John A. SmithLongslade Upper School, Leicestershire

Longslade School, a Leicestershire plan UpperSchool, was one of the pilot schools involved inthe development of the Oxford A83 Designsyllabus. Having been familiar with the course sinceits inception, and being directly involved in teachingthe syllabus for the past three years, I should like toexpress some ideas involving the teaching aspects ofthis course. I hope that these will not only be ofinterest to the reader but that they will also beuseful, both from the practical teaching point ofview, (I use practical here in the sense of thepractice of teaching and not 'practical' subjects),and from the point of deciding how valid the coursemight be.

In fairness, I must point out that my ownattitude is very much in favour of this examination.In its present format I believe it to be an excellentsyllabus and, with a few minor aspects which arediscussed later, one which would be difficult toimprove upon.

The organisation of such a course can causeproblems, and staffing will depend on the numbersinvolved. At Longslade the average number ofstudents in each year appears to have settled downto 6 or 7 and, therefore, first and second year sixthare taught together to make a viable teaching unit.However, since there are times when it is necessaryto teach each group separately, a second member ofstaff is available for part of the time to allow thegroups to be split. This second member of staffcovers the ceramic element of the course, bothpractical and theoretical. For my part I cover thepractical elements of wood, metal and plastics, andthe theory elements of wood, plastics, and generaldesign philosophy.

The six forty-five minute lessons each week areshared in the following manner (See diagram below).

This system gives 2 lessons which may be usedfor separate groups or for team teaching if required.Where advice is required beyond the knowledge ofthe staff directly involved in the course thenstudents will seek help from other members of staff.This obviously relies heavily on good will within thedepartment and fortunately this is the case atLongslade. It could not be argued that this is an

. ideal system by any means. Although there ispositive inter-action between the two year-groups itwould be an advantage to have more time availablefor separate teaching. Larger groups would alsoinvolve more staff and a wider team approach wouldtherefore be possible. Most important of all,however, is that an even greater time allocationwould be a great help. The biggest problem is thatof covering sufficient of the syllabus, both theoryand practical work, in the time available.

AlevelDesiDnatlonDsladeSctiool

Anxieties have been expressed that theexamination places too much emphasis on theoryand that many students do not have an adequatedesign portfolio upon completion of the syllabus.

On the first count the mark allocation disprovesthis argument with a 60% bias towards practicalwork. This course is very much a practical course ona deeply involved level. On the second count onecan only say that if this is true in some cases, then itis the teaching methods which need revision, andnot the examination syllabus.

It is in the theory part of the course, however,that my own criticisms rest. It is difficult to relatemuch of the theory syllabus to the practical workinvolved in the course, and this is most marked inthe technology questions. There does seem to be anelement of theory for the sake of theory, though Iaccept that this is inevitable in an A level course.However, certain questions do seem to require veryprecise specialist knowledge on topics which mustbe limited to a very small number of candidates.How many pupils, for example, have sufficientinformation to answer a question on concert hallaccousticsl at the depth required for a goodA lev~lpaper?

The wood technology section demonstrates twopoints where I have most cause for concern. Itwould appear that in their desire to makewoodwork more acceptable academically there hasbeen a tendency, upon the part of the examiners, tophrase some questions in more abstract terms.2 Iwould argue that a good question should give thestudent a clear opportunity to put forward hisknowledge, and ideas, without having to spend a lotof time trying to decipher what exactly theexaminer is asking for .

Secondly, there are some questions which seem tobe over specialised for an examination of this typeand level.3 Such questions seem more appropriateto a student specialising in this topic in highereducation than they do in a syllabus where such abreadth of knowledge is required. It is also verydifficult, if not impossible, to teach towards suchquestions with the resources available in mostschools.

Period 1 2 3 4 5 6

Teacher 1 1st yr. 2nd yr. Both Both N/A Both6th 6th groups groups groups

Teacher 2 2nd yr. 1st yr. N/A N/ABoth N/A(Ceramics) 6th 6th groups

Basic Course: Graphicillustration element forthe photographic unit.

