Notes on the Level 1 Achievement Standards introduced in 2024

understanding of the key learning and evidence that students will present for assessment at Level 1

Exemplars

New DVC Achievement Standards Level 1

AS92000 Generate product or spatial design ideas in response to ...

Explanatory Note 1

Generate product or spatial design ideas using visual communication techniques in response to design influences involves:

using visual communication techniques to generate own design ideas that relate to characteristics of source materials.

Develop product or spatial design ideas using visual communication techniques in response to design influences involves:

using visual communication techniques to draw on the characteristics of source materials to explore the function and aesthetics in own design ideas.
Extend product or spatial design ideas using visual communication techniques in response to design influences involves:
using visual communication techniques to draw on the characteristics of source materials and apply divergent thinking to regenerate new design ideas.

Explanatory Note 2

As part of the evidence provided, students must include a rationale for both design influences used in the context of product or spatial design, of which one must be an appropriate te ao Māori design influence. Examples of an appropriate te ao Māori design influence include:

regional styles
specific types and forms of objects, spaces, or buildings.
It is important to consider tikanga Māori to ensure authentic, respectful, and responsible use of design ideas from te ao Māori.

Explanatory Note 3

Design influences are the identified elements of design that are characteristic of the source material and may be aesthetic, functional, spiritual, or metaphorical.

They may be the various uses, styles, motifs, symbolisms, and meanings of the source materials that influence the student throughout the process of their generation of ideas.

Explanatory Note 4

Visual communication techniques are the representation and visual presentation skills required to assist the action of design thinking, and to present design narratives and outcomes.

Examples of visual communication techniques can involve the use of any drawing or modelling mode that may be freehand, instrumental, or digital in either 2D or 3D or a combination of both forms as suited for product and spatial design.

AS92001 Use representation techniques to communicate the form of ...

Explanatory Note 1

Use representation techniques to communicate the form of a conceptual product or spatial design outcome involves:

applying appropriate modes or techniques to communicate the main form and features of the design outcome.

Use representation techniques to communicate the form and materiality of a conceptual product or spatial design involves:

communicating with intention the form, surface qualities, or details of a design outcome, including colour, texture, and patterns of the material used.

Use representation techniques to enhance the communication of form and materiality of a conceptual product or spatial design outcome involves:

demonstrating precise execution of suitable modes or techniques to communicate the form, materiality, and surface details of the design outcome with visual impact.

Explanatory Note 2

Examples of representation techniques include:

rendered CAD
hand built models
3D printed models
laser cut models
rendered presentation sketches (demonstrating tone, colour, materiality etc.).

Explanatory Note 3

Demonstrating precise execution involves applying representation modes or techniques with focus and foresight to give the viewer more detailed information and achieve greater visual impact.

For example, the precise execution of light and shadow within rendered CAD will give the viewer a much clearer impression of the form and materiality of the design outcome, making for a more effective and persuasive representation.

AS92002 Explore product or spatial design ideas that consider the needs of people ...

Explanatory Note 1

Explore product or spatial design ideas that consider people involves:

generating alternative design ideas
using visual techniques to show the main features of the design outcome and key design decisions
creating a product or spatial design outcome that incorporates aesthetic and functional considerations relating to the needs of people.

Develop product or spatial design ideas informed by the consideration of people involves:

using visual techniques to show functional and aesthetic details of a design outcome
specifying the assembly of a design outcome
demonstrating that people, and their connection with place, have informed the design ideas.

Refine product or spatial design ideas informed by the consideration of people involves:

integrating design features that improve the design outcome
creating a product or spatial design outcome that shows an understanding of what people will experience.

Explanatory Note 2

Visual techniques are the presentation and representation skills required to present the action of design thinking, design narratives, and design outcomes.

Examples of visual techniques for spatial design include:

bubble diagrams
paper architecture
topographic models
floor plans
sections and elevations
architectural drawing systems (isometric, planometric, perspective etc)
rendering
tracing.

