GDP - Course Descriptors

PHILOSOPHY AND APPROACH OF THE PROGRAMME (GLOBAL DESIGN)
The B. Des Global Design Programme at UID has been crafted through deep research using
innovative approaches for reimagining design education in India. It provides a unique
opportunity for a student to experience global perspectives and tackle design challenges
with an international style of learning. The course features global experiences with world
renowned faculty in an immersive learning model in vibrant Design Capitals of the world.
Our vision is to provide students with a learning experience that is unparalleled, nurturing
them to be design leaders and creative catalysts who deliver positive social, environmental,
economic and cultural change.
The Programme is nested in the United World Institute of Design [UID] but functions
without geographical boundaries, with curated educational experiences in four leading
international Centre of design and innovation in India, Europe, UK and Australia. Collectively
offering students a unique educational mix characterized by multidisciplinary intakes, shared
values, complementary approaches and distinct expertise. The vision of UID’s Global Design
Programme is to provide an international education environment that is unique and
unparalleled in this part of the world, bringing together international experiences of design,
culture and industry.
PEDAGOGY AND DELIVERY STRUCTURE
The UID based curriculum is a sequential mix of different design experiences where there is
an emphasis on design thinking, problem solving, making and prototyping. The course will
take students through various facets of design disciplines including different global
approaches to design from Communication Design (visual communication), Fashion Design,
Product Design (Interaction Design) and Interior Design, with a focus on interdisciplinary
learning and collaborative design projects.
This course prepares students to explore the futurescape of design by negotiating across
disciplines in an experiential ecosystem. It allows them to be curious and evolve the ability
to query and respond to design challenges both individually and through collaborative
Karnavati University | B Design - Global Design | Course Descriptors | UID | 2020 – 24 | Page 1 of 205
interdisciplinary & global perspectives. It aims to impart competencies that aid opportunity
mapping, strategies to transform design, innovative practices to develop entrepreneurial
ventures, new businesses and start-ups for the creative industry.
The first year is dedicated towards building a strong foundation and introducing the
students to the basics and fundamentals of Design using an interdisciplinary and practice-
based approach. It gradually moves on to relatively complex approaches to develop their
critical thinking skills and their understanding of design and elements around them.
As the course progresses the students undergo a global learning experience in their second
year, that focuses on innovation and design. They are taken through increasing degrees of
complexities of design practice and understanding. They understand and connect to larger
issues of society and culture, semiotics and aesthetics, environment and ethnography,
innovation and socially responsive design.
In the third year the students choose a discipline or pathway of their choice with elective
options that are interdisciplinary. The students undertake a global experience where they
learn advanced pathway-based skills to inculcate best practices and experience an
international classroom. The students further develop their skills in their chosen pathways
with a choice of electives culminating in the interdisciplinary design lab. During the fourth-
year students undertake a highly advanced research-based experience abroad at a leading
university internationally. Then they undertake their major project and have the final
showcase of the overall disciplinary and interdisciplinary learning process through the
Bachelors of Design Global programme.
Mentors consisting of accomplished practitioners from their respective fields are invited to
conduct master classes to provide insights of a different degree altogether. Also, there are
workshops and interdisciplinary open electives planned for short durations to promote
larger cross disciplinary interaction and learning. Other activities like site and studio visits,
field trips and attending design seminars and conferences are planned for the students.
The teaching will be experiential and practice based, through a combined process of lecture,
demonstration, assignment, class presentation, feedback and group discussions. This will be
accompanied when and as required by field visits, case study collection, screenings, master
classes, exhibitions etc.
B Des (Global) student has a distinct advantage to experience and interact with
international faculty, professional environments, studio based collaborative and experiential
learning in a global, multicultural classroom to imbibe best practices in design education
that the world has to offer. This course provides students with a vital global edge in
advancing their careers goals over their peers in the design industry in the fields of visual
communication, product design, fashion design and interior design and interdisciplinary
practices such as design for the future, sustainability and innovation, user experience design
and strategic design.
The Bachelors of Design - Global Design Course includes –
● Experiential learning abroad in Italy, Australia and United Kingdom with certification
of participation from all universities.
● Global exposure, international studio visits and live projects in four countries.
● Interdisciplinary Design Labs with a focus on Design Innovation and Design for the
future.
● Best Global practices in interdisciplinary Design Education in multicultural
classrooms.
This program has meticulously been planned to suit the learner’s receptive conscious.
The modules have been subjugated such that the output has been segregated in three
modes:
Lecture:
This comprises of a method where theory plays a substantial role and is delivered
through verbal, aural and visual presentations which is intended to present information
to the audience with intent to make them aware regarding a particular topic or subject.
● Tutorial:
This methodology of teaching requires assignment-based learning where the sessions are
more interactive, which encourages the learners to enhance their group-based learning
methods concurring on aspects like teamwork, leadership, opinion sharing, empathy,
peer observation and learning through it. It is considered amongst the best methods of
learning and expression.
● Practical:
This method involves tactile experience of working with various materials, tools,
techniques and methods. This involves working outside of the classroom space; it could
be material laboratory, industry visits, field trips, or any other educational excursions
with regular interaction with the environment and different entities.
Considering the course requisites, therefore the dominating timeline of the course has
been put under more emphasis on the practical and tutorial aspects of learning. Theory is
considered; however, it goes concurrently. The courses like communication skills and
inputs in liberal arts play their role.
RULES & REGULATIONS
FOR
CREDIT SYSTEM
CREDIT AND EVALUATION SYSTEM
The regulations listed under this head are for the Bachelor of Design-Global Design
Program and shall come into effect from the Academic Year 2020-24
● QUANTIFYING CONTACT HOURS LEARNING IN DESIGN
● Credit system
● Credits
o Lectures
o Tutorial
o Practical
● Course Credits (CC)
● Annual Credits (AC)
● Annual Duration
● Attendance Regulations
● Learning in a year
● EVALUATING LEARNING IN DESIGN
● Evaluation System
● Continuous Course Assessment (CCA)
● End year Assessment (EYA)
● Grade Point (GP)
● Annual Grade Point Average (AGPA):
● Cumulative Grade Point Average (CGPA)
● SUCCESSFULLY PASSING A YEAR
● Successful completion of a course

● Successful completion of a year
● Eligibility for the Award Degree
LATERAL ENTRY:
Lateral Entry: Students who have completed their 1st year foundation courses in Design
from a recognized institution can be admitted to the second year of the programme.
PORTFOLIO ASSESSMENT:
An Academic evaluation procedure of yearly work that involves a jury wherein the students
present a hard/soft copy of their portfolio followed by questions from the juror. The juror
shall assess the portfolio and grade the students on the basis of the process of work, the
completion of work and its quality, the assessment also includes the student’s clarity of the
portfolio and his/her overall learning.
PROGRAM:
An educational program leading to award of a Degree certificate.
REGULAR STUDENTS:
Students who are admitted to the Bachelor of Design- Global Design Program.
ANNUAL STRUCTURE:
One Year constitutes approximately 930 curriculum teaching hours and should not be less
than 180 teaching days. The year program may be scheduled from July to May.
TRANSCRIPT:
A Transcript is an inventory of the courses taken and grades earned by a student throughout
the programme. However, a Partial Transcript has students’ entire academic record from the
first day of the academic year till the current year.
ADMISSION TO PROGRAM
● Students can secure an admission to the program of Design through Common

Entrance Test conducted by UID under the supervision of KU.
● Lateral Entry: Students who have completed their 1st year foundation courses in
Design from a recognized institution can be admitted to the second year of the
programme.
DURATION AND STAGES OF THE PROGRAM
The program of Bachelor of Design program shall be of minimum duration of 4 academic

years, with a minimum of 192 credits.
QUANTIFYING CONTACT HOURS LEARNING IN DESIGN
Quantification of contact hours learning is important to ensure that a candidate has

undergone the required amount of learning during a programme.
Design learning is based on experiencing and exploring, hands on and minds on. Therefore,
the quantification of contact hours learning experience in design is based on time factor.
CREDIT SYSTEM:
Credit system is a method of quantifying learning undergone by a candidate during faculty

student contact hours as per Choice based credit system (CBCS).
Credits: Credit is a unit that quantifies the learning undergone by a student in a specific
course, the weightages are assigned to the courses based on the following general pattern
o One lecture period per week --- 1 credit

o Two periods of Tutorial / Practical per week --- 1 credit
Lecture: It is the time utilised during direct delivery of information and theories related to a
subject by the course faculty through oral and audio-visual presentation. Considering the
learning in faculty student contact during a Lecture, 1 hour/week of lecture time amounts
for one credit during a course.
Tutorial: During tutorial sessions knowledge is imparted, regarding the application and
handling of tools and equipment, through methods of demonstrations and explorations.
During tutorials a student spends time in learning through demonstrations by a tutor, and
also spends time in learning by exploring and execution in workshops and labs. Considering
the learning time spread over contact hours and self-learning, 2 hours/week of tutorial
amounts to one Credit during a course.
Practical: Interactive sessions during a course where a faculty imparts knowledge through
inputs, reflections and feedback during application-oriented learning of concepts and ideas
in a studio. During a Practical session a student spends time in learning through application
and learning also happens in time spent during interactive sessions with the course faculty in
the studio. Considering the learning time spread over contact hours and self-learning, 2
hours/week of practical amounts to one Credit during a course.
● Course Credits (CC): Number of credits in a course represents the amount of learning
undergone by a student during a course, under the categories of lectures, tutorials and
practical.
Course Credit weight age of a course can be calculated by adding up the number of
credits under lectures, tutorials and practical categories in a course.
● Annual Credits (AC): The sum total of all the Course Credits in a year provides with the
total number of annual Credits. Each year must contain a minimum of 48 Credits.
Course Course
YEAR Credits Hours
Credits Duration
Credit
L T P Credits L T P Hours
Categories
Course A 3 2 1 6 45 60 30 135
Course B 3 1 1 5 45 30 30 105
Course C 2 0 0 2 30 0 0 30
Course D 4 1 1 6 60 30 30 120
Course E 2 2 1 5 30 60 30 120
Course F 2 0 0 2 30 0 0 30
Credit Hours in a
Year Credits 26 540
Year/Annual
*Illustration of calculation of Course Credits and annual Credits in a year
● Annual Duration:
Duration of a Year is the total number of weeks that constitutes curriculum weeks and
evaluation weeks.
● Curriculum Weeks: A Year constitutes of approximately 26-28 weeks (180 days) of

curriculum, including alternate Saturdays (8-10 days). The subject’s content has to be
delivered in 26 weeks and the 27-28th week to be utilized for internal assessment.
● The year should account for 48 credits. The number of days in a Year should not be
less than 180 days, excluding holidays, vacations, revision and time required for
conducting the examinations.
● Evaluation Weeks: Minimum of 2 to 3 weeks in a annually to be dedicated for jury and

theory exams.
Attendance Regulations
● Regular course of study means a minimum attendance of 75% in a year. The

attendance will be counted for all the in class or outside class courses prescribed for a
year in the curriculum, Attendance is Computed by considering total number of
hours/lectures/labs conducted in each course as the denominator and the total
number of hours/lectures/lab actually attended by the student for the course under
consideration, as the numerator.
Learning in a Year:
Learning in a Year categorized under headings:
Course: Course is structured curriculum that is studied by a student in design discipline. A

student will study for 180 days and a minimum of 930 Credit Hours of discipline-oriented
learning during a year.
Designed Curriculum focuses on the types of courses mentioned below as per CBCS
categories.
General Core foundation (CF)

The Foundation Courses are of two kinds: Compulsory Foundation and Elective foundation.
“Compulsory Foundation” courses are the courses based upon the content that leads to
Knowledge enhancement. They are mandatory for all disciplines. Elective Foundation
courses are value-based and are aimed at man-making education.
Core Course (CC)

A course, which should compulsorily be studied by a candidate as a core requirement is
termed as a Core course.
Elective Course (EC)
Generally a course which can be chosen from a pool of courses and which may be very
specific or specialized or advanced or supportive to the discipline/ subject of study or which
provides an extended scope or which enables an exposure to some other
discipline/subject/domain or nurtures the candidate’s proficiency/skill is called an Elective
Course.
Ability Enhancement Courses

The Ability Enhancement Courses may be of two kinds:
● Ability Enhancement Compulsory Courses (AEC)

“AEC” courses are the courses based upon the content that leads to Knowledge
enhancement; i. Environmental Science and ii. English/MIL Communication.
● Skill Enhancement Courses (SEC).
SEC courses are value-based and/or skill-based and are aimed at providing hands-on-
training, competencies, skills, etc.
Non-CGPA courses:(PD)
These courses offered in certain year are compulsory, but are not used for calculation of
GPA and CGPA. However, the credits will be mentioned in the grade sheet.
Supplementary Activities: Electives, master classes, presentations, seminars, industry visits,

student festivals etc. that exposes and helps students enhance their skills and abilities to
supplement the learning in the discipline pursued. In a annual curriculum, supplementary
courses may constitute up to 50 to 70 hours of non-credit, non-evaluated learning and
should not overlap with the 930 hours of credit hours learning
Teaching and learning methods:
The contents of the Curriculum shall be taught in an application- oriented manner on a

scientific and design basis. The course contents shall be taught and learned in lectures,
seminars, labs/ workshops, studio exercises and design projects, internships and study tours.
● Lectures are held to teach basic connections and the systemization of theoretical
knowledge. Specific subjects are presented in a well- structured form to impart
historical theories and new research results.
● In Seminars the contents shall be taught in dialogue and discussion phases between
the teacher and the student.
● In labs/ workshops the contents of the course shall be delivered through hands on
work and experiments.
● In studio exercises the teachers shall take the lead to provide tasks and offer guidance
for solutions finding. The students shall work either individually or in groups. The
results shall be defended through drawings; models and reports.
● In design studios/construction studios/projects the students contribute to the
processing, analysis and the solving of problems of direct professional practice,
attended by faculty(s) entitled to conduct the studio and examine.
● In Internship the students engage in live projects in industries/Design Firms/Studios to
get professional exposures.
● Study tours shall be part of the program and conducted every year. They help to
consolidate course contents by acquainting students not only with professional
practice but also the culture and context in relation to the subjects.
EVALUATING LEARNING IN DESIGN
Evaluation system:
Assessment is an integral part of the system of education as it is instrumental in identifying

and certifying the academic standards accomplished by a student and projecting them far
and wide as an objective and impartial indicator of a student’s performance.
Practical
Evaluation of learning in a year occurs during Continuous Course Assessment and End Year
Assessment, where continuous Course assessment holds 50% weight-age and end year
assessment holds 50 % weight-age in the final annual results.
Students will be evaluated out of 100 marks for each course, wherein CCA will carry 50 marks
and ESA will carry 50 marks for each course.
Theory
Evaluation of learning in a year occurs during Continuous Course Assessment and End Annual
Assessment, where continuous Course assessment holds 20% weight-age and end Annual
assessment examination holds 80 % weight-age in the final Annual results.
Students will be evaluated out of 100 marks for each course, wherein CCA will carry 20 marks
and ESA (examination) will carry 80 marks for each course.
The terms and stages related to assessment are explained below.
Continuous Course Assessment (CCA): (Practical and Theory Course)
CCA is the assessment done during and at the end of each course by respective course
faculty during a year.
Course Marking:
Course Marks are the marks obtained by a student out of 50 marks for Practical and out of
20 marks for Theory.
Both Practical and Theory courses are evaluated by respective course faculty using Course
Marking for Continuous Course Assessment.
Instruments of Evaluation:
Learning Diary (explorations and course specific documentation)
Task based assignments (Drawing sheets/ Models/ Soft copies/ written reports/photo and
video graphic documentation etc.
Evaluation Criteria:
Learning will be assessed under four headings mentioned in the table below.
SKILLS LEARNING PROCESS COMMUNICATION LEARNING ATTITUDE

Co
Do
Co Ex nt Ar Pre M Int
Co cu
nc St Pr plo ext tic se oti er Cons
gni me
ep udi oc ra ual ula nta va ac isten
tio nta
tu o ess tio thi tio tio tio tio cy
n tio
al n nki n n n ns
n
ng
10% 35% 30% 25%
A B C D
*A, B, C, D is the marks weight-age out of 50 For CCA.
Practical = A + B + C + D = 50 marks
Theory = A + B + C + D = 20 marks
The Course Faculty should divide 50 marks for practical and 20 marks for theory under four
headings as per its relevant weight-age in a particular course (i.e. A, B, C, D in the above
table). The faculty should assess a student under each heading separately.
CCA Marks for each student will be calculated by the sum total of marks given in each
criterion.
End Annual Assessment (EAA): (Practical Course)
End Annual Assessment is the evaluation of the annual courses at the end of a Year.
75% attendance is a must for a student to take the End Annual Assessment.
● Jury Marks (JM)
EAA for practical courses will be done by a jury panel of internal and external jurors.
Jury Marks of practical courses will be awarded by a jury panel at the end of the year
out of 50 Marks for each practical course of the year.
● Instruments of Evaluation:
All Learning Diaries, of all practical courses in the year (explorations and course
specific documentation)
Task based assignments (Drawing sheets/ Models/ Soft copies written reports/photo
and video graphic documentation etc.)
Assessment Criteria:
Overall understanding of objectives, learning outcomes and processes
● Extent of Exploration
● Overall Design and other relevant skills Design and other relevant Studio Skills
● Integration of all the inputs
● Learning attitude.
The external and internal jurors shall assess each student based on the above-mentioned
criteria, for the work done by the student in a year for the practical courses. The jury shall
evaluate students based on above points and assess the overall growth and learning of a
student on a holistic spectrum. A student will be marked out of 50 in each course.
End Annual Assessment (EAA): (Theory Course)
EAA for theory courses will be done through written examination.