I accept that the setting of theory papers must bea very real headache for the examiners and thatsuitable questions are difficult to find. However, Ifeel that there could be a more realistic approach insome areas of the paper particularly relating to theexamples given.

I do not wish to give the impression that thewhole theory paper is in need of revision becausethis is not so. In fact the majority of questions arequite acceptable and cover the basic requirements ofsuch a theory course.

The practical course is undoubtedly the mostsatisfactory part of this syllabus for several reasons.i) In both the basic course and in the major projectthere is plenty of freedom for the school tointerpret the requirements of the syllabus for thebenefit of the individual and the school. Withoutsuch flexibility, a design syllabus would find itdifficult to survive the major problems of diversestaffing skills and variable facilities available.ii) The percentage allocation of 60% in favour ofthe practical element of coursework is recognitionof the intellectual qualities involved in advancedproject-work of this type.iii)The teacher assessment forms4 are a valuablesystem to involve staff positively in the marlcingsofthis work. They provide a more accurate means ofassessing the student's genuine contribution to theproject than would reliance purely on the endproduct and any visual supportive work.

If teacher involvement at this stage is to be reallymeaningful, however, thete ought to be feedbackfrom the examiners on this topic. It is not possibleto tell from the final grade by how much theexaminers have altered the teacher assessment ofeach project. Teachers do need to know howrealistic their marking is if only to arrive atacceptable criteria and standards for assessing futurework. It would also give valuable insight into whichareas of the design process the examiners felt werelacking in each project. Such feedback could onlyresult in a steady improvement of the quality ofwork submitted.

The basic course of design practical work servestwo purposes.

a) It serves as an opportunity to give studentsexperience in several materials, techniques, designphilosophy and methods of presentation of ideas.b) It is an opportunity to develop in students themethods of approach necessary to undertake amajor design project.

At Longslade we have developed a series of aimswhich we hope to cover each year involving variousaspects of the design process. Although the designbriefs vary from year to year a typical series of aims,with accompanying topics, might be as follows:-1. A group project.The students work as a team, deciding how to divideup the project into components and who will lookinto each section. Final analysis of eachcontribution involves team discussion leading to afinal suggested solution. The end product mayinvolve models or an actual produced article. Eachstudent is expected to present a total designportfolio on this topic, adding his owncontribution to the work of other team members,as well as his own major unit of research. e.g. A seatto enable disabled persons, without the use of theirlegs, to learn to sail.2. A technique based project.In this case students are shown a specific techniqueof construction. e.g. Laminating of timber. Theproject involves certain physical tests to determinethe properties of this material. Students areexpected to discuss the validity of such tests andtheir accuracy. Methods of presenting experimentalinformation are discussed together with alternativeforms of experiment.

The technique is then developed by eachindividual into a project which must utilise themajor properties of this technique. This projectusually demonstrates those problems associatedwith narrow, pre-conceived 'solutions' whichproduce unnecessary restrictions on the designer.3. Development of natural form into som.e item.e.g. J ewelleryThe aim is to show both an original source for ideas,and the way that much designing relies upon a subtleinter-development of the understanding of materials,

Basic Course:Graphic illustrationelement for thephotographic unit. 00

00o0F45 0 eoe1Jo o FS.6 ~ TITOOFSo OFll

F14-F20

FlB-F35 0

The performonce 01 a camera is 10 a large extent dependent It its lens.The widerthe aperture the wider the scope of the camera.A wider aperture enables you totake photographs In poor light and 01 fast moving objects.A small aperlure limitsyOU to good light conditions and slow objecls If you have a wide aperlure you

can afford short shutter speeds. The colums. read horizontally.lell what can be ex-pece.'d from on aperture size. For example With an F2 setting shots of people In-doors fast moving cars and also stage photographs can be token. With an F 5.6

setting people outdoors under trees as well as fairly slow sports pictures arepossible.

