Architecture, Landscape & Visual Arts

Unit Outline

Great Moments in Art

VISA1000

SEM-1, 2015

Campus: Crawley

Unit Coordinator: Dr Darren Jorgensen

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Unit detailsUnit title Great Moments in ArtUnit code VISA1000 Credit points 6Availability SEM-1, 2015 (23/02/2015 - 20/06/2015)Location Crawley Mode Face to face

Contact detailsFaculty Faculty of Architecture, Landscape and Visual ArtsSchool Architecture, Landscape & Visual ArtsSchool website http://www.alva.uwa.edu.au/Unit coordinator Dr Darren JorgensenEmail darren.jorgensen@uwa.edu.auTelephone 6488 1011Consultation hours Thursdays 1-2 pm in room 1.11 in the ALVA building or by appointmentLecturersTutors Matt Mason matthew.mason@uwa.edu.au

Michelle Plester 21154369@student.uwa.edu.auLinda Cheok 20521308@student.uwa.edu.au

Unit contact hours Lectures: 2 hrs per week for 12 weeks; tutorials: 1 hr per week for 11 weeksOnline handbook http://units.handbooks.uwa.edu.au/units/VISA/VISA1000

Unit descriptionThis unit investigates some key works of art and design that exemplify the disciplinary concerns of art history from around the world.Each week the unit discusses a different significant 'moment' in art. While these different moments are organised chronologically, theyare not linked by a narrative discourse. Instead, each serves as a window onto various theories and practices of the art world. Studentsare introduced to the reasons why certain individual examples of art and design are significant to art historical discourse, to developbasic communication skills of art historical discourse, and to show students how to use basic art historical methodologies in theanalysis of individual art and design works. The unit addresses subjects from different cultures and periods. It covers a range of topicalissues, including globalisation, relevant to the world we live in today. The outcomes and assessments are geared to basic genericliteracy and research skills which prepare students for a range of disciplines.See the 'Textbooks' section of this guide, and LMS for further information (including essential and further reading material) on individuallectures.

Learning outcomesStudents are able to (1) know the basic historical and cultural contexts of some key examples of art and design; (2) undertake basicvisual and analysis of the formal properties of art and design objects; (3) use a range of different texts to develop basic historical andcritical interpretations of images; (4) acquire the protocols of basic research techniques used in art historiography such as somespecialised critical vocabulary, different formats of reporting, essay writing and referencing; and (5) develop basic communication skillsin interpersonal relations, oral discussion and essay writing on art and design works.

Unit schedule

Week Date Lecture Topic Lecturer1 25

FebruaryRock Art, Aboriginal Art Darren Jorgensen

2 4 March The Apocalyptic Vision in Gothic Cathedrals Charlie Mann3 11 March Constantinople: Social Rituals and Physical Contexts Nigel Westbrook4 18 March The Renaissance Sally Quinn5 25 March Persian Book Illustration and The Great Mongol Shahnama Stefano Carboni6 1 April Chinese Architecture and the Forbidden City Romesh

GoonewardeneStudyBreak

8 April Short essay due today! For details see the 'Assessment' section of this guide.

7 15 April French Impressionism Darren Jorgensen8 22 April Futurism and the Avant-gardes Iva Glisic9 29 April Australian Art. Today at 2pm you are also invited to a curator's tour of the current

exhibition at the Lawrence Wilson Gallery. Darren Jorgensen

10 6 May Marilyn, Campbell’s Soup and 15 Minutes of Fame Clarissa Ball8 May Second assessment due! For details see the 'Assessment' section of this guide.

11 13 May New Media Laetitia Wilson

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12 20 May Magic Moments - Rikrit Tiravanija & the Social Turn

Christina Chau

AssessmentAssessment overviewTypically this unit is assessed in the following way(s): (1) a workshop with a group presentation; (2) a mid-semester test; (3) an essay;and (4) an end-of-semester test. Further information is available in the unit outline.