Examples of visual techniques for product design include:

rapid sketching (crating and outlines)
drawing systems (isometric, oblique, planometric etc)
design variations and views
rendering
photo-montage
tracing.

Explanatory Note 3

To consider people within a design idea is to keep the end users of the potential design outcome in mind throughout the design process and demonstrate how the design idea seeks to meet needs or improve their lives.

AS92003 Produce instrumental drawings that communicate the surface features of ...

Explanatory Note 1

Produce instrumental drawings that communicate the surface features of a product or spatial design outcome involves:

communicating visible surface features
creating orthographic (2D) or paraline (3D) drawings
using instrumental drawing conventions.

Produce instrumental drawings that communicate the technical features of a product or spatial design outcome involves:

communicating both the technical and functional features
creating scaled orthographic or paraline drawings that visually describe the main technical or functional features
communicating technical features not visible in the external outline.

Produce accurate instrumental drawings that communicate construction details of a product or spatial design outcome involves:

creating orthographic or paraline drawings that show information about the construction and assembly features
creating related drawings that explain design features and details.

Explanatory Note 2

Surface features are the exterior visual elements that demonstrate the shape and form of a design outcome.

Explanatory Note 3

Technical features are the functional aspects of a design outcome, such as its internal components, internal details, or additional information beyond the main outline.

Explanatory Note 4

Construction detail is accurate and specific information that demonstrates how the design outcome is assembled, including the materials required to realise the outcome and how components fit together.

Explanatory Note 5

Instrumental drawings, sometimes referred to as technical drawings, mechanical drawings, or working drawings, require the use of manual or electronic drawing methods. Instrumental drawings are used as 'support' drawings showing a 3D view of the object shown in orthogonal or orthographic drawings.

Examples of instrumental drawing techniques include:

third angle orthographic projection
paraline drawing eg isometric, oblique, or planometric drawings
3D CAD drawing.

Examples of instrumental drawing conventions include:

projection
line weights
line types
labelling views
dimensioning
title block
recognised drawing scale.

Labels may be written in either English or

te reo Māori.

New Achievement Standard Conversations

Design Example

NZ Met Service Symbol

Te Mangōpare - our brand symbol and its meaning

New Zealand’s rapid weather changes, frequent rain, distinctive cloud patterns and strong winds all had a huge influence on the daily life of Māori. Each region developed a rich store of insights and knowledge relating to the domain of Tāwhirimātea.

The very first settlers of New Zealand voyaged across the Pacific Ocean in waka using the environment as their navigation aids – the stars, ocean swells, bird flight, and marine creature movements. The tohunga aboard the waka used their expert skills and tikanga knowledge to guide and protect the people from physical and spiritual forces while crossing the huge distances of open ocean to Aotearoa, the land of the long white cloud.

The dynamic motion of a mangōpare (hammerhead shark) echoes the hydrological cycle that generates our weather and the constant interconnected flow of air and water, sea and sky. The twin mangōpare design reflects the two key aspects of our business - weather prediction and oceanography and their interrelationship. One of those physical and spiritual forces is depicted in our brand symbol, the twin mangōpare. The mangōpare represents strength, leadership, agility, tenacity, unrelenting determination, courage, and wealth.

The twin mangōpare are equally balanced, each component as vital as the other. Their tight partnership embodies the skills and talents of MetService’s staff, and their connection to the people we serve and strive to keep safe.

Te Ao Maori Design Influence

What if you don’t feel confident using mātauranga māori if it’s not your culture?

There are different types of knowledge and resources that we as teacher can use. From Pūrākau, through to artefacts, places, landscapes, flora and fauna, values, tikanga and cultural narrative of schools and kura.