Theory courses will be evaluated at the end of the year by conducting a written examination
of 80 Marks.
Experiential Learning Abroad
● Host Institution will provide KU / UID with all relevant Certificate for Experiential
Learning Abroad / No credits will be exchanged.
Grades Points (GP):
Grade points are the representation of total marks obtained out of 100 in theory/practical
course on a 10-point scale.
The total marks obtained in a course calculated by adding CCA & ESA and get converted to
grade points based on the 10 points grading system mentioned in the table below.
Marks Grades Grade Point (GP)

95-100 O Outstanding 10
85-94 A+ Excellent 9
75-84 A Very Good 8
65-74 B+ Good 7
55-64 B Above Average 6
45-54 C+ Average 5
40-44 C Pass 4
0-39 D Fail 0
*Refer "Successfully Completing a Course"
Cumulative Grade Point Average (CGPA):
Cumulative Grade Point Average is the progressive result of a student during his/her studies
under the design discipline pursued. It is a credit weighted average of annually Grade Point
Averages of all the years passed till that point.
Annual Credit I = AC1 Year Grade Point Year 1 = AGPA I

Annual Credit II = AC2 Year Grade Point Average Sem. 2 = AGPA II
Annual Credit III = AC3 Year Grade Point Average Sem. 3 = AGPA III
Annual Credit n = AC4 Year Grade Point Average Sem. n = AGPA n
CGPA = (AGPA I X AC1 + AGPA II X AC2 + AGPA III X AC3 +..... AGPA n X ACn)/ (AC1 + AC2 + AC3 + ..... + ACn)
Cumulative Grade Point Average at completion of the design programme is the final result
of the candidate.
Exemplar of CCA, ESA, GP, AGPA and CGPA is shown below.
YEAR 2 CC CCA ESA CCA+ESA GP

Marks Marks Total
Course Course Course Out of 50 for Out of 50 for Marks Grade
Grade
Name Category Credits Practical and Practical and 80 out of Points
20 for Theory for Theory 100
Course A Practical 6 43/50 40/50 83 A 8
Course B Practical 5 35/50 36/50 71 B+ 7
Course C Theory 2 14/20 60/80 74 B+ 7
Course D Practical 6 37/50 40/50 77 A 8
Course E Practical 5 38/50 43/50 81 A 8
Course F Theory 2 14/20 70/80 84 A 8
Annual credits (SC)= 26
AGPA IV= (8 x 6 + 7 x 5 + 7 x 2 + 8 x 6 + 8 x 5 + 8 x2) / 26 = 7.73
Annual Credit I= 48 AGPA I = 8.63

Annual Credit II= 48 AGPA II = 6.89
Annual Credit III= 48 AGPA III= 7.23
Annual Credit IV= 48 AGPA IV = 7.73
Partial Cumulative Grade Point Average (CGPA)=

(8.63 x 27 + 6.89 x 30 + 7.23 x 27 + 7.73 x6)/ (27+30+27+26) = 7.62
Cumulative Grade Point Average at completion of the design programme is the final result
of the candidate.
*Illustrator for CGPA for final result of the candidate.
YEAR 1 YEAR 2 YEAR 3 YEAR 4

Credit:48 Credit:48 Credit:48 Credit:48
AGPA: 8.63 AGPA: 6.89 AGPA: 7.23 AGPA: 7.73

CGPA= 48x8.63 + 48x6.89 + 48x7.23 + 48x7.73 / 192 = 7.09
SUCCESSFULLY PASSING YEAR
Successfully completing a course:
A student is required to obtain a minimum of 40 % marks in both CCA and in EAA

separately and obtain 40 % in aggregate, to successfully complete a course.
Practical course
CCA minimum passing marks = 20 out of 50

EAA minimum passing marks = 20 out of 50
CCA + ESA = minimum 40 out of 100
Theory course
CCA minimum passing marks = 8 out of 20

ESA minimum passing marks = 32 out of 80
CCA + ESA = minimum 40 out of 100
A Student must earn the required number of credits to successfully pass the program.
That is, if a student successfully completes a course that holds a weightage of 4 credits, the
student is entitled to gain the full 4 credits of the course. If in case a student is unable to
successfully complete a course, the student gains no credits from the course, and the
student needs to repeat the course.
Completing a Course repeat:
In case the student is not able to score 40 % i.e. 20/8* marks in CCA of Practical/Theory at
the end of the course he needs to repeat the course.
To complete the course, the student is required to resubmit the assignments of the course
to the concerned faculty. If the course was conducted by a visiting faculty then the student
will have to submit the assignments to the internal faculty assigned for the course by the
Head of the Department.
In a repeat course a student will be entitled to get not more than 55% marks in CCA, as the
student has missed out on the collective classroom learning. That means a student repeating
a course can only get a maximum of 22 marks out of 40 in that particular Course. However,
there are no such restrictions of marking on a repeat course during ESA i.e. Jury and Exam.
If a student has failed in CCA or ESA or both in a course, then the student is required to take
ATKT (Allowed to Keep Term) jury or exams to get a ‘complete’ in the course.
A student is allowed to take maximum two ATKT attempts to clear the course.
Rules for Rechecking of Answer Script
Students are entitled to apply for rechecking of answer books by paying prescribed fee.
Rechecking in practical Examination etc. is not undertaken. But in the course/subject where
rechecking is permissible the Answer books are checked just to ensure that all questions
attempted by the candidate have been valued, that the marks awarded have been totalled
correctly and the total marks have been correctly carried over the result statement.
Successfully completing a year:
A student is required to earn minimum 9 credits out of 26-30 and a minimum of 75%
attendance, to get promoted to the next year. The student is required to earn the remaining
credits by fulfilling the course completion criteria and appearing for ATKT (Allowed to Keep
Term) exams and juries.
Eligibility for the award degree
A student shall be eligible for award of the Bachelor of Design if he/she fulfils all the
following conditions:
● Registered and successfully completed all the components by gaining all the
prescribed credits (192 Credits) for Bachelor of Design Program.
● At the end of the 4th Year, the students shall have submitted the approved Portfolio /
Design Project Report.
● Obtained CGPA greater than or equal to 5.0 (minimum requirement to pass)
● Has no dues pending i.e. Institute, hostels, library etc.
● No disciplinary action is pending against him/her.
● The Bachelor of Design shall be completed in a maximum period of Six years.
Revision of Regulations, Curriculum and Syllabi
● The University may from time to time revise, amend or change the Regulations,
Curriculum, syllabus and Scheme of examinations through the Academic Council.
● The university shall revise the regulations based on the guidelines of DGS and UGC
issued from time to time.
● The university has the right to implement any reforms in the above regulations and
bay come into force upon formal notification.
Experimental Learning certification
● Host institution will provide each student with a Certificate of completion in

Academy's Letter Head, (with logo) for the study of this experiential learning abroad
program undertaken including, mentioning the full period at the Host Institution.
SCHEME OF EXAMNATION Page 1
SCHEME OF EXAMNATION Page 2
Scheme of Credits -1
Scheme of Credits -1
GLOBAL DESIGN
COURSE DESCRIPTOR
BACHELOR OF DESIGN
2020-24
YEAR 1 (PART 1)
Unlearning
Course Code: BDG100

Course Type: Practical
Credit: 1
COURSE AIM
The aim of the course is to help students transition into design by sensitizing them to
observation, color, pattern and multi-sensory experiential learning methodologies. This
course enables students to ‘unlearn’ and unconditioned as a precursor to starting their
design journey.
COURSE OBJECTIVES
● To explore the senses and develop new ways of seeing.

● To un- condition, sensitise and develop critical thinking and observation skills.
● To create a smooth transition for students entering the world of design.
LEARNING OUTCOMES
After studying this module, you should be able to:

● To develop observational and critical thinking skills.
● To be able to rationalise and develop alternative perspectives.
● To question existing paradigms and be curious.
COURSE DURATION
The course will have 10 sessions. (1 session= 3 hours)
COURSE CONTENT
Module Modules/Sub-Modules Sessions

No.
I Exploring the Senses 2
o Exploring sound, smell, touch and taste
o Nature study and exploration
o Making and Innovating with found objects (group activity)
Ways of Seeing
o When you look, what do you see - Observation Activities (in

and around classroom)
II 2
o Edwards de Bono’s 6 Thinking Hats - Exploring ways of
seeing through role-play
o Seeing through drawing – Observation through drawing and
maintaining a journal
Questioning the Question (Critical Thinking)
o Deconstructing objects around us - learning to ask why

III things are the way they are. 3
o What If? Exploring alternatives and possibilities, exploring

the same objects by changing them (material, shape, size,
texture)
Form, Function and Space
o Exploring form and function in objects and nature

IV 3
o Form follows function VS function follows form (group
discussion)
o Introduction to Form and Space (Positive and negative)
TEACHING METHODS
The teaching and learning pedagogy follow both theory and practical model:
● Multi-sensory class room activities

● A combination of lectures, demonstrations and presentations
● Individual / group assignments
● Final outcome to be as per respective disciplines and faculty members.
● Visual journal
EVALUATION:
INTERNAL:
(Continuous Evaluation scheme)
o Learning Diary (Explorations & course specific documented report)

o Task Based assignments (Prototype / Model / Drawing / Presentation sheets)
LEARNING
SKILLS LEARNING PROCESS COMMUNICATION
ATTITUDE
Co
nt Do
Co Ex M Int Co
Co Pr ex Arti Pre cu
nc St pl oti er nsi
gni oc tu cul sen me
ep ud or va ac ste
tio es al atio tati nta
tu io ati tio tio nc
n s thi n on tio
al on n ns y
nki n
ng
10% 35% 30% 25%
A B C D
*A, B, C, D is the marks weight-age out of 50 For Continuous Course Assessment.
A + B + C + D = 50 marks
The Course Faculty should divide 50 marks under four headings as per its relevant
weight-age in a particular course (i.e. A, B, C, D in the above table). The faculty should
assess a student under each heading separately.
EXTERNAL:
End Year Jury
o All Learning Diaries of all courses of the year (Explorations & course specific
documented report of all courses)
REFERENCE BOOKS
Sr. No. Author/s Name of the Book Publisher Edition and Year
of Publication
The Art of Looking
R1 Alan Fletcher Phaidon Latest Edition
Sideways
R2 John Berger Ways of Seeing Penguin 2011
The Curious Incident of the Vintage

R3 Mark Haddon Latest Edition
Dog at Night time Books
History of Design and Art
Course Code: BDG101

Course Type: Theory
Credit: 2
COURSE AIM
The aim of the course is to impart the knowledge of Art and Design in relation to social
art, responsive to historical & cultural influences. The course enables the students reflect
and understand the history of art and Design.
COURSE OBJECTIVES
● To impart the basic knowledge of historical and cultural diversity in past and present
(Indian and global context) in context to Art and Design.
● To develop sensitivity, critical awareness of the contemporary world related to art,
design, culture and social contexts.
● To enable the students to understand the relevance of Art & design in relation social,
cultural and physical context
● To develop the ability to research, record and apply cultural and social principles in
design areas.
LEARNING OUTCOMES
● Demonstrate an awareness of the diversity art and design over time and between
cultures.
● Identify and gain enhanced sensibility towards Art, culture and design.
● Critique and Analyse theories of art, design & culture.
● Relate issues of Art, culture and design to past, present and future.
● Think, rationalize, explore, analyse and synthesize issues related Art, culture and
design.
COURSE DURATION
COURSE CONTENT
Module No. Modules/Sub-Modules Sessions

Purpose, Relevance and Development of Art and Design
o History of art and design of prehistoric times to present,
changing nature of art through time in terms of form, and
I material. 7
o Relationship between Art and Design
o Study of famous and influential Artist, craftsmen and

designers.
Culture and Design
o Common historical and contemporary context of Craft,
Architecture, Product, Graphics & Fashion Design
II 3
o Cultural Identity and its influence on Design
o Tribes, Phenomena and its Influences on Design
o Crafts & Textiles
TEACHING METHOD:

● Visual journal
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
nc St pl oti er Cons
ep ud or va ac isten
tu io ati tio tio cy
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 20marks
The Course Faculty should divide 20 marks under four headings as per its relevant weight-
age in a particular course (i.e. A, B, C, D in the above table). The faculty should assess a
student under each heading separately.
REFERENCE BOOKS:
Sr. Author/s Name of the Book Publisher Edition and

No. Year of
Publication
Design, Creativity & Culture: Blackdog
R1 Maurice Barnwell Latest Edition
An Orientation to Design Publishing
Glenn Adamson, Taylor &
R2 Giorgio Riello, Global design History Francis 2011
Sarah Teasley Group
R3 Tewari, Textbook of Environment I.K. Latest Edition
Khulbe & Tewari Studies Publication
John A. Walker, Design History and the
R4 Pluto Press 1990
Judy Attfield History of Design
Designing things: A critical
R5 Boradkar, P. introduction to the culture of Oxford: Berg 2010
objects
Design for the Real World: Academy
R6 Victor Papanek Human Ecology and Social Publishers Latest Edition
Change Chicago
Taylor &
Dr Alan Barnard, Encyclopaedia of Social and
R7 Francis 1996
Jonathan Spencer Cultural Anthropology
Group
Social and Cultural
R8 Niggel Rapport Anthropology: The key Routledge 2000
concepts
Laurence
Hugh Honour,
R9 A world history of art King Latest Edition
John Fleming
Publishing
New
R10 Kajal Kanjilal History of Indian Art saraswati Latest Edition
House
Elements & Principles of Design
Course Code: BDG102

Credit: 6
COURSE AIM
The aim of this course is to understand the role of Elements & Principles of design
through key concepts and their application. These form the invisible alphabet underlying
the language, communication and practice of design, extending across all design fields
with their individual Context, Content & Expression.
COURSE OBJECTIVES
Elements of design(dot, line, shape, forms, colors’, textures) and their translation into
design principles (balance, contrast, proximity, repetition, space ,unity) are basic building
blocks which enable us to design with clarity, emotion and meaning .Elements and
principles will be introduced sequentially followed by how various elements /principles
interact individually and with each other in seemingly infinite permutations and
combinations.
COURSE OUTCOMES
● The students develop a conceptual approach towards understanding unique

characteristics of each of the EPOD and their underlying behaviours interactions and
dynamics
● Understanding of the role and logic of EPOD in the structure of design and visual
composition
● To acquire conceptual ability and the requisite skills - to observe, understand and
manipulate EPOD / Gestalt Principles to execute basic design compositions and
interventions.
● Internalize the role of EPOD as a potent tool for evolving Design experience, practice
and aesthetics.
● Perceive cultural translations of EPOD and explore their implications for evolving
futures.
COURSE DURATION
The course will have 35 sessions (3 hours per sessions).
COURSE CONTENT
Assignment of sessions to the modules of course is as follows:
Modul Modules/Sub-Modules Session

e No.
I Unit 1: Elements of Design 11
o Learning about design elements through exercises that develop

the understanding of their characteristic nature.
o Dot/Point - Application, Relevance and Characteristics.
o Line - Application, Relevance and Characteristics.
o Shape - Basic shapes, Relevance and Characteristics, Techniques

to create new shapes.
o Color - Color Theory, Application (Manual), Interaction and

Classifications.
o Space -Application, Relevance and Characteristics.
o Texture - Identification, Relevance and Characteristics.
o Value - Application, Relevance and Characteristics.
Assignment:
Representation of words through points/dots in square area
with multiple explorations.
Line - Application, Relevance and Characteristics, Character,
Direction, orientation, Moods and Functions.
Assignment: - Create multiple compositions using vertical
lines/ horizontal/diagonal, Curved, Straight and curved lines of
multiple depth and thickness.
Shape - Basic shapes, Relevance and Characteristics,
Techniques to create new shapes. Transformation of Line to
shape, understanding Shape creation, Shape arrangement,
Shape & space, Geometric – Organic
Naturalistic – Abstract, Regular – Irregular, Shape creation
methodologies. Understanding basic Form and arrangement.
Assignment: - Line to shape composition.
Addition, Subtraction and Intersection of organic and
geometrical shape.
Arrangement of Basic form – composition and rendering
multiple views of that.
II UNIT 2: Colour Theory & Explorations 11
Part 1: Understanding of Multiple colour contrasts, Optical

mixing/illusion, Interaction/combination, Proportion and Scale,
colour Perception is the key learning.
Part 2: Learning multiple Colour association of interior materials &

related products. Understanding colour Mood, symbolism,
psychology.
Study of colour under the effect of light and colour in Space &
atmosphere. Basic analysis and relationship between Colour and
Culture with the understanding of colour application in Interior.
Part 3: Study of colour codes, Types, Shade cards, Systems,

procedures.
Part 4: Concept of Colour Board.
Assignment:
● Colour survey sheet – group and individual (in hard copy)
● Colour trends across design domains - PPT (Individual) 10 slides
maximum
● PowerPoint Presentation of Design project (Final) with Design
process understanding
Assignment:
Color - Color wheel, Color theory, Grey scale, Tints, Tones, Shades,
Interaction and Terminologies in color.
Assignment: - Single flat color in 2dimensional shape.