Assessment mechanism

# Component Weight Due Date Relates ToOutcomes

1 Short Essay 20% 8 April, to be handed in to Alva Resource Room by 4pm

1,2,3,4

2 Object presentation 20% (of which 10% for yourpresentation, 10% for the writtenpiece)

Presentations in class throughout term, written pieceto be submitted to Alva Resource Room by 4 pm on 8May

2,4,5

3 Participation todiscussions intutorials

10% Throughout semester 5

4 Exam 50% End of semester, dates to be announced 1,2,3

Assessment items

Item Title Description Submission Procedure forAssignments

Assessment 1: SHORT ESSAY (1500words including footnotes, but excludingbibliography)

You are required to answer one of the list ofset essay questions to be published onLMS. You will be assessed on thecoherence of your argument, your ability tocritically analyse an art work within a largerhistorical or cultural context, and onconsistent referencing of readings tosupport your argument.

To be submitted to Alva Resource Roomby 8 April, 4 pm.

Assessment 2: OBJECT ANALYSIS (300 words)

For this assignment you will be required toengage in a structured exercise of visualanalysis of a specific art, architecture orlandscape object and submit a report in theform of one or two succinct paragraphs.The object of analysis must be a physicalobject located in Perth and it must beanalysed according to formal conventions.This assessment essentially tests yourability to visually and aesthetically analyseobjects. You will be required to identify andexamine the affects of elements such asscale, texture, colour, form and frame.Assessment criteria is based on your abilityto clearly describe the formal elements ofthe object in a concise manner andconsider how the formal qualities interrelateto affect the viewer. Further information willbe communicated in tutorial.

Hand in the written version of yourpresentation to the Alva Resource Roomby 8 May, 4 pm.

Assessment 3: PARTICIPATION INCLASS

You will need to show that you are familiarwith the essential readings for the tutorialand contribute meaningfully in groupdiscussions of art works and criticalliterature.

Continuous assessment. No submissionrequired.

Assessment 4: EXAM

A two hour written exam, consisting of anobject analysis and an essay question,each contributing half of the overall exammark.

None. Exam dates will be announced onLMS as soon as they are published by theexams' office.