skills, physical requirements, and aestheticconsiderations.4. Open ended project into some abstract form orpractical application.A topic to test the imagination and initiative of thestudent where the form of development is left tothe individual.e.g. The hand ... developmental drawings leadingto ...?5. Material study.The development of work in one particular materialto whatever level each individual is capable of.e.g. Ceramics.6. Photography.A means of visual expression and a recordingmedium.Photography demonstrates how visual quality candepend largely upon the knowledge and experienceof the process involved. Some projects are purelyvisual.e.g. Patterns in the environment.Other projects may allow the student to express anindividual point of view.e.g. Shop front design, office block development,etc.7. Environmental project.The production of an illustrated portfolio on sometopic of environmental importance.e.g. The effect of concrete on the environment.Aspects of town planning and transport policy.

8. Consumer product.An analysis of a consumer product. Research intoaims, material suitability, production methodsinvolved, etc. Leading to criticism, an awarenessof the compromises involved, and suggestedimprovement.9. A small scale individual project.Based on the definition of a clear need. Aimed atgiving more individual design experience beforeundertaking a major project.,e.g. Camera rifle grip.Adjustable sailing tiller.The dissertation undertaken at the conclusion of thebasic course, is a valuable piece of work, becauseit gives a positive reason for consolidating theunderstanding of the design process developedover this first year.It is an opportunity to bring together all theindividual aspects of each project into acoherent philosophy of design.

Major ProjectPerhaps the most difficult part of a Major Projectis deciding what to do in the first place. Obviouslythe basic course has an important part to playin this. Besides introducing new materials andtechniques the important aim must surely be todevelop those concepts required by the student

when undertaking a major project.From the teaching point of view the following

Basic Course: Developmentof laminating to a newdesign for a yacht steeringunit.

points are helpful when guiding students tomake a suitable choice.a) A project in an area in which a student has anexisting interest or is likely to become interestedand involved is more likely to reach a successfulconclusion.b) Students should be aware of the limitations ofworkshop techniques available. They should beencouraged, however, to take an optimistic viewof their own skills and potential ability. A projectwhich seems obvious and well within their abilitywill not necessarily produce a good result.c) A list of previous major projects, provided by theexamining board, can help the student to visualisethe level of complexity of an average project.d) The student should be able to define a real needfor the specific project chosen.e) A discussion of the official mark sheets with thestudents can help them to analyse their own projectideas to see if they are likely to fulfil all therequirements.Having decided upon a suitable subject the first stepis to map out a plan of action for the work. Whatcan be called an 'Index' to the project.e.g. INDEX '"i. Why the project was chosenii. What the real need wasiii. Areas of informationiv. Experimental workv. Basic problems that had to be solvedvi. Stages of constructionvii. Basic evaluationviii. Costix. Changes made at late stagex. Finishing processesxi. Final evaluation.Obviously, defining the 'real need' and showing thecontext of the design project is very important. It isessential that the student clearly explains this su bjectmatter on the report.What role is the end product intended to satisfy,and what external influences are there likely tobe involved?It is naive to expect students of this age range tobe unaffected by their cultural environment andinevitably previous experience will influence

their ideas. There is nothing wrong with gaininginformation from existing sources, and attemptingto start every project from first principals, wouldseem to be a waste of time in many cases.One task therefore, is to produce a file ofinformation obtained and this can take thefollowing form ...

Manufacturer's circularsMagazine articles, advertisements, etc.Newspaper cuttings which are related in anyway - not necessarily constructional - butmay cover safety, social, environmental aspectsof the design, etc.Material samplesAny connected BSI specificationsLegal requirements.