● Hue, tone, saturation in 10 steps.
● Create a color wheel of 24 swatches and mark the Following
harmonies - Primary, Secondary, Tertiary, Warm, Cool, Analogous,
Triad, Quad, complimentary/Contrast, split complimentary,
Double split complementary colors
● Monochromatic color-tint, tones, shades, Low Key, High Key,
Low/high/medium contrasts.
● Basic Color interaction by switching of the same size color
swatches.
• Color transitions or Extraction of color (swatches) from a picture.
Space -Application, Relevance and Characteristics. Relationship of
shape, form and space in a composition. Positive and negative
space.
Assignment: - Arrangement of additive, subtractive and intersected

shapes in pattern. (Balancing Positive and negative space).
Texture - Identification, Relevance and Characteristics.
Assignment: -
● Photograph any visual and tactile textures
● Create five textures using any process like cutting, pasting,
sticking, breaking, tearing etc. with any material.
● Draw five textures on paper from real life textures (visual and
tactile).
● Shape arrangement in space as pattern
Value - Application, Relevance and Characteristics.
Assignment: -
• Extracted Color swatches are supposed to apply in a composition,
understanding the value of the hues.
III UNIT 3: Principles of Design, Proportions & Gestalt Perception 13
Principles Of design to include Balance Contrast Proximity Repetition

Space Unity and their impact on the visual world, aesthetics and design
Students explore the basic principles of design through explorations and

discussions, while working on group and individual assignment such as;
developing patterns, deriving compositions from surroundings, composing
basic elements and their derivative in 2D and 3D spaces.
Analysis, Synthesis, Design evaluation; Design criteria – function &

purpose, utility & economy, form & style; The Human factor –
History ,Culture, Ergonomic& aesthetic relationships / Concept
note / Mind mapping / Hierarchies / Brain storming / Info graphics /
Project Planning / Concept sketching / Colour & Texture board /
Process board / Mood Board / Style board / Material board /
Resource board / sketches
Assignment: -
● Study Visuals from the physical and digital world to understand
and demonstrate contrast, balance, harmony, Rhythm as
principles of Design. (presentation 10 slides)
● Composition (Cutting pasting): Create composition to show
“Contrast, Balance, Harmony, Rhythm” in a square space with
Straight/Curvilinear/vertical/Diagonal lines only (of any thickness)
using cutting & pasting method of one/two/three colored paper/s.
Contrast& Balance: Create two separate compositions to show
“Contrast and Balance” by using any two elements out of, circle,
triangle, square and a line with no restriction on numbers,
dimensions, overlapping or repetition of basic shapes. The elements
of the composition should be painted with Black Indian Ink or cut
out using black paper. The same to be painted following a color
harmony (Complimentary/Double complementary/ Split
complementary etc…) with poster colors.
Create a color composition (using one specific color harmony) to
show “Imbalance “by modification of the previous composition
(balance one).
Rhythm& Harmony: Create two separate compositions to show
“Rhythm& harmony” by using of shapes created by subtraction,
addition and intersection methods (one each mandatorily), during
shapes exercises. No restriction on dimensions, overlapping or
repetition.
Color the composition (Rhythm one) in negative spaces to show
“Rhythm” (with one color harmony - complimentary/triad etc.).
Gestalt (Group activity): Find examples of gestalt principles from
existing surrounding/s and then simplify and interpret the examples
in black and white or color, as final outcomes.
Composition (Texture & pattern): Get multiple Xerox of the
compositions done in the exercise of lines. Cut stripes of .5" inch
from the Xeroxes and then stick them together in different
orientation to create 2 different variations. Create a pattern by
repeating the strips. For one of the selected patterns student needs
to create a color variation by tracing and painting the variation
without outlines. Select any two basic shapes and create a
composition with the pattern (above mentioned) cutouts.
Two dimensional compositions: Select, choose, zoom and trace part
of a picture/photograph. Understand and reorganize the space
division of the frame. Define the positive and negative space in the
composition. Recreate the composition. Extract the colors from the
frame and create harmony out of that. Color the composition with a
specific color harmony (and hue values).
Three-dimensional composition :( Group activity- any number)
Students have to come up with a composition in a given cubic space.
The composition should be made using one of the ten mentioned
words below as theme: joyous, strong, playful, energetic, protected,
scared, free, lonely, peaceful, conflict.
Optional / initiative
Self-Initiated Exploration of Gestalt Laws; The laws – Closure,

Proximity, Good Continuation, Similarity, Figure-Ground, Common
fate, Symmetry; Finding Gestalt Laws occurring in surroundings;
Inter-relation of Gestalt Laws with the elements & principles of
Design.
#
The assignments in each of the sub-modules are indicative, vary year to year, teacher to
teacher.
⃰The division of sessions may change as per the teacher’s discretion depending upon the
class response and speed of delivery.
TEACHING METHODS:
The course is covered by adopting combination of lecture methods, class presentation,

self-study sessions & task / assignments. The concept will be imparted through lectures &
applications of the concept shall be done through series of assignments. Each student is
required to prepare & submit course specific documented report consisting their
understanding of the subject.
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:
Edition and
Sr.
Author/s Name of the Book Publisher Year of
No.
Publication
The New Munsell Student Bloomsbury
1 Jim Long
Color Set, Academic USA
Bernhard E.
Bürdek Design: history, theory and Birkhauser Verlag
2
practice of product AG
David A. Lauer,
3 Stephen Design Basics Cengage Learning,
Pentak Inc.;
Universal Principles of Design,

Revised and Updated: 125
William
Ways to Enhance Usability,
Lidwell, Kritina Rockport
4 Influence Perception, Increase
Holden, Jill Publishers;
Appeal, Make Better Design
Butler
Decisions, and Teach through
Design
Chris Dorosz, Designing with Color: Fairchild

5 Publications
JR Watson Concepts and application
(2010)
Color + Design: Transforming Bloomsbury
6 Ronald L. Reed
Interior Space Academic USA;
Dennis Puhalla Design Elements: Form & Rockport
7 Space: A Graphic Style Manual Publishers (1 July
for Understanding 2011)
Michael E. Color Drawing: Design
8 John Wiley & Sons;
Doyle Drawing Skills and
Material Exploration 1
Course Code: BDG103

Credit: 4
COURSE AIM
The aim of this course is to encourage the students to orient their understanding for
materials, their characteristics. The main purpose of this course is to assist students to
explore the materials with various tools and techniques in lab.
COURSE OBJECTIVES
● To develop an interest on non-familiar materials.

● To develop precision and accurate sense of measurement.
● To be able to explore the non-familiarity side of a familiar material.
● To be able to think out-of-the-box even with both known and unknown materials.
● Understanding the level of precision and skills.
LEARNING OUTCOMES
The student should be able to comprehend the understanding of following aspects of

each material:
● Familiarity of materials in the present market.

● The tactile quality of the material.
● Understanding space and depth.
● Understanding of the material’s unique property and characteristics.
● Exploring limitations and possibilities.
COURSE DURATION

COURSE CONTENT
Module
Modules/Sub-Modules Sessions
No.
Unit 1: Surface
I 9
● Introduction to the materials
● Introduction and application of handling tools.
● Hands on demonstration.
Unit 2: Solid
II ● Introduction to the materials 9

Unit 3: Mouldable
III ● Introduction to the materials 9

Unit 4: linear
IV ● Introduction to the materials 8

TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Visualization & Representation
Course Code: BDG104

Credit: 4
COURSE AIM
The aim of this course is to encourage the students to blend in observation, perception
and imagination and gives the student the required technical drawing skills to express
that visualisation.
COURSE OBJECTIVES
● Familiarize the students to the importance of ‘observation’ and its relation with
perception.
● Expose the students to tools and techniques needed in drawing based visualizations.
● To understand properties & working characteristics of drawing-based compositions.
LEARNING OUTCOMES
● Ability to observe and draw

● To have an increased mind-eye-hand coordination
● Explore drawing based representational techniques.
● Understanding the visual thinking, visual arrangement in 2D – 3D & visualization of
mass, volume, space & proportion.
COURSE DURATION
COURSE CONTENT
Modul Modules/Sub-Modules Sessions

e No.
I 8
● Observation exercises and exposures to various approaches
of visualisation of surroundings. Introduction to drafting
equipment, materials & methods of using them
.
● Orthographic projections – Projection of lines, planes &

II solids, sections of primary solids. Projection of all platonic 8
solids such as cube, cuboids, pyramids, cone, etc.
● Perspective Drawing – 1 point, 2 point & 3-point perspective

(spatial experiences). Position, orientation & intersection of
planes in perspective.
III ● Creating compositions blending in technical elements with 9
imagination. - Introduction to storyboards – ethnographic
drawings, nature study
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co Co St Pr Ex Co Arti Pre Do M Int Cons
gni nc ud oc pl nt cul sen cu oti er isten
tio ep io es or ex atio tati me va ac cy
tu
al nta
tu ati tio tio
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Sr. Author/s Name of the Book Publisher Edition and Year

No. of Publication
Doverback
R1 Earnest Norling Perspective Made Easy 5th edition
Publications
R2 Scott Robertson How to Draw ArtCenter. 2020
Butterworth-
R3 Henry Gray Grays Anatomy Latest edition
Heinemann
Elective 1
Course Code: BDG105

Credit: 2
COURSE AIM
The aim of the course is to impart the basic knowledge of Basic digital tools in relation to
design expressions. The course enables the students reflect and understand the basics of
digital communication strategies.
COURSE OBJECTIVES
● This course focuses on making the student expand and adapt the digital platform and
use a multiplicity of its applications depending on their use and impact on given tasks.
● To impart the basic knowledge of Digital tools.
LEARNING OUTCOMES

● Ability to understand creative process executed by various basic digital tools that
intertwines the digital and physical realms & allows students to connect seamlessly in
creative design process.
COURSE DURATION
COURSE CONTENT

e No.
● The Module is structured around various Basic digital tools,
I which will allow student to adapt New media approach. 15
● The students will be offered elective options from creative
coding, creative software’s.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
Integrated Design Project 1
Course Code: BDG106

Credit: 5
COURSE AIM
This course makes the students sensitive towards the social, cultural and physical
environment and understands the relevance of design in that context.

COURSE OBJECTIVES
● To develop understanding and application of basic design elements and principles and
processes in the context of design
● To grasp and articulate design ideas as a product of its cultural, social, and
environmental context and carry out research and analysis to create simple design
strategies
● To broaden students’ perception about environment and appreciate the
interrelationships and interdependence of the physical components.
● To develop the ability and desire to establish contact with people, share their
experiences and learn from their living.
LEARNING OUTCOMES
● Explore and use elements of design, fundamental theories and principles of design
using a range of materials, tools and techniques including e-tools and hand skill.
● Identify the same in context of social and cultural environments to theories, methods
and techniques to suggest appropriate design solutions
● Apply fundamental understanding of principal and elements of design, visual and
material knowledge, presentation techniques, hand skills and digital techniques to
generate original design solutions.
● Communicate visual and written information clearly; and effectively demonstrate basic
proficiency in presenting ideas/ and research using manual and/or digital media.
● Learn/ Study and finally practice work ethics; demonstrating self-motivation and
curiosity while working cooperatively and collaboratively in a team or independently in
a given situation.
COURSE DURATION
COURSE CONTENT

e No.
Introduction
● Environmental perception of built environment in relation to

I historical, cultural and social context. 5
● Preparatory exercises to understand the methodology for

environment perception.
Field/Case study/Analysis
● Field study in a chosen environment and communication of

its understanding through maps, sketches, illustrations and
II textual reports. 10
● Observe, study, analyse and document detailed aspects of
the chosen environment.
● Identify criticality areas of design interventions to enhance
human experience.
Design development
III ● solve, Improve, develop, modify, adapt, to create innovative 15

design solutions.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Sr. Edition and Year

Author/s Name of the Book Publisher
No. of Publication
Environmental Psychology Bloomsbury
R1 D. A. K. Kopec 2012
for Design Academic
Ricardo Garcia Mira, J. Environmental Perception Psychology
R2 2005
Eulogio Real and Cognitive Maps Press
Advances in Environment,
Erwin H. Zube, Gary T.
R3 Behavior, and Design: Plenum Press
Moore
Volume 3
YEAR 1 (PART 2)
Communication Skills
Course Code: BDG107

Course Type: Theory
Credit: 1
COURSE AIM
The aim of the course is to impart broader linguistic subject and should be helpful for any
language ability test mandate for global learning experiences.
COURSE OBJECTIVES
● To provide adequate mastery of communicative English language, training primarily in

all 4 major skills – listening, speaking, reading & writing.
● To impart quality training to the students which will enable them to acquire the skills
to meet the demands of the any academic learning abroad
LEARNING OUTCOMES

● The students learn the art of communicating their thoughts & ideas in the global
academic world.
COURSE DURATION
COURSE CONTENT
Module Modules/Sub-Modules Sessions

No.
● Forms of communication, factors facilitating communication –

i communication channels –4 types of language skills (LSRW) – 3
barriers to communication.
● Business communication – circular, agenda & minutes, email –

enquiries, quotations – placing orders – clarifications &
ii complaints, job application, cover letter with resume. 2
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 20marks
EXTERNAL:
End Year Examination
Evaluation for theory courses will be done through written examination.
Global Design Trends
Course Code: BDG108

Course Type: Theory
Credit: 1
COURSE AIM
The aim of this course is to encourage the students to orient their understanding of
explore the materials with various tools and techniques in the lab.
COURSE OBJECTIVES
● To comprehend the importance of culture in design.

● To sensitize and relate to culture and subcultures.
● To understand various contexts of 'culture' and 'Design' through different parameters.
LEARNING OUTCOMES
● Gain enhanced sensibility towards Culture and Design

● Relate issues of Culture and Design to past, present and future.
● Think, rationalize, explore, analyse, and synthesize issues related to Culture and
Design.
● Appreciate, empathize and apply this understanding for their role as a designer in
social responsibility
● Build and tell story of the learning journey
COURSE DURATION

COURSE CONTENT
Modul
e No.
Unit -1: Understanding culture in the context of Design
I o Region, Material, Food and culture 2

o Technology and culture
o Common historical and contemporary context of Craft,
Architecture, Product, Graphics & Fashion Design
Unit -2: Intellectual and pragmatic discourse
o Cultural Identity and its influence on Design

II o Popular Culture & Communication - Film, Music and Social 1
Media
o Semiotics in Communication
III Unit -3: Intuitive and universal knowledge of culture and 1

practices
o Tribes, Phenomena & Influences on Design
o Crafts & Textiles – Heritage and Contemporary

Development
Unit -4: Social reconstruction
IV 1
o World Events and Impacts on Culture
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 20marks
EXTERNAL:
End Year Examination
Evaluation for theory courses will be done through written examination.

REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Fashion and Cultural Bloomsbury
R1 Susan B. Kaiser 5th edition
Studies Academic
Maurice Design, Creativity & Culture: An Blackdog
R2 2020
Barnwell Orientation to Design Publishing
Dan Bucsescu, Critical Thinking for Designers and
R3
Michael Eng Architects
R4 Boradkar introduction to the culture of 2010
objects
R5 Johnson, R What is Cultural Studies Anyways? 1986
R6 Donald Norman The design of everyday things 2005
: The Psychology of Everyday Things
Design Process & Methodology
Course Code: BDG109

Credit: 6
COURSE AIM
The aim of this course is to understand the importance of the design process as a logical
framework for a set of conceptual processes & skills that form a bridge between the art,
science & practice of design. It builds an overview of the Design Process and its
subsequent iterations to allow for the understanding / perception of any design problem
regardless of scale and complexity against the background of a common framework.
COURSE OBJECTIVES
● To develop an understanding of the design process as the problem-solving core of

designing - straddling design disciplines and largely independent of the character of
the object designed. It adapts itself to interdisciplinary design domains, cultures,
techniques, interfaces and emphases at various stages
● Understand how individuals, organisations and cultures identify and solve problems.
● To develop understanding of the relevance of empathy, the human dimension and the
rationale of Design as problem solving activity in human history.
● To develop the ability to anticipate strategies and plan design activities within the
context of market forces & users, Technicalities and Production
LEARNING OUTCOMES
● To acquire conceptual ability and the requisite skills - to use the Design Process as a
potent tool to define & solve design problems of ascending complexity.
● Understand and internalize empathy- acknowledgment of the role of feelings,

instinct, interests, and values as the bedrock of design queries.
● Ability to apply design process, concepts and principles independent of the context in
which they were first studied, including, where appropriate, Ability to solve problems
through an interdisciplinary orientation.
● Devise creative ways to reframe a given problem imbued with meaning and context.
● Explore various ideation tools and methods towards Design experience, practice and
aesthetics towards.
● Develop an ability to employ established techniques of research analysis and
synthesis, recognize bias and issues both through interdisciplinary and Intra
disciplinary approaches to arrive at ideation process
COURSE DURATION
The course will have 35 sessions. (3 hours per sessions).
COURSE CONTENT
Module
Modules/Sub-Modules Session
No.
Unit-1: Design - Disciplines & Professional Practice
i ● Product, Communication, Lifestyle and Fashion 5
Rationale of Design Process

● Evolved /Learned design Process
ii 10
● Blended / Hybrid design Process
Planning of design activities

● Users
● Market forces – Culture / Technology / Economy
iii 10
● Materials & Production
● Design intersections & Social Innovation
Process of Design
● Design opportunity mapping – The “NEED”
● Defining design Brief/Problem statement
● Information - Research, Analysis & Synthesis
iv 10
● Conceptualization
● Communication
Redefining Brief/Statement
The assignments in each of the sub-modules Based on time, faculty etc. The division of
sessions may change as per the faculty’s discretion depending upon the class response,
need and speed of delivery.
TEACHING METHODS:
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE:
Sr.
No.
Bloombury Academic
R1 The Design Process Karl Aspelund
2014
Fashion Design: Process, Kathryn McKelvey, Janine 2nd Edition
R2
Innovation and Practice Munslow
Design for Product
R3 Understanding - The Rune Monö Liber, 1997
Aesthetics of Design from
a Semiotic Approach
The Design of Everyday
R4 Don Norman Basic Books
Things
Material Exploration 2
Course Code: BDG110

Credit: 4
COURSE AIM
The aim of this course is to encourage the students to orient their understanding of
explore the materials with various tools and techniques in the lab.
COURSE OBJECTIVES
● Familiarize the students to various materials by making objects that allows them to
explore forms, surfaces, textures, & patterns
● Expose the students, tools, techniques and production processes of materials.
● To understand properties & working characteristics and tools and techniques.
LEARNING OUTCOMES
● Understanding of various materials, their unique property and characteristics

● To identify basic tools and machines used for material exploration.
● Explore and use various basic tools & techniques and machines.
● Effectively identify, select & use the specified tools and equipment relevant to material
exploration.
COURSE DURATION
COURSE CONTENT
Modul
e No.
I 10
Hard Materials
● Introduction of various hard materials like wood, metal,
glass, etc
● Introduction to tools, techniques and manufacturing
processes.
Unit -2: Soft Materials
II ● Introduction of various soft materials like Natural fibres, 10

Paper & Pulp, Yarns & Fabrics, Leather etc
processes.
Unit -3: Fired Materials
● Introduction of various fired materials like terracotta,

earthenware, stoneware to bone china and porcelain
III bodies. 10
processes.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
No. of Publication
Workshop Processes, Practices
R1 Bruce J. Black, Routledge 5th edition
& Materials
MuammerKoç, Modern Manufacturing John Wiley &
R2 2020
TugrulÖzel Processes Sons, Inc.
Materials and Design: The Art
Michael F. Ashby, Butterworth-
R3 and Science of Material 2002
Kara Johnson Heinemann
Selection in Product ...
Albert Jackson The Complete Manual of Wood Knop
R4 1993
&David Day Making Publishers,
R5 Maria The art and craft of ceramics: Lark Books 2006
DolorsRosFrijolo Techniques, projects,
inspiration, Lark books, 2006
Crowood
R6 June Fish Designing and Printing Textiles 2005
Press
Observing Culture and Environment
Course Code: BDG111

Credit: 4
COURSE AIM
The aim of this course is to lead the students to understand and work within inter
relationship between environments, their people and other constituents like spaces,
animals and cultural objects.
COURSE OBJECTIVES
● To enhance cognition of diverse social, cultural and physical environments

● Expose the students to tools and techniques of working with communities.
● To understand how to contextually function focusing on cultural identity and its
influence on design.
LEARNING OUTCOMES
● Students will be able to research socio -cultural aspects of communities.