Textbooks and resourcesPage 3

Textbooks and resourcesRecommended textsThe following broad introductory texts are held in closed reserve in the EDFAA library. Please refer to the Unit Reader (a bound papercopy of essential readings) and LMS (Moodle) for further reading for this unit. You are expected to read essential reading in preparationfor lectures.Doherty, T., Looking at Paintings: A Guide to Technical Terms, Los Angeles, 2009.Gombrich, E.H., The Story of Art, any edition.Kostof, S., History of Architecture: Settings & Rituals, Oxford 1995.Silver, L., Art in History, Englewood Cliffs 1993.Williams, R., Art Theory. An Historical Introduction, Malden & Oxford 2004.Week 1Essential Readings (in the reader)Godfrey, T., ‘Introduction: What, where and when: how and why we look at works of art’, in: Understanding Art Objects. Thinkingthrough the Eye, ed. by T. Godfrey, Farnham 2000, pp. 8-19.Further Readings (in the library)Chaloupka, George. Journey into Time. Sydney: Reed, 1993. See especially pp 77-82; 89-94; 104-119; 153-154; 185-197.Crawford, I.M. The Art of the Wandjina: Aboriginal Cave Paintings in Kimberley, Western Australia. Melbourne: Oxford University Press,1968. See especially pp. 28-43.Lendon, Nigel, "Space, Place, and Innovation in Bark Paintings of Central Arnhem Land" Australian Journal of Art 12 (1995): 55-73.McLean, Ian. "Crossing Country: Tribal Modernism and Kununjku Bark Painting." Third Text 20.5 (September 2006): 599-616.Morphy, H. Aboriginal Art. London: Phiadon, 1998. See especially pp. 43-64 on rock art.Morphy, H. "Recursive and iterative processes in Australian rock art: an anthropological perspective" in ed. J. J. McDonald and P. M.Veth, A Companion to Rock Art, Oxford, Malden: Blackwell Publishing, 2012. pp. 294–305. Taylor, Luke, "Rock Art as Inspiration in Western Arnhem Land", The Oxford companion to Aboriginal art and culture, eds, SylviaKleinert and Margo Neale ; cultural editor, Robyne Bancroft, Melbourne :Oxford University Press, 2000, p.109-118.Week 2Essential ReadingsScott, R. A., ‘Image of Heaven’, chapter 8 in: The Gothic Enterprise: A Guide to Understanding the Medieval Cathedral, Berkeley 2003,pp. 121-33.Alexander, Jonathan, 'The Last Things: Representing the Unrepresentable: The Medieval Tradition' in Frances Carey, ed., TheApocalypse and the Shape of Things to Come, London: British Museum Press, 1999. pp. 43-63.Further ReadingsBork, R., The Geometry of Creation: Architectural Drawing and the Dynamics of Gothic Design, Farnham 2011.Carey, F., The Apocalypse and the Shape of Things to Come, exh. cat. (London: British Museum), London 1999.De la Riesta, P., ‘Elements of Religious and Secular Gothic Architecture’, in: The Art of Gothic, Architecture, Sculpture, Painting, ed. R.Toman, Hagen 2007, pp. 18-27.Frankl, P., Gothic Architecture, New Haven 2000. Freigang, C., ‘Medieval Building Practice’, in: The Art of Gothic, Architecture, Sculpture, Painting, ed. R. Toman, Hagen 2007, pp. 154-55.Himmelfarb, M., The Apocalypse. A Brief History, Malden 2010.Recht, R., ‘The Carved Image and its Functions’, chapter 5 in: Believing and Seeing. The Art of Gothic Cathedrals, Chicago 2008, pp.225-39.Simson, O. von, The Gothic Cathedral: Origins of Gothic Architecture and the Medieval Concept of Order, Princeton 1988.Van der Meer, F., Apocalypse Visions from the Book of Revelation in Western Art, London 1978, pp. 13-21.Week 3Essential ReadingsMathews, Thomas S., 'The Imperial City of Constantinople', chapter 1 in The Art of Byzantium. London: Orion, 1998, pp. 17-39.Mainstone R. J., Hagia Sophia. Architecture, Structure and Liturgy of Justinian’s Great Church, London 1988.Further ReadingsCroke, B., ‘Justinian’s Constantinople’, chapter 3 in: The Cambridge Companion to the Age of Justinian, ed. M. Maas, Cambridge 2005,pp. 60-86.Alchermes, J.D., ‘Art and Architecture in the Age of Justinian’, chapter 14 in: The Cambridge Companion to the Age of Justinian, ed. M.Maas, Cambridge 2005, pp. 343-75.Brenk B., ‘Spolia from Constantine to Charlemagne: Aesthetics versus Ideology’, Dumbarton Oaks Papers, 41 (1987), pp. 103-09.Cameron, A., Continuity and Change in Sixth-Century Byzantium, London 1981.Hagia Sophia, From the Age of Justinian to the Present, ed. R. Mark & A.A. Cakmak, Cambridge 1992.Harris J., Constantinople: Capital of Byzantium, Hambledon 2007, pp. 59-83.James, E., Light and Colour in Byzantine Art, Clarendon Studies in the History of Art, Oxford 1996.

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Mango C., The Art of the Byzantine Empire 312-1453, Toronto & London 1986.

