AS 92000 Annotated exemplars

This annotated exemplar is intended for teacher use only. Annotated exemplars consist of student evidence, with commentary, to explain key parts of a standard. These help teachers make assessment judgements at the grade boundaries.

Download all exemplars and commentary [PDF, 5.5 MB]

Level 1 DVC assessment resources (external link) - NCEA.education

For Achieved, the student is required to generate product or spatial design ideas using visual communication techniques in response to the characteristics of design influences. One must be an appropriate te ao Māori design influence. The other can be any other designed source.

A rationale is required for both influences, either as a written description or a collated set of images. This is followed by generating design ideas using visual communication techniques.

There is evidence of a design influence from te ao Māori, including research into carved panels, traditional architecture, the origin myth of the separation of Ranginui and Papatūanuku, and from Belinda George, a noted architect. A rationale is provided for the te ao Māori carvings and the origin myth through collated images, a description and an analysis.

For the second source the student has provided images, a short description and an analysis of the work. Each influence’s characteristics are identified through their design elements, which are seen in the generation of shapes and forms and in the design ideas derived from the Belinda George architecture (a Pāua shell and weatherboards).

The student’s design ideas are generated and described using visual communication techniques of 2D and 3D sketching, and some use of colour.

For Merit, there should be further generation and exploration of both aesthetic and functional aspects of the design idea.

For Merit, the student is required to develop product or spatial design ideas using visual communication techniques in response to design influences. This involves using visual communication techniques to draw on the characteristics of source materials to explore the function and aesthetics of the student’s own design ideas.

One of the sources must be an appropriate te ao Māori design influence. The other can be any other designed source. A rationale is required for both influences, either as a written description or a collated set of images. This is followed by generating design ideas that relate to the characteristics of the source materials.

There is evidence of a design influence from te ao Māori, with examples of traditional and modern Māori architecture, the origin myth of the separation of Ranginui and Papatūanuku, and from Kerr Ritchie (a noted NZ architectural practice). A rationale is provided for both influences, through collated images and a description of the origin myth, and images and annotations on the work of Kerr Ritchie.

Design elements are identified for each influence, and are drawn on in the generation of shapes and forms. A triangular element from both te ao Māori and Kerr Ritchie is explored and progressed in the subsequent design ideas. Function and aesthetics are explored in the development. Design ideas are generated and explored using visual communication techniques of 2D and 3D sketching, and some use of tone.

To meet the ‘extend’ criteria for Excellence, evidence is required of the use of visual communication techniques to draw on the characteristics of source materials, and of applying divergent thinking to regenerate new design ideas. This could be shown by not refining the design idea, and moving beyond the pitched roof and re-generating new forms to create different rooflines and spaces within the building.

For Excellence, the student is required to extend product or spatial ideas using visual communication techniques in response to design influences. This involves using visual communication techniques to draw on the characteristics of source materials to regenerate new design ideas.

One of the sources must be an appropriate te ao Māori design influence. The other can be from any other design influence. A rationale is required for both influences, either as a written description or a collated set of images.

There is evidence of design influences from te ao Māori and Santiago Calatrava (a noted Spanish architect). A rationale is provided for both influences, expressed through the research and acknowledgement of te ao Māori heritage through images and annotations describing Māori origin stories of Ranginui and Papatūanuku, Tane Mahuta and Tawhirimatea, Tangaroa and Tūmatauenga, and a biopic and images of Santiago Calatrava’s work. The characteristics and design elements are identified for each influence, and are drawn on in the generation of shapes and forms.

In the initial exploration of the characteristic shapes and forms, there is continued reference to both design influences, including the helical shapes and symbolism from te ao Māori and the skeletal curves from Calatrava. Function and aesthetics are explored and progressed in the development of the emerging seat design idea.

Design ideas are generated and explored using visual communication techniques of 2D and 3D sketching, and digital and physical modelling. The design ideas are extended, with divergent thinking used to regenerate a new version of the seat design, meeting the Excellence criteria.