● Ability to present their research through visual means.
● Explore basics of design problem identification and solving.
● Ability to initiate creative interventions in communities.
COURSE DURATION
COURSE CONTENT
Modul
e No.
I 5
● Learning about various community-based design interventions,
researching various contexts in which such work has happened.
● Visiting a chosen community and initiating research though
II creative observation exercises like, sketching, photography, 5
sound mapping etc.
● Ideating of a creative intervention in the community and

development of the ideation through peer review.
III 15
● Initiation and actualisation of the creative intervention and
documentation of same.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:

Co Co Pr Ex Co Arti Pre Do M Int

St Cons
gni nc oc pl nt cul sen cu oti er
ud isten
tio ep es or ex atio tati me va ac
io cy
n tu s ati tu n on nta tio tio
al
thi tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Mapping the Terrain: New
R1 Suzanne Lacy monoshop 2014
Genre Public Art
Design Intervention:
PlainJoe
R2 Mel McGowan Revolutionizing Sacred 2016
Studios
SpacesPlainJoe Studios
Elective 2
Course Code: BDG112

Credit: 2
COURSE AIM
The aim of the course is to impart the basic knowledge of Advanced digital tools in
relation to design expressions. The course enables the students reflect and understand
the basics of digital communication strategies.
COURSE OBJECTIVES
● This course focuses on making the student expand and adapt the Advanced digital
platform and use a multiplicity of its applications depending on their use and impact
on given tasks.
● To impart the Advanced knowledge of Digital tools.
LEARNING OUTCOMES
● Ability to understand creative process executed by various Advanced digital tools that
intertwines the digital and physical realms & allows students to connect seamlessly in
creative design process.
COURSE DURATION
COURSE CONTENT
Modul
e No.
I 15
● The Module is structured around various Advanced digital tools,

which will allow student to adapt New media approach.
● The students will be offered elective options from creative
coding, creative software’s.
TEACHING METHODS:
● Visual journal
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL: End Year Jury

Integrated Design Project 2
Course Code: BDG113

Credit: 6
COURSE AIM
To develop understanding and application of advanced Interdisciplinary practice building

on inputs and knowledge structures (principles and processes in the context of
interdisciplinary design) provided in the previous semester.
COURSE OBJECTIVES
● Develop the ability to apply advanced cognitive skills, iterative design and material
processes synchronized with a capacity for reflective practice to solve conceptual
challenges posed by interdisciplinary issues.
● Assimilate and evolve an independent, rigorous approach to advanced research
methodologies (primary/secondary/tertiary), Blended technologies and
communication.
● Articulate and apply an evolved personal design philosophy and vocabulary to
contextualize interdisciplinary issues and required interventions
LEARNING OUTCOMES
● Apply fundamental understanding of interdisciplinary concepts and pathways of

design, visual and material knowledge, presentation techniques, hand skills and digital
techniques/ resources to generate innovative design solutions.
● Develop and deploy individual Research skills from a variety of methodologies and
processes using a multimedia orientation
● Learn professional practice / work ethics; demonstrating initiative, flexibility and
curiosity while working individually or collaboratively in teams
● Ability to apply Interdisciplinary design, concepts and principles independent of the
context in which they were first studied, including, where appropriate, Ability to solve
problems through an interdisciplinary orientation.
● Devise creative ways to reframe a given interdisciplinary Issue imbued with meaning
and context
COURSE DURATION
COURSE CONTENT

Modul
e No.
UNIT 1: Introduction
● Perception of Interdisciplinary design with respect to

historical, geo political and socio-economic context.
● Exploratory exercises to understand the methodology for a
holistic environmental perception through its components.
I 10
Assignment:
● Research on renowned interdisciplinary designers, both
nationally and Globally and create a presentation. (in hard
copy)
● Research & observation – digital, visual and written notes
● Field study in a chosen environment and intervention

areas requiring interdisciplinary and communication of its
understanding through visual aids, manuals, illustrations
II and research reports. 10
● Observe study, analyse and document detailed aspects of
the chosen social environment.
human experience and quality of life.
Design development
III ● Interventions – Conceptualize, Develop, Evolve, Modify, 20

Adapt & Improve to create innovative design solutions.
#
The assignments in each of the sub-modules vary year to year, teacher to teacher.
⃰⃰The division of sessions may change as per the teacher’s discretion depending upon the
TEACHING METHODS:

EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:
Title Author Publisher
Creativity, Design Thinking and Frédéric Darbellay , Zoe Springer; 1st ed. 2017
1
Interdisciplinarity Moody, Todd Lubart edition
The Field Guide to Human- Design Kit; 1st edition

2 Ideo.org
Centered Design (2015)
Textbook of Environment Tewari, Khulbe &
3 I.K. Publication
Studies Tewari
Design History and the History John A. Walker, Judy
4 Pluto Press,1990
of Design Attfield
5 introduction to the culture of Boradkar, P. Oxford: Berg, (2010)
objects
Design for the Real World:
Academy Publishers
6 Human Ecology and Social VICTOR PAPANEK
Chicago
Change
Encyclopaedia of Social and Dr Alan Barnard, Taylor & Francis Group,

7
Cultural Anthropology Jonathan Spencer 1996
Social and Cultural
8 Niggel Rapport Routledge ,2000
Anthropology: The key concepts
9 Semiotics: The Basics Daniel Chandler Psychology Press
1 Erwin H. Zube, Gary T.
Behaviour, and Design: Volume Plenum ress
0 Moore
3
YEAR 2 (PART 1)
Multicultural Design Trends 1
Course Code: BDG201

Course Type: Theory
Credit: 4
COURSE AIM
To develop an understanding of multicultural design trends and awareness of the

interrelationships of culture, art and design with economy, environment and politics in
the global context.
COURSE OBJECTIVES
● To develop sensitivity and critical awareness of the contemporary world related to

global cultural and social contexts.
● Recognize, identify, and understand the basics of design language in different areas of
art, craft and design globally.
● Demonstrate a basic knowledge of cultural diversity in past and present (Indian and
global context) and sub-text, giving expression to cultural exchange.
● To enable the students to understand the relevance of multicultural design trends in
relation to social cultural and physical context.
● To appreciate social, political, cultural context of global trends and contemporary
events.
● To develop the ability to research, record and apply cultural and social principles to
related design areas.
LEARNING OUTCOMES
● Gain an enhanced sensibility towards global sub cultures and design.

● Relate issues of culture and design to past present and future.
● Appreciate, empathize, and apply this understanding for their role as a designer in
social responsibility.
COURSE DURATION
COURSE CONTENT
Modul
e No.
● Perception of multicultural design with respect to

historical, geo political and socio-economic context in the
global context
● Introduction to Cultural identity and its influences on
I design 5
Assignment:
● Research on specific cultural identity in terms of design

trends (European, Australian, Indian etc)
UNIT 2: Research
● Crafts & textiles – heritage and contemporary

development (locally and globally. 5
II
● Observe study, analyse and document detailed aspects of
● Popular culture & communication – film, music, and social
media.
UNIT 3: Research Documentation
● Semiotics in communication. 10
III ● World events and their impact on culture, society and
environmental ecosystems specifically on multicultural
design trends.
#
TEACHING METHODS:
self-study sessions & task / assignments. The concept will be imparted through lectures
& applications of the concept shall be done through series of assignments. Each student
is required to prepare & submit course specific documented report consisting their
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 20marks
TEXT BOOKS:

1 The Culture of Design Guijulier Sage Publications
3 Design History and the History John A. Walker, Judy Pluto Press,1990
of Design Attfield
objects
Encyclopedia of Social and Dr Alan Barnard, Taylor & Francis Group,

7
Social and Cultural
8 Niggel Rapport Routledge ,2000
Anthropology:The key concept
Bridge Course 1
Course Code: BDG202

Credit: 4
COURSE AIM
● This course helps to orient and prepare the students for their global experiential
program at Swinburne, Australia.

COURSE OBJECTIVES
● It builds on their communication and presentation skills and helps them prepare their
portfolios.
● This course builds a bridge between local and global design and helps students to
understand global terminology, culture and trends that they will experience in
● Introduces them to the relationships between innovation, design, entrepreneurship

and creativity.
LEARNING OUTCOMES
Upon successful completion of course, students will be able to:
● Demonstrate knowledge and cognitive skills to communicate design concepts clearly

and apply those principles in a range of practices.
● Think critically about design and innovation and apply those principles in a range of
practices.
● Develop a design portfolio of international standards.
● Apply knowledge and technical skills to demonstrate a broad understanding of design

innovation and systems knowledge with depth in processes, ideation and collaboration
skills.
● Apply knowledge and creative skills to exercise critical thinking and judgment in
identifying and solving design innovation and service design problems independently
and collaboratively.
● Understand global terms and trends in the fields of innovation, design and
sustainability.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Introduction
I ● Students are taken through advanced communication and 5

presentation skills to help them develop their projects and
portfolios in the context of a global classroom.
Global Trends and Terminology
● Familiarize with global trends and terminology to

understand the opportunities and challenges in innovation
II and design within the global design industry. 10
● Students will be prepared for the global experiential
learning program 1.
Orientation/Preparation
● The students will be given an orientation towards the

III experience and a grounding in principles of design, 10
innovation and design systems as well as communication
skills.
TEACHING METHODS:
● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:

No. of Publication
R1 Tim Brown Change by Design Harper Business 2013
Ricardo Garcia Mira, J. Mc Graw Hill
R2 Mapping Innovation 2017
Eulogio Real Education
Interdisciplinary Seminar
Course Code: BDG203

Credit: 9
COURSE AIM
The aim of the course is to disseminate the experience earned at the partner
University/institution both academically and through socio cultural interactions and
perceptions to expand basic understanding of cultural transitions in global design,
learning and practice. The ESLS operates in a learning environment different and unique
from classrooms enabling students to share, network & learn more effectively and
efficiently.
COURSE OBJECTIVES
● Understand perceive & appreciate design education & experience in a multicultural

Milieu through student led seminars
● To showcase and share their individual experiences with the department and the
student body at large in an open forum
● To provide a flexible format and promote multimedia led and technology driven
expression styles among the students
● Examine various aspects such as Identity, Design vocabulary & Cultural nuances
related to the practice of design
LEARNING OUTCOMES
● Develop articulation and presentation skills to bring alive experiences

● Ability to critically discuss and analyse the aesthetic values of the semester abroad
through Plays /Presentations / Applications in a freely evolving format decided by the
students
● Ability to critically relate to contemporary intra cultural and societal mores and norms.
COURSE DURATION
The course will have 55 sessions (3 hours per session).
COURSE CONTENT
Module
No.
Presentation of learning and experience through an exploration of
individual growth and not just the quantum of work and its
implications on the journey ahead through the next year and how it
impacts the successive semester abroad experience.
55
I ● Through structured activities and discussions at the seminar’s
students will improve their ability to plan and analyse and imbibe
their lessons. By shared experiences the wider body of faculty
and students will experience a wider learning environment than
the classroom
#
The assignments in each of the sub-modules vary year to year, student to student.
⃰⃰The division /structure of sessions may change as per the students’ discretion depending
upon the class response and speed of delivery.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:

No. of Publication
Professional Communication Series: Student Edition
McGraw-
1 Multimedia Presentation Skills,
Hill
Student Edition Paperback
Presentation Zen: Simple Ideas on
Garr
Presentation Design and Delivery
2 Reynolds
(Voices That Matter)
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Encyclopaedia of
Alan Barnard & 1996.
R1 Social and Cultural Taylor & Francis,
Jonathan Spencer,
Anthropology
The Trainer's
Toolbox: The Secrets
to Creating a
R2 Margit Macchia Stairway Press 2018
Successful Seminar
from Scratch
R3 John Berger Ways of Seeing John Berger 2008

Helen
Gardner, Fred S. Gardners Art through 2005
R4 Thomson/Wadsworth,
Kleiner, Christin J. the Ages.
Mamiya
Design and
Aesthetics: A Jerry Palmer, Mo Ruthledge
R5 2003
Reader Dodson
YEAR 2 (PART 2)
Theory and Trends
Course Code: BDG204/VC

Course Type: Theory
Credit: 4
COURSE AIM
The aim of the course is to impart the knowledge of existing socio-economic-cultural

structures and their relationship with common-sense through studies of Iconographical,
Psychoanalytical, Semiotic theories.
COURSE OBJECTIVES
● To understand the relationship between image, video and media.
● To develop existing socio-economic-cultural structures.
● To enable the students to understand the relevance of Iconographical,
Psychoanalytical, Semiotic theories and their contexts
● To develop the ability to analysis images through Iconographical, Psychoanalytical,
Semiotic methods.
LEARNING OUTCOMES
● Students will understand cognition, perception, visual literacy and the notion of
Popular Culture.
● To learn different ways of reading and interpreting images. They will also know how
mediatic contextual and formal strategies affect the consumption of images.
● To know basics of semiotic theorises and to negotiate between structuralist and post
structuralist methods.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Purpose, relevance and development of culture and theoretical
analysis
● Introduction to visual literacy / how to understand an image
I ● Understanding key terms such as Perspective and 3
Representation, Visual Culture, Popular Culture their usage and
meaning.
Image as a narrative
● Iconographic analysis its usage and meaning. Iconographic
II analysis of contemporary images and their usage in the history 3
of campaign design.
● Cultural Identity and image

III Image as a sign 6
● Psychoanalytical analysis its usage and meaning.
Psychoanalytical analysis of contemporary images and how it
helps understand popular culture.
● Basic understanding of semiotics and the difference between

structuralist and post structuralist approaches.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:

Co
Do
Co Ex nt Ar Pre M Int
Co cu
nc St Pr plo ext tic se oti er Cons
gni me
ep udi oc ra ual ula nta va ac isten
tio nta
tu o ess tio thi tio tio tio tio cy
n tio
al n nki n n n ns
n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 20marks
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
R1 Daniel Psychology Latest Edition

Semiotics: The Basics
Chandler Press
Roelof van An Introduction to Iconography: Taylor & Francis
R2 Symbols, Allusions and Meaning in the Group, 2011
Straten
Visual Arts (Documenting the Image)
R3 Morgan MN Introduction to Psychology McGraw Hill Latest Edition
R5 Boradkar, P. Oxford: Berg, 2010
introduction to the culture of objects
Academy
Victor Design for the Real World: Human
R6 Publishers Latest Edition
Papanek Ecology and Social Change
Chicago
Dr Alan
Barnard, Encyclopaedia of Social and Cultural Taylor & Francis
R7 1996
Jonathan Anthropology Group,
Spencer
Niggel Social and Cultural Anthropology: The
R8 Routledge 2000
Rapport key concepts
History of Art & Fashion
Course Code: BDG204/FD

Course Type: Theory
Credit: 4
COURSE AIM
The aim of the course is to acquire knowledge and aesthetic understanding of fashion &
relevant art history of the XXth Century, to acquire the skill to analyse the intrinsic
relation of art with fashion.
COURSE OBJECTIVES
● Learners will be introduced to art movements.

● Learners will be introduced to the evolution of style though the different centuries.
● Learners will be introduced to the impact of art on fashion style in the modern era.
● To sensitize learners to the Western theories of fashion and style.
● To introduce learners to parallels within the Indian fashion context.
● To induce a critical approach towards historical interpretations in contemporary
culture.
LEARNING OUTCOMES
Students who successfully complete this course will be able to:
● Understand contemporary history of fashion and art.

● Research twentieth century styles.
● Apply & critically analyse fashion styles throughout XX century
● Understand the key components of style: bodily ideals, shapes and proportions of men
and women clothing, fashionable colour combinations, hair style variants and makeup
etc.
● Understand stylistic categories through historic and art references.
● Demonstrate an eye for fashion detail.
COURSE DURATION
COURSE CONTENT
Module
No.
Unit 1. Style History
● To study History of Modern Art.

● When artistic styles become fashion.
I ● Identify stylistic references in all forms of visual culture. 5
● Research on renowned Architects and Interior designers, both
nationally and worldwide and create a presentation. (in hard copy)
● Heritage walk or market observation –visual and written notes
II Unit 2: Chronological overview 10
● Introduction to History of Modern Arts - artistic movements
● Introduction to contemporary history of Arts in relation to
contemporary fashion - styles inspired by new art movements
● Introduction to the history of fashion from the mid XIX century until
XXI century
● Introduction to history of arts in modernity (1860s - 1970s)
● Changing the landscape of art; a shift from modernity to
postmodernity (1970s - 1980s)
III Unit 3: Fashion Moments 5

● Dior and The New Look -How Christian Dior revolutionised fashion
not just through his design of the 'New Look' but also through his
business strategy and vision. Elvis Presley and Rock 'n' Roll- How
Elvis brought the rock ‘n’ roll subculture to the mass market with his
seminal performance of Hounddog on TV on the Milton Berle Show.
● MEDIA CONCEPT The Swinging Sixties- How the directional music
and fashion scenes in London in 1966 - which saw it crowned the
“swinging city” by Time magazine - affected fashion.
● YSL and Le Smoking -How Yves Saint Laurent shifted the perception
of women wearing trousers with the presentation of his tuxedo suit
for women.
● The Summer of Love -The emergence of the hippie, bohemian Indie
style from San Francisco, popularised by Woodstock festival.
● David Bowie and Androgyny -The influence of David Bowie’s
androgynous style, embodied by the cover of his album, “The Man
Who Sold the World,” for which the long-haired singer posed on a
chaise longue in a “man dress.”
● Punk on the Kings Road -How Malcom McClaren and Vivienne

Westwood created the punk fashion subculture, both through the
retail store Punk which they opened on the King's Road and the
pair's styling of the Sex Pistols.
● Japanese Designers in Paris - How the Japanese designers Rei
Kawakubo and Yohji Yamamoto, who moved to Paris Fashion Week
to show their ‘avant garde’ collections, created a new,
deconstructed aesthetic
● Versace and the Supermodels -The impact of the elite group of
highly paid’ models — Linda, Cindy, Naomi and Christy — who were
booked by Versace to close his 1991 show, smiling and singing to
George Michael’s “Freedom.”
● Marc Jacobs and Grunge- How Marc Jacobs courted controversy
with his infamously ill-received “grunge” collection for Perry Ellis,
which focused on styling rather than design.
● Calvin Klein's Minimalism -The fashion minimalism moment,
epitomised by the controversial Calvin Klein campaigns starring Kate
Moss, whose look was dubbed “heroin chic.” of the 90s.
● McQueen's Runway Robots-The impact of Alexander McQueen
combining technology and performance art for his No. 13 show,
which saw model Shalom Harlow’s tulle dress spray painted by two
robots' arms.
Unit 4: Fashion and Beauty representation

IV ● The change of beauty ideals through XX century until now.
Changing and reshaping the perception of fashionability.
TEACHING METHODS:
The course uses a blended methodology of lecture methods, class presentation, self-
study sessions & tasks / assignments. The tutor is required to impart relevant knowledge
& content as well as additional research recommendations. The methodology includes
open learning through discussion and multiple platforms like books, presentations, video
and research.
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 20marks
TEXT BOOKS:
Edition and
Sr.
No.
Publication
Fashion 150: 150 Publishing (4
T1 Arianna Piazza Years / 150 Laurence King October 2016)
Designers
Fashion, 150 Years: Revised edition
Couturiers,
T2 Charlotte Seeling Ullmann Publishing; (18 September
Designers, Labels
2014)
REFERENCE BOOKS:

No. of Publication
Univ of
Juliet Ash and
R1 Chic thrills: A fashion reader California Latest Edition
Elizabeth Wilson
Press
Subculture: The meaning of
R2 Dick Hebdige Routledge Latest Edition
style
New York:
Alison Lurie and Terry The language of clothes. Vol.
R3 Random Latest Edition
Hayes Sales 12
House
London:
R4 Ted Polhemus Streetstyle Latest Edition
Pymca
Fashion & anti-fashion: an
Ted Polhemus and Thames &
R5 anthropology of clothing and Latest Edition
Lynn Procter Hudson
adornment
Theory of Interior Design 1
Course Code: BDG 204/ID
Course Type: Theory
Credit: 4
COURSE AIM
The aim of the course is to impart the knowledge of Interiors in relation to social art,
responsive to historical & cultural influences. The course enables the students reflect and
understand the history of art, Heritage and interior spaces.
COURSE OBJECTIVES
• Understand the historical and cultural contexts of interior design.