Ousterhout R., Master Builders of Byzantium, 2nd ed., Philadelphia 2007.week 4Essential ReadingsBaxandall, M., Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style (New York: OxfordUniversity Press, 1972), pp. 29-45.Acidini Luchinat, C., ‘Michelangelo and the Medici’, pp. 9-23, in Cristina Acidini Luchinat, ed.,The Medici, Michelangelo, & the Art of Late Renaissance Florence (New Haven; London:Yale University Press in association with the Detroit Institute of Arts, 2002)Further Readingson Italian Renaissance artBaskins, C, Cassone Painting, Humanism, and Gender in Early Modern Italy (New York: Cambridge University Press, 1998), pp. 1-25. Fernie, E., et al (eds.) Reconceiving the Renaissance: A Critical Reader (Oxford: Oxford University Press, 2005).Goldthwaite, R. A., ‘The Empire of Things: Consumer Demand in Renaissance Italy’, in Patronage, Art, and Society in RenaissanceItaly, eds. F. W. Kent and P. Simons (Oxford: Oxford University Press, 1987), pp. 153-175.Kent, D., Cosimo de’ Medici and the Florentine Renaissance: The Patron’s Oeuvre (New Haven: Yale University Press, 2000).Martines, L., ‘Art: An Alliance with Power’, in Power and Imagination: City-States in Renaissance Italy (New York: Knopf, 1979), pp. 241-276.Randolph, A. W. B., 'Gendering the Period Eye: Deschi da Parto and Reniassance Visual Culture', Art History, 27, 4 (September 2004),pp. 538-562.Warnke, M., ‘Individuality as Argument: Piero della Francesca’s Portrait of the Duke and Duchess of Urbino’, pp. 81-90 in The Imageand the Individual: Portraits in the Renaissance, eds., N. Mann and L. Syson (London: British Museum Press, 1998).Woods-Marsden, J. Renaissance Self-portraiture: the Visual Construction of Identity and the Social Status of the Artist (New Havenand London: Yale University Press, 1998), pp. 25-40.on RembrandtBarolsky, P., Why the Mona Lisa Smiles and other Tales by Vasari (University Park, PA:Pennsylvania State University, 1991).Beck, J. H., Three Worlds of Michelangelo (New York: W. W. Norton, 1999).De Tolney, C., The Art and Thought of Michelangelo (New York: Pantheon, 1964).Hall, M. B., After Raphael: Painting in Central Italy in the Sixteenth Century (Cambridge:Cambridge University Press, 1999), pp. 12-54.Jacks, P., (ed.), Vasari’s Florence: Artists and Literati at the Medicean Court (Cambridge:Cambridge University Press, 1998).Vasari, G., Lives of the Painters, Sculptors and Architects, vol. 2., trans. G. du C. de Vere, introd. and notes, D. Ekserdjian (London:David Campbell, 1996), pp. 642-769.week 5Essential ReadingsHillenbrand, R., ‘The Arts of the Book in Ilkhanid Iran’, in: The Legacy of Genghis Khan, exh. cat. (New York: Metropolitan Museum ofArt), ed. L. Komaroff, New Haven 2002, pp. 135-67.Melville, Ch, ‘Shahnameh in Historical Context’, in: B. Brend & Ch. Melville, Epic of the Persian Kings. The Art of Ferdowsi'sShahnamah, exh. cat. (Cambridge: Fitzwilliam Museum), Cambridge 2010, pp. 3-15.Further ReadingsGrabar, O. & Blair, S., Epic Images and Contemporary History. The Illustrations of the Great Mongol Shahnama, Chicago/ London1980.Grabar, O., Masterpieces of Islamic Art: The Decorated Page from the 8th to the 17th centuries, Munich 2009.Stierlin, H., Persian Art and Architecture, London 2011.Welch, S. C., A King’s Book of Kings. The Shah-Nameh of Shah Tahmasp, New York 1976.Week 6Essential ReadingsYu Zhuoyun, Palaces of the Forbidden City, translated by Ng Mau-Sang, Chan Sinwai and Puwen Lee, consultant editor, G. Hutt, NewYork 1984, pp 18-29.Fu Xinian, Guo Daiheng, Liu Xujie, and Pan Guxi Chinese Architecture, New Haven/ London/ Beijing 2002, chapter 1.Further ReadingsBerliner, N., ‘The Emperor’s Private Paradise: Treasures from the Forbidden City’, in: N.Steinhardt, , Chinese Imperial City Planning,Honolulu 1990, pp 1-26.Britannia Educational Publishing, The Culture of China, Chicago 2010.Brook,T., The Confusions of Pleasure: Commerce and Culture in Ming China, Berkeley 1998.