What sh.ould be avoided is the simple collectionand possible mounted display of glossy picturesshowing manufactured examples of the article beingproduced.These will only be of value if the student candemonstrate their true influence on the designin hand.Therefore, specific styles of the article can bedemonstrated by the student, provided that theyare analysed for advantages and disadvantages, andparticular points asked as having potential fordevelopment within the design project.Since the report should be a full record of thestudent's work it is useful to include reference tooutside contacts made by the student. This mayinvolve written contact with manufacturers andsuppliers or even photographic or note evidenceof visits to places of information.e.g. factories, exhibitions, showrooms, etc ....It is also essential, at an early stage, to produce anestimate of the final cost of the article to test itsfeasibility. After all the student will normally beexpected to pay unless it is a commissioned projectof some kind. This is an excellent way of gettingresearch undertaken into comparative materialcosts and also forces the student to make athorough breakdown of the various elements ofthe project.Similarly details of actual costs and purchasesshould be presented as part of the report.

Major Project:Bed settee

Experimental work poses problems in that it needsto be carried out and detailed evidence presentedto the examiner. However, the storage of large jigsin school workshops, already lacking adequatestorage facilities, is a problem, as is the commitmentto the same end of large quantities of valuablematerials. These may be a hidden expense in theproject if they are not reclaimable, or at least outof use for long periods. It is not always possible tofind scrap materials in sufficient quantity for thispurpose either. It is possible, however, to maketemporary jigs by using materials jointed togetherin a non-destructive manner. e.g. By using 'G'cramps, etc. These may not look attractive butthey are useful for gaining information concerningsuch features as size, angles, balance, strength,etc.In this situation the experiments can be shown tothe examiner by such means as photography,diagrams, and tables of results or graphs.Research into alternative techniques can also beshown in this way.

L

Presentation of final experiments and decisions isvery important and should show clearly, to theexaminer, how the project has evolved.Throughout the project, but especially in theearly stages, much thinking will be best presentedin the form of rough sketches. Therefore a goodsketch book full of ideas and comments is anessential part of the course.

In addition, the main elements, especially of thefinal design, will need presenting in more detail, andworking drawings will be necessary.This may involve scale calculations to cover anymoving systems involved.It may also involve clear working drawings of theend product. Quality of presentation plays animportant part, both in influencing the externalexaminer, and in developing a sense of pride inone's work by the student.

The development of adequate drawing skills duringthe basic course can have tremendous value at· thisstage.

Major Project:Mobility toy for bothnormal and physicallyhandicapped children.This is also aconstructive toy.

Major Project:Set of 4 chairs forthe schools 6th formcentre.

I. Mobile toy for both normal and physicallyhandicapped children.

2. New ideas in outdoor furniture.3. Reclining chair.4. Re-design of the spinning wheel.5. Knock down, interchangeable furniture

system.6. J ewellery based on architectural forms.7. Adjustable boat trailer and road trailer.

The use of photography can help a project immenselyand can undertake the recording of such factors as ...

Experimental workVisits concerned with the projectConstruction techniquesConstruction progressTrial runs in certain projects leading to redesign.

Certainly such photographs, well presented, formthe basis for possible discussion during the ViveVoce examination. If all work is well presented,and set out for all to see, the student will be lesslikely to suffer from those blockages of memorythat can occur at such times.Many students are disappointed by the briefness ofthe vive voce examination and it does seem unfairthat the result of one year's very hard continualwork should culminate in a discussion which canbe as brief as fifteen minutes.The end product. though not accounting for toolarge a proportion of the mark sheet, must inevitablyinfluence the mind of the examiner. Therefore it isimportant to complete the design and to completeit well. Craftsmanship is still important and anygood design is worthy of good manufacture.Since modifications at this stage in many types ofproject would be impossible or too expensive thestudent has the opportunity to suggest improvementsand alterations in the final evaluation. It is a bigadvantage to go into the vive voce examinationaware of one's faults and ready to discuss them.On the subject of how much help the teacher shouldgive the student the answer is simple. It will dependon the individual skill, intelligence, and initiative ofthe student .md will be reflected in the final teacher'smark sheet.Finally the student should be encouraged to set upa well presented exhibition of his work for thebenefit of the external examiner.In conclusion the requirements of a major projectcan he set under these main headings ...I. A clear definition of the problem to be solved.2. A thorough investigation into all aspects of the

problem.3. A well made end product.Projects currently being undertaken at Longslade:-

General view of onestudent's exhibitionof work as set out forthe external examination.

