerns
of the student body on their course to the course staff and the College. You may also
wish to look at the Student Course Representative Policy (
http://intranet.rave.ac.uk/quality/a_to_z.htm#s).
Student Course Representatives attend Course Committees once a term, where they
have the opportunity to:
· feedback on the views of the course student body on the student experience
on the course;
· raise issues which are of concern to students;
· give their opinion on developments on the course;
· actively participate in improving the quality of the learning experience.
Student Course Representatives are elected annually at the start of the academic
year.
Course Committees
Each course has a Course Committee consisting of academic staff (permanent and
sessional), Student Course Representatives and representatives of College services.
Course Committees are chaired by the Subject Leader and meet termly. They
provide a forum for the discussion of academic business on the course, the
identification of issues arising in running the course and the monitoring of actions
outlined in response to these.
In particular, they provide an opportunity for Student Courses Representatives to
provide feedback on their experience of the course and for student views to inform
the development of course policy and practice. Course Committees report to their
respective Faculty Committee which receives their minutes.

Contacts
Main contacts
Subject Leader
Michelle Douglas
Telephone: 020 8289 4983 Email: michelle.douglas@rave.ac.uk
Responsible for the daily management of the course.
Senior Lecturer
Martin Schmitz
Telephone: 020 8289 4900 Email: m.schmitz@rave.ac.uk
Other useful contacts
Business Support Officer
Kerry O’Halloran
Telephone: 020 8289 4961 Email: k.o’halloran@rave.ac.uk
Responsible for aspects of course administration.
Acting Head of Faculty
Peter Pilgrim
Telephone: 020 8289 4968 Email: p.pilgrim@rave.ac.uk
Responsible for overall management of the Faculty of Design.
Finance
Graham Reed
Telephone: 020 8289 4994 Email: graham.reed@rave.ac.uk
General Finance enquiries
Email: fees@rave.ac.uk
IT Service Desk
Telephone: 020 8289 4900 (Ext. 8208)
http://support.rave.ac.uk
Learning Resource Centre
Telephone: 020 8289 4974 Email: lrc@rave.ac.uk

Quality Team
Ernest Grainger
Telephone: 020 8289 4928 Email: e.grainger@rave.ac.uk
http://intranet.rave.ac.uk/quality/
Responsible for Course Committee organisation, liaison with Student Course
Representatives, complaints and appeals.
Registry
http://intranet.rave.ac.uk/registry/
Registry is located on the main College corridor and operates a counter service from
11:0012:00 and 14:3015:30, Monday to Friday.
Responsible for admissions, enrolment, bursaries and Examination Boards.
Student Support
Sue Cowan
Telephone: 020 8289 4982 Email: s.cowan@rave.ac.uk
Responsible for student welfare, disability support and learning support.
Student Union
Daniel Gittings
Telephone: 020 8289 4801 or 020 8289 4810 su@rave.ac.uk
Elected representatives of the student body, who represent on the Board of
Governors and Academic Board.

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Term one Term two Term three

ACT102 Principles of Interaction ACT104 Design for Interactive Media ACT106 Interactive Narrative

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C201/ACT208 Know Your Audience: C203/ACT207 Contextual Studies C202/ACT209 Dissertation

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