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Liang, Ssu-Cheng, A Pictorial History of Chinese Architecture: a Study of the Development of its Structural System and the Evolutionof its Types, Cambridge, Mass. 1984, esp. Part 1, ‘The Chinese Structural System’.Liu., L., Chinese Architecture, London 1989.Zhu, Jiajin., Treasures of the Forbidden City, Harmondsworth 1996.Week 7Essential ReadingsPollock, G. ‘Modernity and the spaces of femininity’, Vision and Difference: Femininity, Feminism and the Histories of Art, Routledge,London, 1988.Further ReadingsClark, T.J. 'A Bar at the Folies-Bergere' from The Painting of Modern Life: Paris in the Art of Manet and his Followers, Thames andHudson, London, 1995. pp. 205-258.Clark, T.J. ‘The View from Notre-Dame,’ The Painting of Modern Life: Paris in the Art of Manet and his Followers, Thames and Hudson,London, 1995. pp. 23-78.Drucker, J. ‘The Representation of Modern Life: Space to Spectacle,’ Theorizing Modernism: Visual Art and the Critical Tradition,Columbia University Press, New York, 1994.Gronberg, T. ‘Femmes de Brasserie’, Art History, Vol. 7, No. 3, September 1984, pp. 329-344.Hannoosh, M. ‘Painters of Modern Life; Baudelaire and the Impressionists,’ Sharpe, W. and Wallock, L. (eds) Visions of the ModernCity: Essays in History, Art, and Literature, John Hopkins University Press, London, 1987.Herbert, R. ‘Paris Transformed,’ Impressionism: Art, Leisure, and Parisian Society, Yale University Press, London, 1988.Pollock, G. ‘Modernity and the spaces of femininity’, Vision and Difference: Femininity, Feminism and the Histories of Art, Routledge,London, 1988.Week 8Essential ReadingsMarinetti, Filippo Tommaso, 'Founding and Manifesto of Futurism' in Umbro Apollonio ed., Futurist Manifestos, MFA Publications,Boston, 2001. pp. 19-24.Day, Gail. 'The Futurists: Transcontinental Avant-gardism' in Paul Wood, ed., The Challenge of the Avant-garde. New Haven: YaleUniversity Press, 1999. pp. 204-225.Further ReadingsApollonio, U. (ed) Futurist Manifestos, Thames and Hudson, London, 1973. Kern, S. ‘The Future’, and ‘Speed’, in The Culture of Time and Space 1880-1918,Harvard University Press, Massachusetts, 1983.Kozloff, M. Cubism/Futurism Harper and Row, New York, 1973.Martin, M. Futurist Art and Theory, 1909-1915, Hacker Art Books, New York, 1978. 38-39; 50-54.Perloff, M. The Futurist Moment: avant-garde, avant-guerre, and the language of rupture, University of Chicago Press, Chicago, 1986.2-13; 81-115.Week 9Essential ReadingsSmith, Terry, 'The Provincialism Problem' in Paul Taylor, Anything Goes: art in Australia1970-1980. Melbourne: Art and Text, pp. 45-53.Butler, Rex, ‘A short introduction to unAustralian art’, Broadsheet, 32, 4, March 2003, p. 17.Bell, R. ‘Bell's Theorem of Aboriginal Art: It's a White Thing’, November, 2003, <http://www.kooriweb.org/bell/theorum.html>.Further ReadingsBenjamin, R., ‘The Fetish for Papunya Boards’, in: Icons of the Desert: Early Aboriginal Paintings from Papunya, ed. by R. Benjamin,New York 2009, pp. 21-49.Bennett, Gordon and Ian McLean, The Art of Gordon Bennett. Sydney: Craftsman House, 1996.Bennett, Gordon, “The Non-Sovereign Self (Diaspora Identities)” Critical Studies and Modern Art. Ed. Liz Dawtrey et al. London: OpenUniversity Press, 1996.Bonyhady, T., ‘Papunya stories’, Sydney Morning Herald, 9 December 2000, reprinted in Australian Humanities Review, 20 (2000–1),<http://www.australianhumanitiesreview.org/archive/Issue-December-2000/bonyhady2.html>.Green, Charles, Peripheral Visions: Contemporary Australian Art 1970-1994. Sydney: Craftsman House, c1995. See especially pp.116- 138McLean, Ian, "9 Shots 5 Stories", part 1, Art Monthly Australia 228 (April 2010): 13-16.McLean, Ian, "9 Shots 5 stories", part 2, Art Monthly Australia 229 (May 2010): 12-16.Myers, F., ‘Representing Culture: the Production of Discourse(s) for Aboriginal Acrylic Paintings’, in: The Traffic in Culture: RefiguringArt and Anthropology, ed. by M., G., & F. Myers, Berkeley 1995, pp. 55-96.Myers, F., ‘The Wizards of Oz: Nation, State and the Production of Aboriginal Fine Art’, in: The Empire of Things: Regimes of Value andMaterial Culture, ed. by F. Myers, Santa Fe 2001, pp. 165-204.Sayers, Andrew Australian Art, Oxford University Press, Melbourne, 2001, pp. 1-21.