• Examine Interior design in context to a variety of time periods, cultures and
geographic regions. It introduces students to the conventional designations of stylistic
periods, treats major works and architects in this span of time and relates these to
interior environments.
• Understand principles of Interior Design and their relationship with human
physiological and psychological impact.
• Understand the basic human need for functional harmonious interiors juxtaposed on
the aesthetic needs influenced by cultural and stylistic trends.
• Analyse interior design solutions embedded in appropriate cultural, historical, social
context.
• Develop an understanding of the importance of major architects, interior designers
and furniture designers (past and present) and their influences through a critical
appreciation and analysis of their body of work relating these to the interior
environment.
LEARNING OUTCOMES
● Apply fundamental understanding of Elements of Interior Design as well as knowledge

of socio-cultural/ historical contexts to develop appropriate Interior Design strategies
for different users and Environments.
● Resource, explore and analyse various studies to understand Interior Design solutions
embedded in appropriate cultural, historical, social context.
● Source select and use data as well as relevant theory/concepts pertaining to Interior
Design industry to demonstrate the ability to perceive, and critique spaces (through
the interaction of multiple design elements, design principles and techniques and its
users).
COURSE DURATION
COURSE CONTENT
Module
No.
World History
I ● Development of interior design from pre-historic times to present 6

times. Changing nature of design through time in terms of forms,
styles and materials.
Indian Design, Interiors and Heritage
II 6
● Evolution of various neo-vernacular styles of Interiors, furniture
and Heritage in different regions of India.
Unit -3: Contemporary Designers
III ● Study of theories, philosophies and works of Designers in respect 8
to interior Architecture, Interior Design and Elements.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 20marks
REFERENCE BOOKS:
No. of Publication
Sir Banister Fletcher History of Architecture CBS Publishers &
R1 Distributers, New
Delhi
Jeannie Ireland, 2nd History of Interior Bloomsbury
R2 Edition Design Publishing, 2nd Edition
London
Henry Wilson India: Decoration, Watson-Guptill
R3 2001
Interiors, Design Publications
John F Pile A history of Interior
R4 4thedition.
design
Francis D. K. Ching Architecture – Form, John Wiley &
R5 2014
Space & Order Sons, Inc
List of Journals/ Periodicals/ Magazines/ Newspapers/ Digital Resources etc.:
● Developing Creative Thinking in Beginning Design Hardcover – Import, 25 Sep 2018

by Stephen Temple (Editor)
● Rotman on Design: The Best on Design Thinking from Rotman Magazine
● https://www.researchgate.net/publication/327076543_Creativity_in_Design
Ergonomics
Course Code: BDG204/PD

Course Type: Theory
Credit: 4
COURSE AIM
The aim of the course is to understand the importance of Ergonomics and implementing
Anthropometric Principles.
COURSE OBJECTIVE
● To develop understanding of Science of work and human relationship to work to be
performed.
● To understand and integrate scientific methodology and to design products, processes
and services more efficient, more comfortable and more utilitarian.
● To develop understanding of Physical and Cognitive aspects of comfort, efficiency,
utility and safety in human machine interface, processes and services.
LEARNING OUTCOME
● Application of Ergonomics in user centric design solutions.
COURSE DURATION
The course will have 20 Sessions.

COURSE CONTENT
Modul
e No.
Introduction
I 5
● Introduction to Ergonomics and its relevance to Design
Physical Ergonomics
II 15
● Human Anatomy
● Physiological and Biochemical characteristics as they relate
to physical activity
● Anthropometry
● Human Postures and Movements
● Occupational Hazards
* The assignments in each of the sub-modules vary year to year, teacher to teacher.
* The division of sessions may change as per the teacher’s discretion depending upon the
TEACHING METHODS
The course will use the following pedagogic tools:
● Lectures/Tutorials aided by audio-visual technology on different components of the

topic, to be taught in each session.
● Display of sketches, samples, prototypes, explorations in support of the relevant topic
requirement
● Demonstration of necessary techniques & exercises by the faculty to group of students
● Classroom discussion and group interactions/ debate based on the relevant topics
EVALUATION
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 20marks
REFERENCE MATERIALS
Edition and
Sr.
No.
Publication
Handbook of Human Wiley
R1 Gavriel Salvendy Latest Edition
Factors and Ergonomics Publication
The Measure of Man and
Alvin Tilley, Henry John Welly &
R2 Woman: Human Factors Latest Edition
Dryfus sons
in Design
Design for Print

Credit: 6
COURSE AIM
The aim of the course is to Introduce students to the development of publication

methods, mediums and aesthetics. The course also aims to develop knowledge of deep
practical aspects of contemporary industrial printing processes.
COURSE OBJECTIVES
● Introducing students to the development of publication methods, mediums and

aesthetics.
● Making students aware of the design principles of publication design across various
formats.
● Students will be exposed to understanding of the relationships between content,
concept and narrative and its influence of designing publications.
● They will be exposed to the use of vernacular typefaces and its implications layouts.
● Students will be taught deep practical aspects of contemporary industrial printing
processes.
LEARNING OUTCOMES
● Students will develop a basic knowledge of the different type of publication. They will
be able to design across various publication formats.
● Students will be able to work with varied material for publication and implementation
techniques. They will have basic knowledge of vernacular typefaces and be able to use
them in publication contexts.
● Students will be able to manage content, design and generate ready to print files for
contemporary industrial printing processes.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Mediums and principles of publication design
● Introducing students to the development of publication
methods, mediums and aesthetics and
I 5
● Making students aware of the design principles of publication
design across various formats.
Concept and Content in Publication Design

● Guiding students to understand the relationships between
II content, concept and narrative and its influence of designing 5
publications.
Practical and Industrial Publication Design

● Exposure to varied material for publication and implementation
techniques. Students will be taught about vernacular typefaces
and be able to use them in publication contexts.
III ● Students will be taught deep practical aspects of contemporary 30

industrial printing processes.
● They will be made to manage content, design and generate

ready to print files for contemporary industrial printing
processes.
TEACHING METHODS:
● A combination of lectures, demonstrations and presentations and studio work.

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:

No. of Publication
From Design into Print:
R1 Peachpit 1 edition
Sandee Cohen Preparing Graphics and Text
Press (May 28, 2009
for Professional Printing
Offset Printing and All Assam

R2 K. Goswami Troubleshooting Practical Press Owner 2011
Guide Association
R3 David Jury Letterpress: The Allure of the Rotovision Latest Edition

Handmade
Graphic Design for Art,
Andy Cooke (Author),
Fashion, Film, Architecture,
R4 Angharad Lewis Prestle 2018
Photography, Product Design
(Foreword)
and Everything in Between
Construction Lab (PM/GC/DP)

Credit: 6
COURSE AIM
The aim of the course is to acquire basic understanding of basic pattern-making

techniques, sewing skills, garment construction and fabric draping. The learner is exposed
to fine details of finishing, pattern- drafting and fabric draping for fashion garments. The
course is aimed at enabling students to achieve basic garment realisation skills.
COURSE OBJECTIVES
● Learners will be introduced to silhouette

● Learners will be introduced to the use of flat paper patterns, drafting
● Learners will be introduced to the sewing techniques & fabric finishing
● Learners will be introduced to tailoring garments from paper patterns
● Learners will be introduced to draping techniques
● Learners will be introduced to combining construction skills to produce a garment
LEARNING OUTCOMES
● Understand pattern making techniques

● Understand sewing & finishing of garments
● Apply construction techniques to assemble garments
● Understand the fundamentals of draping
● Demonstrate the ability to collaborate all the skills to realise a garment
COURSE DURATION
COURSE CONTENT
Module
No.
Unit 1. PATTERN MAKING
● Basic Principles of pattern-making such as Dart Manipulation and
Added Fullness and Contour.
● Students will learn techniques such as Pivoting and Slash-and-
Spread.
● New terminology such as Slopers and Blocks and Darts, Pleats,
I Tucks, Yokes, Princess Seams, Shirring, Apex, Notches. 10
● Where patterns come from: draping muslin bodice on dress form.
● Drafting Princess Seams.
● Drafting an A-Line skirt.
● Drafting Skirt Yokes and adding fullness to skirt.
● Grainlines and Pattern Labelling.
● Trueing Darts.
II Unit 2: SEWING + FINISHING 10
● Machine Usage and Handling
● Neckline finish for Women’s garments
● Zipper attachment. Open & invisible
● Hemming finishing’s
● Closures & finishes
● Pockets
● Collars
Unit 3 : GARMENT CONSTRUCTION
● Sleeve attachment
● Collar attachment
III 10
● Understanding Pattern Pieces
● Understanding Ease and Seam Allowance
● Pattern Grain Line, Grading and CAD System
Unit 4 : DRAPING
● Addendum to Draping class: Prepping muslin. And "trueing"
darts.
● Draping the 2-Dart Bodice
● Transferring 2-Dart Bodice drape to dotted paper pattern. 10
IV
● Draping the 1-Dart Bodice
● Draping the Back Bodice. And pinning muslin correctly.
● Draping a Basic Skirt
● Draping a Circle Skirt - applying the technique elsewhere.
● Draping a Basic Dress and variations of it
TEACHING METHODS:
and research.
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:
Edition and
Sr.
No.
Publication
T1 ARMSTRONG and Patternmaking for Fashion PEARSON INDIA
HELEN JOSEPH Design 5th Edition
Pattern Cutting and CBS Publishers and
T2 Shoben M M Making Up Revised Distributors
Edition 2000
Draping: Techniques for Laurence King (January 8,
T3 Francesca Sterlacci
Beginners Publishing 2019)
Interior Technology 1
Course Code: BDG205/ID

Credit: 6
COURSE AIM
The aim of this course is to assist the students in exploring the Basic interiors materials
and construction systems. The course aims the students to develop the skills for
identification of suitable Basic construction materials for Interior design projects as well
as Ability to develop and manipulate them in projects.
COURSE OBJECTIVES
● To develop an understanding of the basic technical issues related to Interior Spaces.

● To learn how to link the design of interior spaces and their technical components
(construction & materials).
LEARNING OUTCOMES
● Understand basic principles of construction and technical processes /procedures,

properties of material/finishes and their application in Interior design industry in order
to generate / identify basic design briefs and solutions
● Resource, critically analyse the functions and application of technology/construction,
materials, finishes their uses/application for horizontal and vertical surfaces; study and
collate market trends and availability issues related to Interior Design and styling
industry.
● Source, select and use basic materials/finishes and appropriate technology and
technical concepts/Basic construction techniques relevant to Interior Design Industry,
whilst demonstrating awareness of basics aspects of construction
/materials/procedures and processes within a given brief.
● Communicate and articulate information clearly and effectively to specialists and non-
specialists (using manual and/or digital media), demonstrating basic proficiency in
presenting data/ working drawings and technical information related to the given
brief.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Interior Materials
I Study of Soft and hard materials and their applications in Interior 12
spaces + furniture.
Interior Technical Details
II 12
Basic Interior construction techniques for Interior spaces + furniture
Material Workshop
III Exploration of various interior materials and construction 16
techniques.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Universal design McGraw Hill - New
R1 Preiser W 2001
handbook. York
Chichester, West
Neufert, E., Neufert,
R2 Architects' data. Sussex, UK: Wiley- 2012
P. and Kister, J
Blackwell
London: Longman
R3 McKay, J.K. 1990. Building construction
Group
R4 Winchip, S. Sustainable design for Fairchild Publications 2007
interior environments
Building materials Charotar Publishing
R5 B.C.Rangwala
&construction house
● List of Journals/ Periodicals/ Magazines/ Newspapers/ Digital Resources etc.:

Materials and Processes 1

Credit: 6
COURSE AIM
The aim of this course is to gain knowledge of different materials and manufacturing
processes which includes material properties, strength and protecting aesthetic coatings.
COURSE OBJECTIVES
● To understand and application of basic materials and its unique characteristics and
properties.
● To develop understanding of inherent properties and potential of material such as
clay, paper, Jute and Plaster of Paris
● To develop understanding of basic tools and their application to achieve derived form
and visual characteristics.
● To develop understanding of manufacturing material to enhance its physical
characteristics.
● To be able to achieve desired precision and accuracy by way of manipulating tools.
LEARNING OUTCOMES
● Students will have acquired the ability to manipulate materials through subtractive
and additive methods
● Students will have acquired the judgment to use appropriate tools and techniques to
evolve forms.
● Students will acquire the ability to understand and achieve the desired precision.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Unit -1: Physical and visual characteristics of materials

● Nuances of material structures
i ● Nuances of surface quality enhancement 20
● Nuances of expression through inherent natural material
properties culminating into visual expression.
Application of tools
● Shaping and forming of material in various forms such as solid,
sheet, linear and granular.
ii ● Finishing of surfaces, contours of the material through various 20
tools.
● Nuances of precision and accuracy in materials by
manipulating tools.
Manipulation
iii 10
Nuances of manipulation skill of material
*The assignments in each of the sub-modules vary year to year, teacher to teacher.
TEACHING METHODS
The course is covered by adopting a combination of lecture methods, class discussion by

group of students, brainstorming sessions, self-study sessions, work-display and
tasks/assignments. The concept will be imparted through lectures and the application of
the concepts shall be done through series of assignments. Each student is required to
visit a location in groups and observe the surrounding and submit course specific
documentation consisting of the process adopted to reach the final output.
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr. No. Author/s Name of the Book Publisher Year of
Publication
David Model Making: Materials The Crowood

R1 -
Neat and Methods Press Ltd.
Fundamentals of Graphic Design

Credit: 6
COURSE AIM
The aim of the course is to introduce students to understanding of the elements and
principles of graphic design and an exploration of the Gestalt theory along with its
principles.
COURSE OBJECTIVES
● Introducing students to understanding of the elements of design (dot, line, shape,

forms, colours, texture).
● Making them aware of how they combine to form balance, harmony, rhythm,
movement etc.
● Students will be exposed to the theories of gestalt
● Students will learn the influence information hierarchy, symbol design and
compositional logic.
LEARNING OUTCOMES
● Students will develop perception of visual language in design.

● Will be able to deploy visual grammar and syntax to create compositions and
communications.
● Students will be familiar with basic theories of perception and their use in graphic
design.
● Will be able to conceptualise and actualise quality graphic design communications.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Composing though Principles
● Learning about design elements through exercises that develops
I the understanding of their characteristic nature. 5
● Exploring principles of design and learning how the elements

combine in various manners.
Concept and Practice of Colour
● Introduction to Color theories. Knowing different Color wheels.
II 7
● Knowing and exploring colour principles like primary,
secondary, tertiary along with greyscale, tints, tones, shades.
Semiotics of Graphic Design
● Students will be introduced to the theories of perception and
will be taught gestalt in detail.
● They will explore the influence of gestalt in information

III hierarchy, symbol design and compositional logic. 28
● Students will be exposed to postmodern trends in design.
● They will be led to explore experimental design languages with

reject the principles and gestalt theories.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:

No. of Publication
1991
R1 Philip B Meggs History of Graphic Design Wiley
A Critical Reflection on Arnheim's
Gestalt Theory of Aesthetics. Gerald
R2 Cupchik 2011
Psychology of Aesthetics,
Creativity, and the Arts
Principles of Art History: The Getty
R3 Heinrich Wolfflin Problem of the Development of Research Latest Edition
Style in Early Modern Art Institute
Graphic Design for Art, Fashion,
Andy Cooke
Film, Architecture, Photography,
R4 (Author), Angharad Prestle 2018
Product Design and Everything in
Lewis (Foreword)
Between
Postmodernism A Very Short
R5 Grace Batool OUP 2018
Introduction
Textiles & Materials

Credit: 6
COURSE AIM
The aim of the course is to acquire basic understanding & knowledge of fabrics and
materials for fashion. The learner will be able to recognise weaves from knits & non-
woven, will explore drapability, finishing’s and fabric manipulation techniques. The
learner will be able to add value to the fabric & eventually the product with the acquired
skills.
COURSE OBJECTIVES
● Learners will be introduced to textile weaves

● Learners will be introduced to textile dyeing processes
● Learners will be introduced to fabric finishing techniques
● Learners will be introduced to fabric manipulation
● Learners will be introduced to textile printing techniques
● Learners will be introduced to surface embellishment techniques
LEARNING OUTCOMES
● Understand the conversion of fibre to fabric, including weaves/knits/ non-woven

● Apply textile learning to fashion
● Appreciate qualities of textiles and usability in fashion
● Demonstrate the ability to select fashion fabrics.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Unit 1. Fibres
● Natural fibres- cotton, wool, silk, flax
I 8
● Man-made fibres- polyester, nylon, lycra
● Regenerated fibres- Viscose, rayon, tencel, lyocell
Unit 2: Woven/Non-woven/ knits
● Woven- Weave constructions- the loom
II 8
● Non-woven- construction & usage
● Knits- Construction- machinery- usage
Unit 3 : Textile finishes
III ● Luxury finishing 4
● Hand woven & finishing
Unit 4 : Fabric manipulation & printing techniques
● Embroidery hand/ machine 10
IV
● Printing- stencil/ block/ digital
● Fabric manipulation
TEACHING METHODS:
and research.
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:

No. of Publication
ARMSTRONG and Patternmaking for Fashion PEARSON INDIA
T1
HELEN JOSEPH Design 5th Edition
Amanda Fabric for Fashion: The Laurence King 2 edition (4
T2
Johnston Swatch Book, Second Edition Publishing; November 2014)
Clive Hallett/ Fabric for Fashion: The
Laurence King 18 February 2014
T3 Amanda Complete Guide: Natural and
Publishing
Johnston Man-made Fibres
REFERENCE BOOKS:
Sr. Author/s Name of the Book Publish Edition and Year of