In all aspects of the design course, however, onemust be wary of simply replacing the narrowmaterials orientated subjects with a course ofpure 'problem solving'. This 'problem solving'approach can be equally restricting and can lead tothe concept of design being totally involved inproduct development with an industrial design basis.Although recognising this as an important elementof design, and one that reflects the work of mostprofessional designers, it is important that anydesign course can cater for the more subjectiveelements of creativity which are less easy to defineand evaluate.Therefore, there must be scope to develop suchconcepts as intuition, awareness, personal values,a questioning of such restrains as form and function,inventiveness, and originality.The aim must surely be to develop in students whatProfessor Cookes describes as 'Constructivedissatisfaction', whether or not they are continuingto follow design courses in higher education.The A83 syllabus is a demanding one to teach, butone which brings immense job satisfaction to theteachers involved. It is also capable of stretching themost able of students and places no artificial limitson individual development. The positive influenceof such work being visible to other levels of pupilsis also an important motivational factor.As a final point, let me stress that successfulapplication to any such course is aided by previouseducational experience. Therefore, the A leveldesign course should not be seen in isolation but asa continuum on a well structured early designeducation.

Notes from Text1. The design of a concert hall involves a compromise

between functional and aesthetic requirements.List the requirements that the designer of sucha building has to fulItl, and indicate where difficultiesmight arise. 1975 Paper 1.

2. Some wooden artefacts of extreme antiquity exist.How could you ensure that a wooden article madetoday could have a comparable chance of survival?1976 Paper 2.Rather ambiguous. Is the examiner asking forprecautions to be taken during manufacture, or is •he asking about a suitable environment for thekeeping of existing furniture?

3. What are the factors that determine the availability oftimber for production purposes at any given time?1976 Paper 2.

4. Assessment form A and Assessment form B .5. Professor H.D. Cooke, Assistant Director, Leicester

Polytechnic. Speaking at the Design Council Seminar,28 January, 1978, Leicester Polytechnic.

"8~

DE

SM.;S

PRO

JEC

TA

SSE

SSM

EN

T

ISCH

OO

L:

CA

ND

IDA

Te

ITl"T

OR

;

iAs.

~sam

etlt

form

A)

Proj

ect

Titl

e:T

each

erIn

•••ol

••••m

tlllt

..nJS

T[F

ICA

TIO

N4

5W

bl,.''''-

l.Wb'''

••••-

V,ll

ere

appr

opri

ate

refe

r~"

e.te

d

IT

ick

one

box

2L

ngne

eded

Lng

need

ed(o

the

rl"p

orl:

Ihe

"p1'

OO

ul'l'

Wel

ihta

.H

f'.du

.eR

AT

lNG

per

row

!!!£

!!he

lp?

leut

belp

"lo

gbo

ok;n

ott's

,ur

s4(e

t('h

es;

tuto

r'aim

preS

lion:

my

3ot

.her

fact

ors

Ho'

"w

ell

••..•

.•pro

-SA

wre

alne

edw

hich

Soun

dtlr

let

baae

don

Rea

sona

ble

need

baae

dFa

iled

todl

liCeJ

"'Iln

eed

Uns

ound

choi

ce.

noje

ctdl

O_

('ona

i-co

uld

be.c

h!e

•••ed

.Il.i

htde

llcle

ncy

Inre

-on

adeq

.late

reco

pilio

npr

oper

l7,

orre

lour

ce.

reco

gniti

onof

reeo

urce

lde

rinl

:~s

ourc

esco

cnill

ngre

.our

ce.

orof

relO

Jrce

.di

mly

reco

gni.e

de"

IlId

nll!