Pūrākau (legend or ancient stories, creation stories)

At one end of our continuum we have Pūrākau. These need to be authentic, there are some local differences to some creation stories, it is good to ensure you know the stories well and maybe seek clarity about how they are told and could be used in design. Pūrākau are often used in naming new buildings. It is important to choose stories that might relate to what you are designing!. Some examples below:

eg. The Christchurch metro sports is gifted the name Parakiore – because in the story of Parakiore he used his prowess of agility, speed and excellence – key aspects of this sports facility. In this story some key elements were the tide & movement, beach, sand, harakeke, moraki bouders, speed and running, agility, excellence. How can you bring this out in the building? Playground design using agility and physicality as themes, using sand and boulders, swimsuit design for fashion, using kinetic design to reflect movement, repetition to show movement etc. The key words and elements in the story could be the starting point for generating design ideas.

The Christchurch Library – gifted the name Tūranga – the story of Pikea and the whakapapa of Ngai Tahu and the connection with the north and a place called Tūranga (. Also Pikea bringing of knowledge to Aotearoa, The journey of Pikea is etched in to the sides of the building.

The Christchurch convention centre is called Te Pae – because like on a marae the pae pae is a place where people gather, to talk, to be hosted, entertained and informed. Also means the horizon, perch, orators bench, place of oratory.

So when choosing a Pūrākau (story) it might be good to think – what are we designing, what are the aspects of this context ? eg, recreation facility. What are the elements of recreation or key terms or values associated with this, and can I find a Pūrākau that matches these key elements. Rather than applying a story that may not have as strong a connection to what is being developed.

Local Fauna, flora, landscape

An iwi representative said that if you are ‘drawing attention’ to our local animals and plants from the past and present and interpreting these through symbols, shapes and forms, don’t feel scared to do this. Drawing attention to local natural elements is maybe more culturally sensitive than interpreting a local ancestor or god in a Pūrākau. (meaning that you cannot go wrong ‘drawing attention’ to animals and plants that are important to local culture).

How is this done?

A local police station has windows with the feather of the huia bird etched into them. The connection is related to how and why the huia feather were worn on the head (the connection - Judges inside are to exercise judgement with caution) it also has architectural privacy and sustainability links with reducing light and sun.

The kakapo feathers could be used in an art installation on buildings. These were used on cloaks and protected those who wore it. This installation would protects all people inside the building.

In a local playground there could be references to tuna (eel) and fish in the paving and indented into walls.

The new hydro-slides at our metro sports are going to be black with a white stripe – reflecting the local tuna (eel) that reside in this locality. The ball a the top will have a net pattern which reflects the local nets used to collect tuna.

The path around our convention centre weaves around and reflects a vine.. The pattern on the outside reflects the braided river of the Waimakariri.

Key Values and your schools cultural narrative

We have school values closely linked to Māori values of Whānaungtanga, Manakitanga, Kotahitanga, Rangatiratanga, Mohiotanga, Tuakana / Teina, Kaitiakitanga, aroha, Wairua, Atuatanga.

How can you bring these out in a design. This would be great for small outdoor projects – a shelter to protect ākonga, design and arrangement of tables and chairs for sharing kai or encouraging Whānaungtanga, planting that reflects local indigenous flora, paving design that references local fauna.

Tikanga

Some practices and protocols could be brought out in designs: Entry to places, protocols of leaving.

LEAVING - An example is the family court in Christchurch has a water feature outside so that when people leave the court they can cleanse their hands. This is similar to in Te Papa at the moment at the Gallipoli exhibition – you can cleanse your hands as you leave as you have just been witness to many stories of dying soldiers, dead spirits and events and you should not carry this with you as you leave. Same at a cemetery or Urupa - cleansing your hands upon leaving. A design could be of a water feature like this as a product design project.

ENTERING - Outside a convention centre there is a wahroa (which is an entrance way to a pā, gateway). The shape of this is connected to the shape of local marae in the 1800’s and looks a bit like two hockey sticks. A design could be made for a waharoa and link them to the local area. Could its shape relate to local flora or fauna?

Te Aranga Design Principles.

Consider the principles to frame the context and development of ideas particularly in relation to site.

They are a way to approach Te Ao Māori and Māturanga Māori as things to consider when developing spatial design ideas.

You may find a similar set of principles for product design, perhaps akin to Dieter Rams: Ten Principles for Good Design.

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