No. er Publication
The Mood Guide to Fabric and Harry
Mood Designer
R1 Fashion: The Essential Guide from the N. 1 September 2015
Fabrics
World's Most Famous Fabric Store Abrams
Victoria
&
R2 Rosemary Crill The Fabric of India Albert 20 October 2015
Museu
m
Representation & Documentation 1

Credit: 6
COURSE AIM
The aim of this course is to Build on the skills on advanced basic tools for professional
representation and documentation. The course aims the students to use Basic two
dimensional, rendering and presentation software skills to develop their projects and
design analyses outcomes, which will enhance their 3D computer visualization skills.
COURSE OBJECTIVES
● Understand and develop basic 2/3 dimensional visual/representational tools and the
basic range of professional conventions used for communication in Interior Design
industry.
● Gain proficiency with graphical conventions and drawing tools and apply basic concepts
of design in mixed media, manual/digital for interior environments.
● Develop perspective interior illustration techniques and photography, from rapid-
visualization and thumbnail sketching to the formal composition of one-and two-point
perspectives. Students explore rendering of three dimensional forms, shapes and objects
for interiors and learn advanced rendering/mixed- media/photographic techniques.
● Develop drawing skills as tools for design thinking and visualization and use analytical
thinking abilities to enhance 3D understanding and perceptions through visualization &
representation.
● Understand the fundamentals of computer aided drafting and the tools used in this
technique. Students will learn basic computer drafting vocabulary, line weights and
values, as well as the skills necessary to produce floor plans, furniture plans, interior
elevations, and interior sections.
LEARNING OUTCOMES
After completing this module, you should be able to:
● Apply fundamental/basic concepts and understanding of basic communication (drawing

and representation) techniques used in Interior design and styling industry to generate
2D and 3D drawings for the given project.
● Resource, explore and analyse basic techniques of communication and representation
(manual/digital/2D/3D) related to Interior Design and styling industry.
● Source, select and use appropriate techniques of communication and representation to

produce a range of manual and digital drawings/ sketches whilst demonstrating
awareness of basic aspects of design communication in order to generate 2D and 3D for
the given brief. (Execution)
● Communicate information clearly and effectively using wide range of media (sketches,
drawings / photography/models/film) demonstrating basic proficiency and ability to
present ideas/designs professionally using creative skills & presentation. (Presentation)
COURSE DURATION
COURSE CONTENT
Modul
e No.
Drawing and Communication Skills:
I ● Introduction to 2D Manual and 3d manual drawing techniques 20

for Interior design communication.
● Introduction to digital drawing techniques for Interior design
Communication and presentation:
● Introduction to digital articulation and presentation for Interior
II 20
design
● Introduction to digital Graphical Presentation.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
John Wiley Sons,
R1 Francis D.K. Ching Drawing – A Creative Process,
New York
The Thames and Hudson
R2 Robert W. Gill manual of rendering with Pen Thames & Hudson 1990
and Ink,
Enest R. Weidhass,
Architectural Drafting &
R3 David A. Madsen Allyn and Bacon,
Design
4th Edition
Basics Textile Design 01:
Steed, Josephine,
Sourcing Ideas: Researching
R4 and Frances – A&C Black 2012
Colour, Surface, Structure,
Stevenson
Texture and Pattern. Vol. 1.
Interior Design Visual
Presentation: A Guide to John Wiley & Sons,
R5 Mitton, M 2004
Graphics, Models, Inc
Presentation Techniques.
Perspective for interior Whitney Library of
R6 Pile, J. F. 1985
designers Design

Design Drawing 1

Credit: 6
COURSE AIM
The aim of this course is to help student master the ability to sketch free hand, visualize
product in desired perspective and angle and represent sketches in a most professional
way with marker renders.
COURSE OBJECTIVES
● To develop skills of representation to observe, visualize and represent ideas/ concepts/

objects.
● To develop skills to appreciate and represent ideas/concepts/shapes in form of drawing &
sketching.
● To understand relationship between sizes, scale and proportions.
● To understand and appreciate various methods of visual representation such as free hand
drawing, analytical drawings, orthographic drawing, isometric drawing and perspective
drawing
● To understand visual phenomena of perspective and composition through the medium of
drawing.
● To explore and appreciate various drawing media and tools
LEARNING OUTCOMES
● Hand, eye, surface and tools co-ordination

● Exploration of various media such as pencil, charcoal and ink.
● Observation and perception of material and manmade objects and environment, in terms of
mass, volume, size, scale and proportion.
● Competency to represent volume, surface, mass and their interaction in space through
medium of drawing
COURSE DURATION
The course will have 40 sessions.
COURSE CONTENT
Module Modules/Sub-Modules Session

No.
Design Drawing
Introduction to Design Drawing; Value of Sketching as a Designer;
Introduction to perspective; Types of hatching, Margin and rules;
types of warm up exercises before sketching; Understand personal
sketching style, Comfort and gain control overs lines; Understand
I details within the perspective. 10
Assignment: One-point perspective Boxes; One-point Perspective
Products; One-point Perspective Environment; Two-point
perspective Boxes; Two-point Perspective Products; Two-point
Perspective Environment; Three-point perspective Boxes; Three-
point Perspective Products; Three-point Perspective Illustrations
Visualization
Introduction to the power of visualization; Eye to details in
characters/ attributes; Observation towards product details;
II Visualization of product with desired attributes 15
Assignment: Sketches of Selected Characters details; Sketches of
selected Product; Ideation on selected character & product;
Detail visualization of selected concept
Alcohol Marker Renders
Introduction to Alcohol Marker renders; ways to use Alcohol
marker; Methods of achieving desired materials; Ways to achieve
III 15
sharpness in final results
Assignment: Geometric shapes rendering; Simple surface product
rendering; Complex product rendering;
* The division of sessions may change as per the teacher’s discretion depending upon the class
response and speed of delivery.
TEACHING METHODS:
● Lectures about the value and power of sketching in design field and life.
● Demonstration of sketches, perspective, explorations in support of the relevant topic
requirement
● Demonstration of Alcohol markers and techniques
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
The Course Faculty should divide 50 marks under four headings as per its relevant weight-age in
a particular course (i.e. A, B, C, D in the above table). The faculty should assess a student under
each heading separately.
EXTERNAL:
End Year Jury
o All Learning Diaries of all courses of the year (Explorations & course specific documented
report of all courses)
REFERENCE BOOKS:
Sr. Name of the Edition and Year
No. Author/s Publisher
Book of Publication
Laurence King -
R1 Drawing for product designers Kevin Henry
Publishing
Social Innovation Design Lab
Course Code: BDG207

Credit: 13
COURSE AIM
The aim of this course is to enable students to understand the nature of social innovation
& what constitutes a Social Innovation approach through design; use these approaches to
understand and map complexity and multi-layered relationships in the Human
environments, and design appropriate solutions to complex interdisciplinary problems.
COURSE OBJECTIVES
● To understand the Social Innovation approach and its application in the design process
of a product
● To understand the interrelationships of a product/s with other influencing factors such
as environment, user behaviour, change of time, marketing, management, economics
and other factors.
● To understand in the content of a product – range interrelationships,
interchangeability, modularity growths amongst other things towards the
performance of one function individually or several functions together.
● To introduce key concepts of Social Innovation Thinking and Social Innovation Design.
● To catalyse a methodical Social Innovation approach/ process in solving complex
design problems.
● To solve design problems using the methodology of Social Innovation Thinking with
reference to the Design Process.
LEARNING OUTCOMES
● Apply fundamental understanding of social innovation through design, visual and

material knowledge, presentation techniques, hand skills and digital techniques to
generate innovative design solutions.
● Ability of acquiring nuanced Social Innovation approach and Social Innovation thinking
as a powerful tool towards change.
● Display confidence in using Social Innovation concepts, language & describe accurately
the set of key Social Innovation concepts
● Understand how Social Innovation based thinking is useful in analysing and improving
situations
● Reinforce the Design Process that would lead towards newer and more creative
solutions.
● Ability to research, collate, evaluate, visualize and apply.
COURSE DURATION:
COURSE CONTENT
Modul
e No.
Unit -1: Social Innovation
I ● Understanding of the concept of “Social Innovation”. 20

● Introduction to the concepts of closed and opened Social
Innovation (complex adaptive Social Innovation)
Unit 2: Social Innovation Thinking
● Field study in a chosen environment and intervention
areas requiring social innovation and communication of its
understanding through visual aids, manuals, illustrations
and research reports.
II ● Observe, study, analyse and document detailed aspects of 30
● Perception of Social Innovation with respect to historical,
geo political and socio-economic context.
III Unit 3: Social Innovation design 45
Interventions – Conceptualize, Develop, Evolve, Modify, Adapt
& Improve to create innovative design solutions.
● Selection of problem area.
● Data collection and analysis and understanding the
requirements and functions in the context of all variables.
● Concept generation
● Concept communication through all relevant drawings
including design drawing, sketches, rendering, models and
prototype.
● Documentation of the entire project.
class response and
speed of delivery.
TEACHING METHODS:
● Lectures/Tutorials aided by audio-visual Blended and hybrid technology on different

components of the topic, to be taught in each session.
● Display of sketches, samples, prototypes, explorations in support of the relevant topic
requirement
● Demonstration of necessary projects, techniques & exercises by the faculty to group of
students
● Brainstorming, Charts, Card sorting, Social Innovation mapping techniques
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:

1 Environmental Psychology for D. A. K. Kopec Bloomsbury Academic,
Design 2012
2 Environmental Perception and Ricardo Garcia Psychology Press, 2005
Cognitive Maps Mira, J. Eulogio
Real
3 Advances in Environment, Erwin H. Zube, Plenum Press
Behaviour, and Design: Volume 3 Gary T. Moore
Elective 3
Course Code: BDG208

Credit: 2
COURSE AIM
The aim of the course is to encourage students to develop additional skills and
interests to add to the knowledge of the core field which will strengthen the
prospects and knowledge of the field.
COURSE OBJECTIVES
● The module will give students learning opportunities to set and achieve learning goals
through interdisciplinary learning.
● To highlight the challenges and issues from the perspectives of processes, people and
products in interdisciplinary design and development.
LEARNING OUTCOMES
● Develop an awareness of interdisciplinary opportunities in professional design

practices.
● Increase exposure to a broad range of interdisciplinary skills, experiences, and
knowledge.
● To expose the characteristics of interdisciplinary Design and its relationship with
design thinking, applying both as complex problem-solving strategies.
● Demonstrate an understanding of integrative learning as it relates to the attainment of
educational and professional opportunities.
● Have reflective attitude towards practice and learning, including awareness of the
differing thoughts, motivations and values of professional colleagues from other
disciplines, and the criteria and expectations of users and other stakeholders including
society at large. Ideas/designs professionally using creative skills & presentation.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Introduction to the Topic
I 5
Exploration and final project

II ● The Transdisciplinary collaborative 10
project/research/workshop with for global design solution.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co Ex Co Do M Int
Co Pr Arti Pre
nc St pl nt cu oti er Cons
gni oc cul sen
ep ud or ex me va ac isten
tio es atio tati
tu io ati tu nta tio tio cy
n s n on
al on al tio n ns
thi
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
YEAR 3 (PART 1)
Multicultural Design Trends 2
Course Code: BDG301

Course Type: Theory
Credit: 4
COURSE AIM
To develop an understanding of multicultural design trends and awareness of the

interrelationships of culture, art and design with economy, environment and politics in
the global context.
COURSE OBJECTIVES
● Objective of this module is for students to critically reflect on the experiences and
knowledge gained by international and intercultural study abroad time at both the
partner universities of the B. Des-Global network.
● The learners will be familiarized with global trends, cultures and subcultures
● The learners will be introduced to global narratives and understand the magnitude of
influence these trends have on design and society
● The learners will learn to analyze rapidly changing global trends, their impact on
design and ecosystems.
LEARNING OUTCOMES
● Examine through real-world case studies, both historical and contemporary, how
changes within one society affect others.
● Identify, analyze, and understand global trends as they affect design, society and
interconnected ecosystems.
● Learn to identify emerging design and innovation opportunities and patterns.
● Students work in teams or individually to research and develop new design concepts
emerging from global trends and patterns in social, economy, environment,
technology and interrelated ecosystems.
COURSE DURATION

COURSE CONTENT
Modul
e No.
UNIT 1: Unit 1. Global contexts and systems
● Students will explore motivations and behaviours influencing

I global design and innovation practice within contemporary 5
contexts.
● Design Strategic thinking will be developed through reference
to economic, social and environmental ecosystems and current
global design trends
Unit 2. Identifying Patterns
● Students are asked to identify a particular global pattern or

trend and to relate their personal experiences to their
individual work and to theories, action and development 5
II
patterns.
● Students are asked to expand their capabilities in
acknowledging different cultural patterns of perception,
philosophy, emotion and action in order to relate these
experiences to their research
10
UNIT 3: Reflection and Research
● Identify social issues, problems, topics, challenges and

innovation potentials for their chosen topic for research. Look
at the broader interrelationships relate to that global trend or
III phenomenon.
● Articulate and identify correlations, repercussions of design
with regard to social, economic technology, environment
ecosystems, and reflect on design-specific methodologies and
apply them to their chosen subject and research.
#
⃰The division of sessions may change as per the teacher’s discretion depending upon the
TEACHING METHODS:

EVALUATION:
INTERNAL:
Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 20marks
age in a particular course (i.e. A, B, C, and D in the above table). The faculty should assess
a student under each heading separately.
TEXT BOOKS:

No. of Publication
R1 Guijulier The Culture of Design Sage Publication Latest Edition
John A. Walker, Design History and the
R2 Pluto Press 1990
Judy Attfield History of Design
R3 Boradkar, P. Designing things: A critical Oxford: Berg 2010
introduction to the culture
of objects
Dr Alan Barnard, Encyclopedia of Social and Taylor & Francis
R4 1996
Jonathan Spencer Cultural Anthropology Group,
Social and Cultural
R5 Niggel Rapport Anthropology:The key Routledge 2000
concepts
Bridge Course 2
Course Code: BDG302

Credit: 4
COURSE AIM
● This course helps to orient and prepare the students for their global experiential
program at Naba, Italy

COURSE OBJECTIVES
● It builds on their communication and presentation skills and helps them prepare their
portfolios.
● This course builds a bridge between local and global design and helps students to
understand global terminology, culture and trends that they will experience in
● Introduces them to the complexities of advanced discipline-based pathways
LEARNING OUTCOMES
Upon successful completion of course, students will be able to:
● Demonstrate knowledge and cognitive skills to communicate design concepts clearly

and apply those principles in a range of practices.
● Think critically about design and innovation and apply those principles in a range of
practices.
● Develop a design portfolio of international standards.
● Apply knowledge and technical skills to demonstrate a broad understanding of design
innovation and systems knowledge with depth in processes, ideation and collaboration
skills.
● Apply knowledge and creative skills to exercise critical thinking and judgment in
identifying and solving design innovation and service design problems independently
and collaboratively.
● Understand global terms and trends in the fields of innovation, design and
sustainability.
COURSE DURATION
The course will have 25 sessions. (1 session= 3 hour)
COURSE CONTENT
Modul
e No.
Introduction
I ● Students are taken through advanced communication 5

and presentation skills to help them develop their
projects and portfolios in the context of a global
classroom.
Global Trends and Terminology
● Familiarize with global trends and terminology to

II 10
understand the opportunities and challenges in
innovation and design within the global design industry.
● Students will be prepared for the global experiential
learning program 2.
Orientation / Preparation
III ● The students will be given an orientation towards the 10

experience and grounding in principles of design,
innovation and design systems as well as
communication skills.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
Discipline Specific Seminar
Course Code: BDG303

Credit: 9
COURSE AIM
The aim of the course is to disseminate the experience earned at the partner
University/institution both academically and through socio cultural interactions and
perceptions to expand basic understanding of cultural transitions in global design,
learning and practice. The ESLS operates in a learning environment different and unique
from classrooms enabling students to share, network & learn more effectively and
efficiently.
COURSE OBJECTIVES
● Understand perceive & appreciate design education & experience in a multicultural

Milieu through student led seminars
● To showcase and share their individual experiences with the department and the
student body at large in an open forum
● To provide a flexible format and promote multimedia led and technology driven
expression styles among the students
LEARNING OUTCOMES
● Develop articulation and presentation skills to bring alive experiences

● Ability to critically discuss and analyse the aesthetic values of the semester abroad
through Plays /Presentations / Applications in a freely evolving format decided by the
students
COURSE DURATION
COURSE CONTENT
Module
No.
I Presentation of learning and experience through an exploration of
individual growth and not just the quantum of work and its 55
implications on the journey ahead through the next year and how
it impacts the successive semester abroad experience.
● Through structured activities and discussions at the seminar’s
students will improve their ability to plan and analyse and
imbibe their lessons. By shared experiences the wider body of
faculty and students will experience a wider learning
environment than the classroom
#
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:
Edition and
Sr.
No.
Publication
Professional Communication Series:
Student
1 Multimedia Presentation Skills, McGraw-Hill
Edition
Student Edition Paperback
Presentation Zen: Simple Ideas on
Garr
2 Presentation Design and Delivery
Reynolds
(Voices That Matter)
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Encyclopaedia of
Alan Barnard & 1996.
R1 Social and Cultural Taylor & Francis,
Jonathan Spencer
Anthropology
The Trainer's
Toolbox: The Secrets
R2 Margit Macchia to Creating a Stairway Press 2018
Successful Seminar
from Scratch
R3 John Berger Ways of Seeing John Berger 2008
Helen
Gardner, Fred S. Gardners Art through 2005
R4 Thomson/Wadsworth,
Kleiner, Christin J. the Ages.
Mamiya
Design and
Jerry Palmer, Mo 2003
R5 Aesthetics: A Ruthledge
Dodson
Reader
YEAR 3 (PART 2)
Visual Identity & Branding

Course Type: Theory
Credit: 4
COURSE AIM
The aim of the course is to introduce students to complexities of visual language through
symbolism; and to enable the understanding and ability to create visual communication
as per the requirement for either creating or developing a brand.
COURSE OBJECTIVES
● To enable students to develop, ideate and create using abstraction and forms-
realistic/symbolic pertinent to the use of visual identity.
● Understanding the complexities of visual language through symbolism- both
indigenous, global and the derivatives thereof.
● To enable the understanding and ability to create a visual communication story as per
the requirement for either creating or developing a brand.
LEARNING OUTCOMES
● Students will be able to apply visual thinking to come up with relevant forms/symbols.
● They will develop a holistic understanding of a product/service which constitutes a
brand.
● Students will have an exposure to local and global branding strategies and will be able
to apply their learning in colour, composition and typography in the domain of visual
identity.
● They will be able to create branding related collaterals and generate comprehensive
branding guidelines.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Researching Visual Identity
I ● Researching and studying local and global branding campaigns 3
and understanding of a product/service which constitutes a
brand.
Concept and Practice of Symbol Design
II ● Understanding iconography, simplification and symbol design. 7
● Using symbols to generate logos.
Branding Design
● Brainstorm, research and understand a given service / product /
individual etc.
III ● Create a vision for the above which will lead to creation of the 10
brand and its communication story
● Creating the brand identity and the related set of collaterals
along with branding guidelines.
TEACHING METHODS:
● Visual journal
EVALUATION:
INTERNAL:
Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 20marks
REFERENCE BOOKS:

No. of Publication
R1 Philip B Meggs History of Graphic Design Wiley 1991
R2 John Berger Ways of Seeing Penguin Latest Edition
R3 Alan Fletcher The Art of Looking Sideways Phaidon Latest Edition
R4 Angus Hyland and 2018

Symbol Inkbot Design
Steven Bateman
R5 Powerhouse 2015
Kevin Roberts Lovemarks
Books
R6 Carl Jung Book of Symbols Dell 1968
Publishing
Co., Inc.
Fashion Theory

Course Type: Theory
Credit: 4
COURSE AIM
The aim of the course is to develop knowledge and understanding of fashion in a

contemporary and historical context. It will introduce the learner to a range of fashion
theories including the semiotics of clothing. The learner will explore the motivations
behind fashion consumption and its links with personal identity whilst developing an
understanding of fashion’s relationship to history as well as the avant-garde.
COURSE OBJECTIVES
● Introduction to fashion theory and the diverse approaches to its study as a “field” and
“practice”.
● Introduction to global industry, to its conception as power and phenomenon.
● Introduction to art & culture history.
● To study influences of anthropologists, writers, and artists on fashion.
● To sensitize and relate to fashion cultures and subcultures.
● Apply learned research methods in the development of research questions that
critically reflect on fashion.
LEARNING OUTCOMES
● Identifying and researching a specific historical or contemporary theme related to

fashion;
● Fashion theory and practice related to global fashion consumption.
● Apply a theoretical approach to a contemporary trend;
● Critically analyse fashion consumption related to political, social, ethical and individual
business contexts.
● Demonstrate a critical eye towards clothing & semiotics.
COURSE DURATION
The course will have 20 sessions (3 hours per session)
COURSE CONTENT
Module
No.
Introduction to fashion theory
● Etymology of Fashion
I ● Fashion as a Concept and a Phenomenon 4
● Proponents and Opponents of Fashion
● Studies of Fashion in Social Science
Sociological Discourse and Empirical Studies of Fashion
● Classical Sociological Discourse of Fashion
● Fashion, Modernity and Social Mobility
II ● The Origin of Fashion Phenomenon 4
● Contemporary Sociological Studies of Fashion
● Fashion and Sociology of Culture
● Fashion as a Manufactured Cultural Symbol
Fashion System
● Different Approaches to Fashion Systems
III ● The Beginning of the Fashion System 4
● Fashion Production as Collective Activity
● Empirical Study: The French Fashion System as a Prototype
Designers: The Personification of Fashion
● Designers in the Studies of Fashion
IV ● Designers, Creativity and Social Structure 4
● Legitimation of the Designer’s Creativity
● The Star System of Designers
● Hierarchy among Designers in the Fashion System
Production, Gatekeeping and Diffusion of Fashion
● Diffusion Theories of Fashion
V ● Gatekeepers: Making Aesthetic Judgments 4
● Diffusion Strategies from Fashion Dolls to Fashion Shows
● Fashion Propaganda through Advertising
TEACHING METHODS:
and research.
EVALUATION:
INTERNAL:

A + B + C + D = 20marks
TEXT BOOKS:
Edition and
Sr.
No.
Publication
First published in 2005 2005
T1 Yuniya Kawamura Fashionology
by Berg
Fashion & anti-
fashion: an
Ted Polhemus and -
T2 anthropology of Thames & Hudson
Lynn Procter
clothing and
adornment
Alison Lurie and Terry The language of New York: Random
T3 -
Hayes Sales clothes. Vol. 12 House
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
R1 Dick Hebdige Subculture: The meaning of style Routledge -
R2 Ted Polhemus Streetstyle London: Pymca -

Women of fashion: Twentieth-
R3 Valerie Steele Rizzoli Intl Pubns -
century designers
Vogue book of fashion William Morrow
R4 Polly Devlin -
photography: the first sixty years & Co.
Theory of Interior Design 2

Course Type: Theory
Credit: 4
COURSE AIM
The aim of the course is to develop advanced understanding of theoretical concepts of

interior design. The course inculcates the students to develop the language of aesthetics
and perception of spaces in relation to human psychology and behaviour.
COURSE OBJECTIVES
● To provide an overview of the relationship between user and Space, Behaviour Pattern
of human Beings in physical Interior space.
● To develop advanced understanding of theoretical concepts of interior design. The
course inculcates the students to develop the language of aesthetics and perception of
spaces in relation to human psychology and behaviour.
● To provide the framework for understanding design as a new language by sensitizing
students to the conceptual, visual and perceptual issues involved in the Interior design
process.
LEARNING OUTCOMES
● Apply fundamental understanding of Human Psychology and Aesthetics in Interior

Design as well as knowledge of Human Behaviour in respect to socio-cultural contexts
to develop appropriate Interior Design strategies for different users and Environments.
● Resource, explore and analyse various studies to understand Environmental
Psychology and Human
● Source select and use data as well as relevant theory/concepts pertaining to Interior
Design industry to demonstrate the ability to perceive, and critique spaces.
COURSE DURATION
COURSE CONTENT

e No.
Environmental Psychology, Perception and Aesthetics
● Perception of the space through understanding associative
aspects relating to space.
I ● Relationship of spatial elements to psychology and 12
perception of space
● Introduction to the western and Indian Aesthetics, and how
Aesthetics can create illusions, drama, for spaces.
Human Behaviour in Physical Environment
● Reflection of Social behaviour patterns, traditional thinking,
II culture into the physical environment, Human Being and his 8
behaviour in various public and private spaces, change of
patterns in various culture and groups in relation to physical
space.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 20marks
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
R1 Bryan Lawson Language of Space Architectural Press 2001
Irwin Altman, Erwin H. Public Places and Spaces

R2 Springer Link 1989
Zube
R3 Ways of Seeing, John Berger

Taylor & Francis 1996
Encyclopaedia of Social
Alan Barnard &
R4 and Cultural
Jonathan
Anthropology Spencer
Roger M. Downs, Transaction
R5 Image and environment 2005
David Stea Publishers,
Encyclopaedia of Social
Alan Barnard &
R6 and Cultural Taylor & Francis 1996
Jonathan Spencer
Anthropology
Architecture – Form,
R7 Francis D. K. Ching john Wiley & Sons 2014
Space & Order

Technology and New Materials

Course Type: Theory
Credits: 4
COURSE AIM
The aim of this course is to design with respect to available technologies and new
materials.
COURSE OBJECTIVES
● Apply knowledge and understanding to the design and making of products, taking
into consideration sustainability and the wider impact on society
● develop a range of transferable skills
LEARNING OUTCOMES
● Ability to engage in the process of new product development and manufacturing.
COURSE DURATION
COURSE CONTENT
Assignment of sessions to the modules of course is as follows
Module
Topics Sessions
No.
UNIT 1 Introduction
● Designing and producing.
● Technologies in industrial and commercial settings,
environmental and social issues
1 ● Creativity and collaborative design 20
● Manufacturing and production
● Computer-based technologies
● Occupational health and safety
● Evaluation and manipulation of new materials, tools
and techniques.
TEACHING METHODS
● Field Visit and Individual Secondary Data collection, mapping, analysing.

topic
● Demonstration of necessary techniques &exercises by the faculty to group of students
EVALUATION:
INTERNAL:
Co Co
gni nt Do
Co Ex M Int
tio Pr ex Arti Pre cu
n oc tu cul sen me
es al atio tati nta
s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 20marks
REFERENCE MATERIAL
Winning at New Products: Creating Value Hatchette Book
Robert Cooper
through Innovation Group
Advertising & Campaign Design

Credit: 6
COURSE AIM
The aim of the course is to introduce students to understanding what a brand is and how
they can build successful ones, whilst simultaneously segmenting their consumers and
communication channels appropriately.
COURSE OBJECTIVES
● The course is focussed on exposing students to a journey that starts with

understanding what a brand is and how they can build successful ones.
● To give exposure to segmenting their consumers and communication channels
appropriately.
● The course explores positioning and its importance to successful brands looking at
perceptual maps and the well-known iceberg model.
● It culminates in development of real/mock branding exercise, which can be applied to
the working world through the use of branding and cross-media campaigns.
LEARNING OUTCOMES
● Students will understand brands as a system of tangible items that fuel the semiotic
recognition among the consumers.
● They will know elements and positioning that typically create strong identities and
result in a brand standing out from the crowd of brands on the market.
● Students will understand and apply concepts and theories in the use and presentation
of images and information using tools and technologies appropriate for public
relations/integrated communication or mediated journalism.
● They will have practical knowledge of how to create design projects such as logos,
print ads, stationery, social media campaigns and experimental offline campaigns that
support and enhance the brand with the aid of various strategies.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Researching Branding Systems
● In-depth research of seminal branding campaigns and
I understanding of a product/service which constitutes a brand. 5
● Understanding how brands are system of tangible items that

fuel the semiotic recognition among the consumers
Brand Identity Tools
II ● Developing tools, elements and positioning that typically create 10
strong identities and result in a brand standing out from the
crowd of brands on the market.
Branding and Promotion
● Understanding and applying concepts and theories in the use
and presentation of images and information.
● Creating design projects such as logos, print ads, stationery,

III 25
social media campaigns and experimental offline campaigns.
● Creating a branding ecosystem to support and enhance the

brand with the aid of various strategies; including using tools
and technologies appropriate for public relations/integrated
communication or mediated journalisms.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:

No. of Publication
Graphic Design for Art,
Andy Cooke Fashion, Film, Architecture,
R1 (Author), Angharad Photography, Product Prestle 2018
Lewis (Foreword) Design and Everything in
Between
R2 John Berger Ways of Seeing Penguin Latest Edition
Zag: The Number One
R3 Marty Neumeier Strategy of High- New Riders Latest Edition
Performance Brands
Create Space
Do-It-Yourself Brand
R4 Independent 2018
Gabrielle Weinman Design: Make Logos, Ads
Publishing
and Everything In-Between
Platform
Designing Brand Identity:
R5 John Wiley & 2015
Alina Wheeler An Essential Guide for the
Sons
Whole Branding Team
R6 Thames&Hudso Latest Edition
Michale Jonson Branding
n
Construction Lab 2

Credit: 6
COURSE AIM
The aim of the course is to acquire & apply knowledge & skill of advanced pattern
making, garment construction, tailoring and sewing and draping techniques for the
structured and contoured garments.
COURSE OBJECTIVES
● Learners will be introduced to complex silhouettes

● Learners will be introduced to drafting a jacket pattern
● Learners will be introduced to contoured garments including ethnic silhouettes
● Learners will be introduced to the specific sewing techniques & garment finishing
● Learners will be introduced to constructing & tailoring contoured garments & jacket
● Learners will be introduced to draping techniques for contoured garments
● Learners will be introduced to combining construction skills to produce a garment
LEARNING OUTCOMES
● Understand pattern making techniques for complex silhouettes, the jacket &
contoured garments
● Understand linings, sewing & finishing of a jacket
● Understand sewing techniques for contoured garments
● Apply construction techniques to assemble the jacket
● Understand the importance of fabric in contoured garment draping
● Demonstrate the ability to collaborate all the skills to realise structured jackets &
contoured garments
COURSE DURATION
COURSE CONTENT
Modul
e No.
Unit 1. PATTERN MAKING
● Draft a basic jacket block
● Draft a 2pc sleeve
I ● Cut and sew muslin Fitting & adjustment of pattern Copy to 10
hard paper
● Create: • Collar • Lapel • Vent
● Create jacket lining
● Draft contoured garment pattern e.g. blouse + corset
Unit 2: SEWING + FINISHING
● Collar finish for Jacket

II ● Linings & jacket finishing 10
● 2-piece Sleeve sewing
● Indian sari Blouse sewing
● Corset sewing
Unit 3 : GARMENT CONSTRUCTION
● Jacket + blouse Sleeve attachment

III ● Jacket Collar attachment 10
● Understanding Ease and Seam Allowance for structured &
contoured garments
● Grading and CAD System
Unit 4 : DRAPING
● Draping contoured garments

IV ● Understanding appropriate fabric usage for contoured 10
draped garments
● Using fabric on bias
● Sewing a contoured drape
TEACHING METHODS:
and research.
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:
Edition and
Sr.
No.
Publication
Patternmaking for
ARMSTRONG and
T1 Fashion Design 5th PEARSON INDIA Latest Edition
HELEN JOSEPH
Edition
Pattern Cutting and
Shoben M M CBS Publishers and
T2 Making Up Revised Latest Edition
Distributors
Edition 2000
Draping:
(January 8,
T3 Francesca Sterlacci Techniques for Laurence King Publishing
2019)
Beginners
REFERENCE BOOKS:

No. of Publication
Laurence
R1 Nakamichi, T. Pattern Magic (1/2/3) (2010)
King
Laurence (2012)
R2 Sato, H. Drape Drape (1/2/3)
King
Creative
R3 Coffin, D. The shirtmaking workbook Publishing (2015)
Making trousers for men and Creative

R4 Coffin, D. (2009)
women, Publishing
The New Complete Guide to
Nov 11 2010 by Sewing: Step-by-Step
Editors of Reader’s Techniques for Making Clothes
R5 Latest Edition
Digest and Home Accessories Updated
Edition with AllNew Projects
Simplicity Patterns
Interior Technology 2

Credit: 5
COURSE AIM
The aim of this course is to assist the students in exploring the Advanced interiors
materials and construction systems and Interior Services. The course aims the students to
develop the skills for identification of suitable advanced construction materials for
Interior design projects as well as Ability to develop and manipulate them in projects.
COURSE OBJECTIVES
● To understand advance technical processes and service systems/construction

methods and sustainability issues.
● To apply advanced knowledge of construction/technical and service systems to
design strategies for complex collective interior environments of commercial nature.
LEARNING OUTCOMES
● Apply deep and comprehensive and practical understanding of advance technical

principles & building service systems in order to link their application with design
solutions for Interior design projects.
● Critically evaluate and analyze functions and application of advance technology and
service systems /construction, materials, finishes their uses/application through case
studies and market surveys.
● Independently Plan, source, select, use and manage and exhibit advance skills of
applying understanding of advance technology, and service systems/ advance
materials and finishes along with demonstrating awareness of new and emerging
technologies, products and processes within the field.
● Communicate information clearly and effectively to specialists and non-specialists
demonstrating proficiency (using manual and/or digital media), demonstrating
proficiency in devolving professional working drawings / construction details and
professional presentations.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Interior Services
I 12
● Theory, principle, application and technical details of
general and specialised services for interiors.
Interior Technical Details
II ● Advance Interior construction techniques for Interior spaces 12
+ furniture
Estimation and costing
III ● Understanding scope of work Costing and Estimation, BOQ, 11
rate analysis.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


gni nc ud oc pl nt cul sen cu oti er isten
ex
tu me
ep or va ac
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury

REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Universal design McGraw Hill - New
R1 Preiser W 2001
handbook. York
Chichester, West
Neufert, E., Neufert, P.
R2 Architects' data. Sussex, UK: Wiley- 2012
and Kister, J
Blackwell
London: Longman
R3 McKay, J.K. Building construction 1990.
Group
Sustainable design for Fairchild
R4 Winchip, S. 2007
interior environments Publications
Building materials Charotar
R5 B.C.Rangwala
&construction Publishing house
Oxford and IBH
Water supply and
R6 Hussain S.K PUB. Ltd, New 1994
sanitary engineering
Delhi
McGraw Hill
HVAC Design Professional
R7 W. Larsen Angel
Sourcebook
Richard R. Janis & Mechanical & Electrical

R8 Pearson
William K. Y. Tao Systems in Buildings
William J. Cavanaugh,
Architectural Acoustics John Wiley & Sons,
R9 Gregory C. Tocci&
– Principles & Practice New York
Joseph A. Wilkes
R10 B N Dutta Estimation and Costing

Technically Complex Product Design

Credits: 6
COURSE AIM
Main purpose of the course is to make students understand the process behind designing
a technically complex product. This also includes customer journey mapping and
introduction to design thinking tools. Ways how to get insights from qualitative and
quantitative research methodologies. Design interventions for further development of
the project.
COURSE OBJECTIVES
● To understand user and context related needs in specific areas.