'edl

?••

•Iee

verl

a

Com

preb

en.a

iOll

01.

No

.igni

lican

tom

III

Ion.

Proj

flC

teon

llder

edl.n

Ade

q.L

ates

cope

ofFe

wad

ditio

nal

fact

onV

ery

limite

dvi

ewin

deed

proJ

ect

••a

""bo

leve

ryw

ide

cont

ext

rele

vant

!act

ora

outa

:ide

Imm

edia

teta

rget

P\aD

D.iJ

lCaD

dT

lPt

cont

rol

oncu

rren

tln

teill

gent

chm

gel

ofR

easo

Mbi

e.b

iUty

toR

eeoc

n11e

cl.o

me

need

Wor

ked

ina

very

Orp

.tlls

attO

Il01

.ta

rget

IIrg

eta.

clrc

umst

ance

sm

anag

etim

eaD

def

!ort

ror

plan

ninc

haph

a:r.

an:l:

fash

ion

.,..,...•

'"C

ompl

eleD

esa

&ri

dC

ompl

ete

IJld

deta

iled

All

aspe

cta

cove

red

Rat

her

patc

hy~

IlO

lL

Id-I

em

ore

than

aSh

oddy

,ill

-org

anis

edp~

tatio

not

reco

rds

wel

l-or

glJl

lled

.Ith

ough

inva

riab

lest

riki

ngin

any

resp

ect

diar

yw

ith.I

gnlf

lcan

tlI

haJl

o,,"

desc

ript

ion

-""",

and

com

pete

ntly

msd

ede

pth,

but

wilb

rel9

on-

area

aom

itted

able

care

Ho•

••w

ell

a.nd

Wel

l-ch

oaen

,va

ried

Fair

leve

lo!

.kllJ

,lo

me

Ade

quat

ely

choa

enao

dL

eave

sso

met

hing

tobe

Litt

lere

cogn

ition

ofap

tlyhu

tbeC

I.l'l

-ill

ustr

atio

n:fa

irle

vel

rese

rvat

ion

onva

riet

yre

al:lo

ll.ab

lyex

ecut

edde

.ired

all

roun

dro

leof

illus

trat

ion

dida

teiU

ustr

ated

ofsk

Ul

ofap

tnes

sid

e••

?

Qua

tityd

Abl

eto

give

good

8JK

IV

ery

fair

revi

eww

ithR

easo

nabl

eor

a~at

eO

flly

limite

dab

ility

toU

nabl

eto

criti

cise

r•••

•tuat

tOll

dilJ

P'ls

slon

ate

crltl

clam

(ew

'blln

d·sp

ots'

vtew

-se

ealJ

()m

f:re

•••iew

prog

ress

and

own

actio

nsor

delig

nsre

ason

sfo

rre

-dea

lpac

tlOfl

.

Dec

Isio

nm

akin

c:R

ance

ofpo

aslb

llitie

sSe

vera

lpo

nibl

litie

sA

tle

aat

one

alte

rnat

i••

•eO

ther

poaa

lblli

ties

De-

,sio

nsuk

enon

aan

dC

'oos

ider

ati(

>nex

plor

ed;

avaU

able

con.

lder

ed,

with

con-

give

nin

reas

oo.a

ble

atle

utre

c:oc

nise

dra

ll",m

basi

son

lyof

ahem

atin

'sev

iden

ceca

refu

lly.I

dera

ble

logi

cal

ded-

amou

ntol

thoq

bt"e

ighe

dlic

tion

Tho

rouc

tmea

sin

Wid

est

poss

ible

rang

eSe

verl

lty

pes

ofA

dequ

ate

expe

rim

ents

;O

nly

llmite

din

lorm

-N

ore

alte

sts

mad

e;p1

n1O

Cin

Jonn

-of

expe

rim

ents

/res

our-

sour

cea/

test

sae

arch

edor

real

lona

blec

over

·al

lon

ortr

lvia

lle.ts

nore

alsc

orce

sco

n-

.."'"ce

.ex

plor

edor

cond

l.lct

adag

eof

d;ila

lI.c

blev

edsu

ited

Ho•

••••

eUdo

e!>

Cov

ers

unde

rlyi

ngV

ery

reve

alin

a:ab

oot

Goo

din

som

ear

ea.