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Smiles, Sam. "Post-War Australian Painting: An Interpretation", Diversity Itself: Essays in Australian Art and Culture. Exeter: Universityof Exeter, 1986. pp. 143-152.Smith, Bernard, ‘The Antipodean Manifesto’, The Death of the Artist as Hero, Oxford University Press, Melbourne, 1988, pp. 194-197.Smith, Bernard with Terry Smith, Australian Painting: 1788-1990. Oxford University Press, Melbourne, 1991. 1-24.Week 10Essential ReadingsFogle, D. ‘Spectators at Our Own Deaths’, in, Fogle, D. with essays by Francesco Bonami and David Moos, Andy Warhol/Supernova:Stars, Deaths, and Disasters, 1962-1964, Walker Art Centre, Minneapolis, 2005, pp. 11-19.Further ReadingsAndy Warhol: A Retrospective, ed. K. McShine, New York, 1989.Baal-Teshuva, J. (ed.) Andy Warhol 1928-1987, Munich 2004.Bastian, H. Andy Warhol Retrospective, London 2001.Bourdon, D. Warhol, New York 1989.De Duve, T. ‘Andy Warhol, or The Machine Perfected’, October, 48 (Spring 1989), pp. 3-14.Week 11Essential ReadingManovich, L. from The Language of New Media, Cambridge: Mass.: MIT Press, 2001.Sofia, Zoe, 'Contested Zones: Futurity and Technological Art', Leonardo 31.5 (1998): 59-64.Further ReadingsHaraway, Donna. 'Speculative Fabulations for Technocultures Generations: Taking Care of Unexpected Country', 2007. Online at<www.patriciapinccinini.net/writing/30/59/86>Hayles, N.K., 'Narratives of Artificial Life', in ed. G Robertson, Future Natural: Nature, Science, Culture. London: Routledge, 1996. pp.146-164.Stelarc, 'Prosthetics, Robotics and Remote Existence: Post-evolutionary strategies', Leonardo 24.5: 591-595.Week 12Essential ReadingBourriaud, N., Relational Aesthetics, trans. Simon Pleasance and Fronza Woods with the participation of Mathieu Copeland, Paris2002, pp. 25-40.Tiravanija, R., ‘No Ghosts in the Wall //2004’ in: Participation (Documents of Contemporary Art), ed. by C. Bishop, Cambridge, Mass.2006, pp. 148-53. Further ReadingsBishop C., ‘The Social Turn: Collaboration and its Discontents’, Artforum, 44:6 (Feb 2006), pp.178-83.Bishop, C., ‘Antagonism and Relational Aesthetics’, October, 110 (Fall 2004), p. 65.Foster, Hal, ‘Chat Room//2004’, in: Participation, Documents in Contemporary Art, ed. by C. Bishop, Cambridge, Mass. 2006, pp. 190-95.

