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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Copying of this material by students, except for fair dealing purposes under the Copyright Act, is prohibited. For the purposes
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The University of Western Australia 2001

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Unit details
Unit title
Unit code
Availability
Location

Great Moments in Art

VISA1000
SEM-1, 2015 (23/02/2015 - 20/06/2015)
Crawley

Credit points

Mode

Face to face

Contact details
Faculty
School
School website
Unit coordinator
Email
Telephone
Consultation hours
Lecturers
Tutors

Faculty of Architecture, Landscape and Visual Arts

Architecture, Landscape & Visual Arts
http://www.alva.uwa.edu.au/
Dr Darren Jorgensen
darren.jorgensen@uwa.edu.au
6488 1011
Thursdays 1-2 pm in room 1.11 in the ALVA building or by appointment

Unit contact hours

Online handbook

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

Matt Mason matthew.mason@uwa.edu.au

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

Unit description
This 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, they
are not linked by a narrative discourse. Instead, each serves as a window onto various theories and practices of the art world. Students
are introduced to the reasons why certain individual examples of art and design are significant to art historical discourse, to develop
basic communication skills of art historical discourse, and to show students how to use basic art historical methodologies in the
analysis of individual art and design works. The unit addresses subjects from different cultures and periods. It covers a range of topical
issues, including globalisation, relevant to the world we live in today. The outcomes and assessments are geared to basic generic
literacy 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 individual
lectures.

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

Unit schedule
Week

Date

Lecture Topic

Lecturer

25
February
4 March
11 March
18 March
25 March
1 April

Rock Art, Aboriginal Art

Darren Jorgensen

The Apocalyptic Vision in Gothic Cathedrals

Constantinople: Social Rituals and Physical Contexts
The Renaissance
Persian Book Illustration and The Great Mongol Shahnama
Chinese Architecture and the Forbidden City

Charlie Mann
Nigel Westbrook
Sally Quinn
Stefano Carboni
Romesh
Goonewardene

Study
Break
7
8
9

8 April

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

15 April
22 April
29 April

10

6 May
8 May
13 May

French Impressionism
Futurism and the Avant-gardes
Australian Art. Today at 2pm you are also invited to a curator's tour of the current
exhibition at the Lawrence Wilson Gallery.
Marilyn, Campbells Soup and 15 Minutes of Fame
Second assessment due! For details see the 'Assessment' section of this guide.
New Media

2
3
4
5
6

11

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Darren Jorgensen
Iva Glisic
Darren Jorgensen
Clarissa Ball
Laetitia Wilson

12

20 May

Magic Moments - Rikrit Tiravanija &

the Social Turn

Christina Chau

Assessment
Assessment overview
Typically 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

1 Short Essay

20%

8 April, to be handed in to Alva Resource Room by 4 1,2,3,4

pm
Presentations in class throughout term, written piece 2,4,5
to be submitted to Alva Resource Room by 4 pm on 8
May
Throughout semester
5

2 Object presentation 20% (of which 10% for your

presentation, 10% for the written
piece)
3 Participation to
10%
discussions in
tutorials
4 Exam
50%

Relates To
Outcomes

End of semester, dates to be announced

1,2,3

Assessment items
Item Title

Description

Submission Procedure for

Assignments

Assessment 1: SHORT ESSAY (1500 You are required to answer one of the list of
words including footnotes, but excluding set essay questions to be published on
bibliography)
LMS. You will be assessed on the
coherence of your argument, your ability to
critically analyse an art work within a larger
historical or cultural context, and on
consistent referencing of readings to
support your argument.
Assessment 2:
For this assignment you will be required to
OBJECT ANALYSIS
engage in a structured exercise of visual
(300 words)
analysis of a specific art, architecture or
landscape object and submit a report in the
form of one or two succinct paragraphs.
The object of analysis must be a physical
object located in Perth and it must be
analysed according to formal conventions.
This assessment essentially tests your
ability to visually and aesthetically analyse
objects. You will be required to identify and
examine the affects of elements such as
scale, texture, colour, form and frame.
Assessment criteria is based on your ability
to clearly describe the formal elements of
the object in a concise manner and
consider how the formal qualities interrelate
to affect the viewer. Further information will
be communicated in tutorial.
Assessment 3: PARTICIPATION IN
You will need to show that you are familiar
CLASS
with the essential readings for the tutorial
and contribute meaningfully in group
discussions of art works and critical
literature.
Assessment 4:
A two hour written exam, consisting of an
EXAM
object analysis and an essay question,
each contributing half of the overall exam
mark.

Textbooks and resources

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To be submitted to Alva Resource Room

by 8 April, 4 pm.

Hand in the written version of your

presentation to the Alva Resource Room
by 8 May, 4 pm.

Continuous assessment. No submission

required.

None. Exam dates will be announced on

LMS as soon as they are published by the
exams' office.

Textbooks and resources

Recommended texts
The following broad introductory texts are held in closed reserve in the EDFAA library. Please refer to the Unit Reader (a bound paper
copy of essential readings) and LMS (Moodle) for further reading for this unit. You are expected to read essential reading in preparation
for 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 1
Essential Readings (in the reader)
Godfrey, T., Introduction: What, where and when: how and why we look at works of art, in: Understanding Art Objects. Thinking
through 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. 294305.
Taylor, Luke, "Rock Art as Inspiration in Western Arnhem Land", The Oxford companion to Aboriginal art and culture, eds, Sylvia
Kleinert and Margo Neale ; cultural editor, Robyne Bancroft, Melbourne :Oxford University Press, 2000, p.109-118.