Gi•

••e.a

very

limite

dG

ives

liltle

orno

reop

ortt

uatif

yth

inki

nC('o

mpl

etel

yun

derl

ying

thin

king

pict

ure

ofth

econ

ten

just

iflC

'atio

npr

ojec

l"of

proJ

ecl

e•••al

uatio

a?

QlJ

ality

dm

an-

Ow

nIl

mila

lionl

and

Goo

dov

er.I

I,bu

tw

ithA

dequ

ate

degr

eeof

Sho•

••so

me

evid

ence

Can

not

reco

gnis

eow

nuf

:l.•.-lur

('C:

asse

m-

dem

ands

ofde

.lpsU

ght

defi

cien

cies

skill

achI

eved

of.k

llll"

limlte

dlim

itsor

dem

ands

ofbl

~·-

}la"

ing

rett-

•.••

.el

lre

cogn

iaed

area

proj

ect

an:!

toJe

m.a

..pds

ofpr

ojrc

l"

N"a

blra

lfla

irli8

tura

l,flu

ent"

Mar

bdly

good

intM

eA

•••erlle

inth

i.Sh

ow.

ollly

limite

dU

nfor

tuna

tely

110r

eal

(or.

t_it-

1.lll

lve

dellp

erre

lpec

lre

epee

tab

Uity

t.Dna

tede

e1gD

ablU

tyh1

tyto

,de

lip?

The

rear

ese

vera

lgo

odpo

ints

but

aspe

ctco

uld

beco

vere

dm

uch

bette

r.

Wor

kha

sso

me

mer

it,bu

tis

defi

nite

lybe

low

aver

age.

Som

ere

serv

atio

nsbu

tqu

ality

isst

ilJad

equa

te.

(i)

rele

vanc

eof

prac

tical

Zw

ork

~(ii)-q

-U-a

'-H

-y-O

-C-t-------+

----------ir-------+

--------+---------l

f-ar

gum

ent

0: '" ~(H

i)re

cogn

ition

o~~

:r~~~

~

JUST

IFIC

ATI

ON

3E

nter

the

num

ber

ofth

ew

ork

you

feel

tobe

mos

tre

leva

ntto

each

asse

ssm

ent.

~~

i)f~

~par

a-.

1=<:

know

ledg

eof

Q::;\

.l.,02

prop

ertie

s~O

"'-l

(ii)

com

para

-o

f-tiv

eg:

~~~

~c,:~

~~:e

of.(i

)R

ange

&.re

leva

nce

ofcr

iteri

a

cZ

~(ii)

Rec

ogni

tion

ofpr

oduc

·"

iJtio

nan

dus

erVi

;::as

pect

s'"0

i:2iii)

Abi

lity

to()

com

pare

prod

ucts

ofva

ryin

gty

pe'

(i)

Abi

lity

to:.::

cons

ider

>-0:

leve

lof

0:0

requ

irem

ent

«~

(ii)

Abi

lity

toD

Zco

nsid

eri

seve

ral

pos-

JZ

sibl

ean

swer

s"

'"Vi

(iii)

Qua

lity

of0: .•.

'"C

hose

n0

De~

ign

Skill

s-

inte

llige

ntE

expl

orat

ion

with

rega

rdto

cand

idat

e's

prev

ious

expe

rien

ce.

Erg

onom

icF

Psy

cho-

logi

cal

Eco

nom

ic

How

far

has

cand

idat

ere

cogn

ised

the

vari

ous

infl

uenc

esan

dth

eir

effe

cts?

4LI

STO

FEX

ERC

ISES

&O

THER

WO

RK

DO

NE