Other important informationAll enrolled students have access to LMS (formerly WebCT) (https://www.lms.uwa.edu.au/login.php). This site will be used to hostthe online lectures, for posting of notices, general unit information and supplementary course material (eg lecture handouts, usefulweb links, printable manual), answers to pre-lab, lab and post-lab exercises, practice MCQs, continuous assessment results and tohost a discussion forum. Students are encouraged to pose questions about course content on the discussion forum of the site sothat all class members can view and contribute to the discussion.

Enrolled students can access unit material via the LMS in units that use LMSBuilding clean-up and folio collection (for units with folio submissions)Studios are expected to be left clean and tidy. Drawing boards are to be cleaned. Students must remove all personal propertyimmediately after the submission of their folio. If the content of a folio is used for exhibition then the student must write their name onthe back of the work so that when the exhibition is demounted collection is simplified. If staff or the Faculty wish to reserve work forreproduction and/or accreditation purposes then this should be negotiated with individual students.

AttendanceAttendance is required at all lectures, tutorials and workshops. These are the primary means of consultation with your Unit Coordinatorand Teaching Assistants. Do not expect questions relating to content missed through unjustified absence to be answered. Additionally,it will be assumed that students have read all relevant course materials.Authenticity of workFor Studio units, the Faculty may prevent your continuation in this unit if you fail to meet requirements for attendance atclasses to establish the authenticity and originality of your work.

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SubmissionsThe ALVA Submissions policy is available at:http://www.alva.uwa.edu.au/students/policies/Submission of Late WorkAll assessment tasks are due no later than 4pm on the date indicated in the unit's Assessment Mechanism Statement, with theexception of in-class assessment items such as tutorial presentations. Any assessment task which is submitted after the timeindicated in the assessment mechanism statement without a formal approved extension will be considered LATE and appropriatepenalities will be applied. Information on penalties can be obtained in the Faculty Policy on Submissionsat http://www.alva.uwa.edu.au/students/policies/.ExtensionsThe Faculty approves extensions only in exceptional circumstances in order to ensure that all students are treated fairly and thatsubmission date schedules, which are designed to produce ordered work patterns for students, are not disrupted. Extensions may beauthorised only by the allocated Faculty Course Advising Office or a delegated representative. In all cases, requests for extensionsrequire the submission of Special Consideration form no later than three University working days after the due date.Students are encouraged in the strongest possible terms to familiarise themselves with the Faculty Policy on Extensions availableat http://www.alva.uwa.edu.au/students/policies/.Return of Student WorkMarked assessments submitted on time will be made available for collection by students at least one week before the next assessmentin the unit is due (if it is related to the previous assessment), or no more than four weeks after submission, whichever is sooner.Special ConsiderationFor information regarding special consideration please go to:http://www.student.uwa.edu.au/course/exams/consideration

Faculty Safety Inductions

The ALVA Health and Safety Induction (Part A) must be completed online by all students enrolled in a unit taught by the Faculty. Thisonline module is available for self-enrol via LMS. Completion of the Part A induction will ensure after-hours access to the ALVA Building(including computer labs) is enabled.The ALVA Workshop Induction (Part B) runs in Week 1 of each semester, and must be completed if the unit involves use of theWorkshop. Your Workshop Induction lasts for five years, after which you will be required to attend a refresher. Please refer tohttp://www.alva.uwa.edu.au/students/facilities for more information on Inductions and Workshop close-down period.

Material and Equipment CostsCosts specific to individual units will be communicated to students in this unit outline or early in semester.All sites will require students to wear protective helmets; students needing to purchase a certified protective helmet may do so fromAlsafe Safety Industries Pty Ltd, 177 Bannister Rd Canningvale. Students must wear appropriate clothing when visiting building sites;open toed shoes and sand shoes will not be accepted and students will not gain entry to site with these shoes. The sites also requiresteel capped boots to be worn this is a condition of accessing these sites. These can be bought from ‘Army Surplus’ stores orborrowed, they are a worthy investment as will be required on future building sites of your own.

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