Week 2
Essential Readings
Scott, 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.,The
Apocalypse and the Shape of Things to Come, London: British Museum Press, 1999. pp. 43-63.

Further Readings
Bork, 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. 15455.
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 3
Essential Readings
Mathews, 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 Justinians Great Church, London 1988.

Further Readings
Croke, B., Justinians 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 4
Essential Readings
Baxandall, M., Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style(New York: Oxford
University 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 Readings
on Italian Renaissance art
Baskins, 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, inPatronage, Art, and Society in Renaissance
Italy, 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 Patrons 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. 241276.
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 Francescas Portrait of the Duke and Duchess of Urbino, pp. 81-90 inThe Image
and 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 Haven
and London: Yale University Press, 1998), pp. 25-40.
on Rembrandt
Barolsky, 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.), Vasaris 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 5
Essential Readings
Hillenbrand, R., The Arts of the Book in Ilkhanid Iran, in:The Legacy of Genghis Khan, exh. cat. (New York: Metropolitan Museum of
Art), 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's
Shahnamah, exh. cat. (Cambridge: Fitzwilliam Museum), Cambridge 2010, pp. 3-15.

Further Readings
Grabar, O. & Blair, S., Epic Images and Contemporary History. The Illustrations of the Great Mongol Shahnama, Chicago/ London
1980.
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 Kings Book of Kings. The Shah-Nameh of Shah Tahmasp, New York 1976.

Week 6
Essential Readings
Yu Zhuoyun, Palaces of the Forbidden City, translated by Ng Mau-Sang, Chan Sinwai and Puwen Lee, consultant editor, G. Hutt, New
York 1984, pp 18-29.
Fu Xinian, Guo Daiheng, Liu Xujie, and Pan Guxi Chinese Architecture, New Haven/ London/ Beijing 2002, chapter 1.

Further Readings
Berliner, N., The Emperors 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 Evolution
of 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 7
Essential Readings
Pollock, G. Modernity and the spaces of femininity, Vision and Difference: Femininity, Feminism and the Histories of Art, Routledge,
London, 1988.

Further Readings
Clark, T.J. 'A Bar at the Folies-Bergere' from The Painting of Modern Life: Paris in the Art of Manet and his Followers, Thames and
Hudson, 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 Modern
City: 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 8
Essential Readings
Marinetti, 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: Yale
University Press, 1999. pp. 204-225.

Further Readings
Apollonio, 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 9
Essential Readings
Smith, Terry, 'The Provincialism Problem' in Paul Taylor, Anything Goes: art in Australia
1970-1980. 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 Readings
Benjamin, 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: Open
University Press, 1996.
Bonyhady, T., Papunya stories, Sydney Morning Herald, 9 December 2000, reprinted in Australian Humanities Review, 20 (20001),
<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- 138
McLean, 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: Refiguring
Art 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 and
Material 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: University
of 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 10
Essential Readings
Fogle, 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 Readings
Andy 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 11
Essential Reading
Manovich, 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 Readings
Haraway, 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 12
Essential Reading
Bourriaud, N., Relational Aesthetics, trans. Simon Pleasance and Fronza Woods with the participation of Mathieu Copeland, Paris
2002, 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 Readings
Bishop 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. 19095.

Other important information

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

Enrolled students can access unit material via the LMS in units that use LMS

Building 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 property
immediately after the submission of their folio. If the content of a folio is used for exhibition then the student must write their name on
the back of the work so that when the exhibition is demounted collection is simplified. If staff or the Faculty wish to reserve work for
reproduction and/or accreditation purposes then this should be negotiated with individual students.

Attendance
Attendance is required at all lectures, tutorials and workshops. These are the primary means of consultation with your Unit Coordinator
and 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 work
For Studio units, the Faculty may prevent your continuation in this unit if you fail to meet requirements for attendance at
classes to establish the authenticity and originality of your work.
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Submissions
The ALVA Submissions policy is available at:
http://www.alva.uwa.edu.au/students/policies/

Submission of Late Work

All assessment tasks are due no later than 4pm on the date indicated in the unit's Assessment Mechanism Statement, with the
exception of in-class assessment items such as tutorial presentations. Any assessment task which is submitted after the time
indicated in the assessment mechanism statement without a formal approved extension will be considered LATE and appropriate
penalities will be applied. Information on penalties can be obtained in the Faculty Policy on Submissions
at http://www.alva.uwa.edu.au/students/policies/.

Extensions
The Faculty approves extensions only in exceptional circumstances in order to ensure that all students are treated fairly and that
submission date schedules, which are designed to produce ordered work patterns for students, are not disrupted. Extensions may be
authorised only by the allocated Faculty Course Advising Office or a delegated representative. In all cases, requests for extensions
require 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 available
at http://www.alva.uwa.edu.au/students/policies/.

Return of Student Work

Marked assessments submitted on time will be made available for collection by students at least one week before the next assessment
in the unit is due (if it is related to the previous assessment), or no more than four weeks after submission, whichever is sooner.

Special Consideration
For 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. This
online 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 the
Workshop. Your Workshop Induction lasts for five years, after which you will be required to attend a refresher. Please refer to
http://www.alva.uwa.edu.au/students/facilities for more information on Inductions and Workshop close-down period.

Material and Equipment Costs

Costs 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 from
Alsafe 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 require
steel capped boots to be worn this is a condition of accessing these sites. These can be bought from Army Surplus stores or
borrowed, they are a worthy investment as will be required on future building sites of your own.

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