● To establish the content to optimally relate product to the user.
● To develop ability to demonstrate performance on problem solution of a complex by
specific design process.
● To establish an optimal relationship between electro-mechanical aggregates.
● To develop understanding to approach product holistically
● To rationalise the product design in terms of manufacturing and feasibility.
LEARNING OUTCOMES
● Capabilities to analyse, comprehend the nuances of developing products and systems

having significant level of complexity.
● Abilities to confront the inherent complexities organise and build relevant context to
develop efficient and user-friendly product and systems
COURSE DURATION
The course will have 40 sessions
COURSE CONTENT
Assignment of sessions to the modules of course is as follows
Module
Topics Session
No.
Unit-1 Basics of Design Process
Understanding product User Relationship
1 Need Analysis of Users at various levels. 7
Pattern of usage, Ease of use, Maintenance and Repair.
Issues of multi-function ability
Unit-2 Development Process
2 Historical aspects of products, Psychographics and demographics, 7

consumer performance and trends.
Study and Analysis of existing product, etc. Synthesis of information
and analysis
Unit-3 Mapping Possibilities
3 Data Analysis, Ideation and concept generation. 7
Appropriate material and process selection
Unit-4 CAD Development

Technical/Schematic drawings for communication
4 7
Model/Prototype construction
Validity of concepts
Unit-5 Detail Drawing
7
5 Techno-Aesthetic Detailing
Design for manufacturing
User convenience for maintenance & repairs
6 Unit-6 Final concept Generation 5
TEACHING METHODS
● Field Visit and Individual Secondary Data collection

topic
● Demonstration of necessary techniques &exercises by the faculty to group of students
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS
Sr. Author/s Name of the Book Publisher Edition and

No. Year of
Publication
Sara Wachter Design for Real Life by Eric
A Book apart
R1 -Boettcher · Eric Meyer, Sara Wachter 2016
publisher
Meyer Boettcher
Universal Methods of
Design: 100 ways to
Bruce Haningto & Research complex Rockport
R2 2010
Bella Martin problems, Develop Publishers
Innovative Ideas and
Design Effective Solutions
User Experience Design (UX)

Credit: 6
COURSE AIM
Making students understand the design process for UX development and leading them to
develop strategies for smooth User Experience Design.
COURSE OBJECTIVES
● Students will be led towards developing a clear understanding on UX and the

difference between UI and UX.
● Developing Design thinking ability and problem-solving skills among students.
● To expose students to ethnographic research for broadening their perspective and
developing empathy.
● Making students understand the design process for UX development.
● Leading students to develop strategies for smooth User Experience Design.
LEARNING OUTCOMES
● Students will know the importance of the technology and contextual use of it in
problem solving, which demands interaction design solutions.
● They will learn IDEO methods of Design thinking and different stages of it.
● They will be able to develop information architectures and wireframes.
● They will be able to undertake usability testing of prototype and understanding human
psychology through it.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Design Structures and Ethnography
I ● Introduction to the world of UI/UX design. Understanding 7
design thinking and why it is needed.
● Ethnography exercises for user understanding.
Research for UX Development
II 8
● Undertaking primary and secondary research. Developing
brainstorming charts and refining ideas
UX Development and Design
● Learning IDEO methods, developing information architecture
and wireframes.
III 25
● Developing prototypes and undertaking usability testing of
prototype.
● Presentation and documenting the research and development
process
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:

No. of Publication
Human-Computer
Andrew Sears and 2018
R1 Interaction: Development CRC Press
Julie A. Jacko
Process
R2 Aaron Walter Designing for Emotion Book Apart Latest Edition
The Design of Everyday
R3 Don Norman Basic Books Latest Edition
Things
Hooked: How to Build Habit-
R4 Gabrielle Weinman Forming Products Nir Eyal 2018
Shroff
Ux For Beginners A Crash Publishers &
R5 Marsh Latest Edition
Course In 100 Short Lessons Distributors
Pvt Ltd
Helen Sharp, Jenny
Interaction Design: Beyond Cornel
Preece, and Yvonne
R6 Human-Computer Interaction University Latest Edition
Roger
Press
Sustainability & Fashion Ethics

Credit: 6
COURSE AIM
The aim of the course is to acquire a basic understanding of Sustainability Fundamentals,

it is a comprehensive training tool that provides in-depth foundational knowledge about
the core issues and challenges of sustainable apparel. Participants complete the course
with an energised, creative focus, and a critical awareness that enables them to drive the
sustainable transformation of a business forward.
COURSE OBJECTIVES
● The learners will learn about sustainability in relation to the apparel industry and the
product life cycle.
● The types of social and environmental impacts that occur throughout garment
production, during use and end-of-use
● Introduction to the concept of a Life Cycle Analysis
LEARNING OUTCOMES
● Understand the key sustainability challenges and opportunities during garment production,
use and end-of-use
● Identify a range of solutions to effectively address these challenges
● Understand what companies and other leaders in the industry are doing to address these
challenges
● Identify how to contribute to improved sustainability performance within a company
COURSE DURATION
COURSE CONTENT
Modul
e No.
Unit 1. Materials
● Six important materials: Cotton, Polyester, Viscose, Wool,
Down and Leather.
I ● Learners explore how these materials are conventionally 10
made;
● the impact these materials have on people and the planet;
better existing alternatives.
Unit 2. Textile Dyeing & Finishing — The Toxic Challenge
● how dyeing and finishing works in practice;
● the environmental and health impacts of dyeing and
II finishing, 10
● current solutions, such as The Restricted Substances List and
leading standards and certifications.
● company chemical management policy, and to reflect on how
they can contribute to better chemical management.
Unit 3: Sustainable Production processes
● what makes supply chains so complex, and how this creates
challenges for ensuring good working conditions;
III ● the key social challenges prevalent in apparel supply chains; 10
● current solutions, such as social auditing and collaborative
initiatives.
● reflect on how they can contribute to better fair labour
practices.
IV Unit 4 : Sustainable design 10
● dematerialization;
● durability;
● zero waste;
● disassembly;
● up-cycling;
● mono-materiality
TEACHING METHODS:
and research.
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:
Edition and
Sr.
No.
Publication
The Sustainable -
T1 Sandy Black Thames & Hudson
Fashion Handbook
Sustainable -
T2 Kate Fletcher Fashion and Routledge; 2 edition (April
Textiles 9, 2014)
Alison Lurie and Terry The language of New York: Random
T3 -
Hayes Sales clothes. Vol. 12 House
REFERENCE BOOKS:
No. of Publication
Jacqueline McAssey Slow Fashion: Aesthetics New
R1 (March 21, 2016)
and Clare Buckle Meets Ethics Internationalist
R2 Francesca Romana The Responsible Fashion Routledge; 1 edition
Rinaldi, Salvo Testa Company: Integrating (September 24,
Ethics and Aesthetics in the 2014)
Value Chain 1st Edition
Representation & Documentation 2

Credit: 6
COURSE AIM
The aim of this course is to build on the skills on advanced basic tools for professional
representation and documentation. The course aims the students to use Basic two
dimensional, rendering and presentation software skills to develop their projects and design
analyses outcomes, which will enhance their 3D computer visualization skills.
COURSE OBJECTIVES
● The module will involve advanced mixed media and digital techniques and develops
2/3 dimensional visual/representational tools and professional drawing and graphical
conventions used for communication in Interior Design industry.
● This module introduces advanced 2D, 3d and video techniques , to suitably apply
design visualization and concepts for interiors using rendering. And presentations.
LEARNING OUTCOMES
● Apply comprehensive understanding of concepts of communication (drawing and

representation) techniques used in Interior design industry to generate 2D and 3D
drawings for the given project.
● Resource, explore and analyse advance and creative techniques of communication and
representation (manual/digital/2D/3D) related to Interior Design and styling industry.
● Source, select and use advance techniques of communication and representation in
order to generate 2D and 3D and video (manual and digital drawings) for the given
brief.
● Communicate complex information clearly and effectively to specialists and non-
specialists demonstrating creativity and proficiency in application of advance
techniques of communication & presentation technology, using manual and/or digital
media .
COURSE DURATION
COURSE CONTENT
Modul
e No.
Drawing and Communication Skills:
● Advanced 3d, video, graphic digital communication tools
I 30
and techniques for Interior design communication.
Communication and presentation:

● Advanced digital articulation and presentation (video and
II coffee books, posters etc.). 30
● Advanced digital Graphical Presentation. (graphic
communication techniques) for interior design
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


nt
ex cu
nc pl oti er
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D
A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Interior Design Visual
Presentation - A guide to John Wiley &
R1 Maureen Mitton Graphics, Models and Sons, New 2018
Presentation Techniques, 5th York
edition
Digital Drawing for Designers – A
R2 Douglas R. Seidler A & C Black 2012
Visual Guide to AutoCAD 2012
John Wiley &
R3 Francis D. k. Ching Architectural Graphics Sons, New Latest Edition
York
R4 A.S. Kotadia Building Construction Mahajan 2010
Publishing
House
George Omura Mastering Autocad 2014 and
R5 Sybex Latest Edition
Brian C. Benton Autocad LT 2014
Francis D. k. Ching John Wiley &

R6 Architecture – Design Drawing Sons, New Latest Edition
Steven P. Juroszek York

Design Drawing & Rendering Advanced

Credit: 6
COURSE AIM
This module helps to understand advanced orthographic techniques and use them to
represent details of complex real-life products
COURSE OBJECTIVES
● This input introduces Orthography - III based on existing products.

● Study of the components & taking measurements.
● Exposure to various measuring devices & tools.
● Learning precision, drawing ability & dimensioning
LEARNING OUTCOMES
● Ability to apply different orthographic projections.

● Exposure to section, exploded, 3D drawing abilities.
● International conventional for dimensioning.
● Learning to draw assembly and component drawing.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Object measurement
I 10
● The use of various measuring devices & tools
● Exposure to measuring various surfaces & volumes.
Dimensioning
ii 15
● Application of international dimensioning norms & format.
● Exposure to measuring units.
Orthography - III methods
● Selection of the object.

iii 15
● Selection of projection system (1st angle, 3rd angle).
● Deciding the scale & drawing format
● Introduction of various drawing tools.
● International conventional of standard parts / components
TEACHING METHODS:
● Lectures, field studies, discussions and critiques.
● Deliverables in the form of illustrations, info graphics supported with write-ups,
photography, videos, animations, models.
● A/V presentations and screenings.
● Interviews and interactions.
● Individual and group activities.
EVALUATION:
INTERNAL:

Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Keith Style& Working drawing Architectural
R1 2004
Andrew Bichard Handbook Press
Interdisciplinary Design Lab
Course Code: BDG307

Credit: 13
COURSE AIM
To develop understanding and application of advanced Interdisciplinary practice building

on inputs and knowledge structures (principles and processes in the context of
interdisciplinary design) provided in the previous semesters
COURSE OBJECTIVES
● Develop the ability to apply advanced cognitive skills, iterative design and material
processes synchronized with a capacity for reflective practice to solve conceptual
challenges posed by interdisciplinary issues.
● Assimilate and evolve an independent, rigorous approach to advanced research
methodologies (primary/secondary/tertiary), Blended technologies and
communication.
● Articulate and apply an evolved personal design philosophy and vocabulary to
contextualize interdisciplinary issues and required interventions
LEARNING OUTCOMES
● Apply fundamental understanding of interdisciplinary concepts and pathways of

design, visual and material knowledge, presentation techniques, hand skills and digital
techniques/ resources to generate innovative design solutions.
● Develop and deploy individual Research skills from a variety of methodologies and
processes using a multimedia orientation
● Learn professional practice / work ethics; demonstrating initiative, flexibility and
curiosity while working individually or collaboratively in teams
● Ability to apply Interdisciplinary design, concepts and principles independent of the
context in which they were first studied, including, where appropriate, Ability to solve
problems through a interdisciplinary orientation.
● Devise creative ways to reframe a given interdisciplinary Issue imbued with meaning
and context
COURSE DURATION
COURSE CONTENT
Modul
e No.
● Perception of Interdisciplinary design with respect to

historical, geo political and socio-economic context.
I 20
Assignment:
● Research on renowned interdisciplinary designers, both

nationally and Globally and create a presentation. (in hard
copy)
UNIT 2: Field/Case study/Analysis
● Field study in a chosen environment and intervention areas

requiring interdisciplinary and communication of its
II understanding through visual aids, manuals, illustrations and 35
research reports.
● Observe study, analyse and document detailed aspects of the
chosen social environment.
UNIT 3: Design development
III 40
● Interventions – Conceptualize, Develop, Evolve, Modify, Adapt
& Improve to create innovative design solutions.
#
TEACHING METHODS:

EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:
Creativity, Design Thinking and Frédéric Darbellay , Zoe Springer; 1st ed. 2017
1
Interdisciplinarity Moody, Todd Lubart edition
The Field Guide to Human- Design Kit; 1st edition

2 Ideo.org
Centered Design (2015)
Textbook of Environment
3 Tewari, Khulbe& Tewari I.K. Publication
Studies
Design History and the History John A. Walker, Judy
4 Pluto Press,1990
of Design Attfield
objects
Design for the Real World:
Academy Publishers
6 Human Ecology and Social VICTOR PAPANEK
Chicago
Change
Encyclopedia of Social and Dr Alan Barnard, Taylor & Francis Group,

7
Social and Cultural
8 Anthropology:The key Niggel Rapport Routledge ,2000
concepts
9 Semiotics: The Basics Daniel Chandler Psychology Press
Erwin H. Zube, Gary T.
10 Behavior, and Design: Volume Plenum Press
Moore
3
Elective 4
Course Code: BDG308

Credit: 2
COURSE AIM
The aim of the course is to encourage students to develop additional skills and interests
to add to the knowledge of the core field which will strengthen the prospects and
knowledge of the field.
COURSE OBJECTIVES
● The module will give students learning opportunities to set and achieve learning goals
through Transdisciplinary learning.
● To highlight the challenges and issues from the perspectives of processes, people and
products in interdisciplinary design and development.
LEARNING OUTCOMES
● Develop an awareness of transdisciplinary opportunities in professional design

practices.
● Increase exposure to a broad range of transdisciplinary skills, experiences, and
knowledge.
● To expose the characteristics of transdisciplinary Design and its relationship with
design thinking, applying both as complex problem-solving strategies.
● Demonstrate an understanding of integrative learning as it relates to the attainment of
educational and professional opportunities.
● Have reflective attitude towards practice and learning, including awareness of the
differing thoughts, motivations and values of professional colleagues from other
disciplines, and the criteria and expectations of users and other stakeholders including
society at large. Ideas/designs professionally using creative skills & presentation.
COURSE DURATION
COURSE CONTENT
Modul
e No.
I Introduction to the Topic 5

Exploration and final project
II 10
● The Transdisciplinary collaborative
project/research/workshop for global design solution.
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co Ex Co Do M Int
Co Pr Arti Pre
nc St pl nt cu oti er Cons
gni oc cul sen
ep ud or ex me va ac isten
tio es atio tati
tu io ati tu nta tio tio cy
n s n on
al on al tio n ns
thi
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
YEAR 4 (PART 1)
Internship
Course Code: BDG 401
Credit: 7
COURSE AIM
The internship is designed to give students professional exposure and is placed in

between semesters.
COURSE OBJECTIVES
● To develop personal responsibility and initiative in planning for Graduation project

● To provides the students to assess various options for their probable graduation
project.
LEARNING OUTCOMES
● Students will develop basic skills of engaging with industry and real-life projects.
● They will develop social communication skills and learn to be a part of professional
teams.
● Students will also develop a hands-on understanding of the role of design and
designers in the professional world.
.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Industrial Exposure
I ● Working with a Design house/NGO/Corporate, 40
understanding work briefs and doing the projects, assigned.
Experience Documentation and Sharing
● Creating a textual and creative documentation of the work
II and experience. 15
● Developing a final presentation in dialogue with faculty and
peers.
TEACHING METHODS:
● Design profession calls for practical experience while working with the practicing
design professionals.
● The students should attend the design organization/office /industry regularly, full time
& should follow the discipline & duty hours. They should observe the general working
of the organization, as a whole.
● They shall maintain a log book – it shall be countersigned by the principle mentor to
the student, in the organization.
● Visual journal and presentation
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Professional Practice of
R1 Dorothy Goslett B T Batsford Ltd 2018
Design
Prentice Hall
K.G.
India Learning
R2 Krishnamurthy, Professional Practice Latest Edition
Private Limited
S.V. Ravindra
Talk about: A Social

Speechmark
R3 Alex Kelly Communication Skills 2nd Edition
Books
Package
Research Seminar
Course Code: BDG402

Credit: 9
COURSE AIM
Our advanced undergraduate seminar is predicated on global best practices in primary

research methodologies and practices, with the goal of introducing the student body to
the methods of contemporary Design research in partner institutes globally. This is part
of the advanced exposure earned by the students in their final semester abroad
experience.
The seminars are conducted by senior students who are evolving their own roles as
design researchers. They provide exposure to the kind of thinking that form the core logic
of contemporary Design research, practice and conceptual structures.
The ESLS operates in a learning environment different and unique from classrooms
enabling students to share, networks learn more effectively and efficiently. Far from the
textbooks and academic syllabuses, students research and learn on their own initiative
COURSE OBJECTIVES
● Understand, perceive, appreciate the design experience via Global Best practices in
Primary Design research expressed through student led seminars
● To showcase and share their individual research experiences and insights with the
department and the student body at large in an open forum
● To provide a flexible format and promote advanced multimedia led and technology
driven expression styles among the students
LEARNING OUTCOMES
● Develop advanced articulation and presentation skills to bring alive experiences

● Ability to critically discuss and analyze complex/layered aesthetic values of the
semester abroad through Plays /Presentations / Applications in a freely evolving
format decided by the students
● Ability to blend research and use it to generate conceptual models as an integral part
of all design activity and their final undergraduate semester projects
COURSE DURATION
COURSE CONTENT
Modul
e No.
● Presentation of learning and experience through an
exploration of individual growth and not just quantum of
work and its implications on the journey ahead through the
next semester and how it impacts the successive semester
abroad experience. 55
I
● Through structured activities and discussions at the
seminar’s students will improve their ability to plan and
analyse and imbibe their lessons. By shared experiences the
wider body of faculty and students will experience a wider
learning environment than the classroom
#
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
TEXT BOOKS:
Edition and
Sr.
No.
Publication
Professional
Communication Series:
1 Multimedia Presentation McGraw-Hill Student Edition
Skills, Student
Edition Paperback
Presentation Zen: Simple
2 Ideas on Presentation Latest edition
Garr Reynolds
Design and Delivery (Voices
That Matter)
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Alan Barnard & Encyclopaedia of Social Taylor &
R1 1996.
Jonathan Spencer, and Cultural Anthropology Francis,
The Trainer's Toolbox: The
R2 Margit Macchia Secrets to Creating a Stairway 2018
Successful Seminar from Press
Scratch
R3 John Berger Ways of Seeing John Berger Latest edition
Helen
R4 Helen Gardner Art through the Ages Latest edition
Gardner
Design and Design and
R5 Aesthetics: A Jerry Palmer, Mo Dodson Aesthetics: A Latest edition
Reader Reader
YEAR 4 (PART 2)
Design Research
Course Code: BDG403
Credit: 2
COURSE AIM
The aim of this module is to develop in research proposal for graduation project and
implementation through undertaking a major independent research project.
COURSE OBJECTIVES
● demonstrate a detailed knowledge of the topic of the project;

● critically analyse and evaluate the topic;
LEARNING OUTCOMES
● To apply critical and analytical thinking to assess various options.

● To integrate research as a tool of a design process.
● To experiment with creating programmatic briefs.
● To be able to focus on personal and professional goals for oneself.
COURSE DURATION
COURSE CONTENT
Modul
e No.
Critical Analysis and Research of the Project:
● Students will be introduced how to develop a critical analysis,
I the primary research of the probable options for the final 5
Graduation Project.
● They will prepare a synopsis for the final option chosen.
Design Proposal:
● A hypothesis to be formulated, with a brief design proposal, for
each option, so as to be able to project a possible outcome for
II each; on the basis of which, they can choose 1 option of their 10
preference, after weighing the pros & cons of each. Aim,
objective, methodology and limitation and conclusion of the
project
TEACHING METHODS:

● Visual journal
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Oxford
Technical Communication, Meenakshi Raman
R1 University 2004
Principles and Practice &Sangeeta Sharma
Press
Raymond V. Lesikar, John McGraw Hill
R2 Basic Communication D. Pettit and Mary E Education, Feb, 2004
Flatley India.
Syracuse
How to Prepare a David R. Krathwohl, Nick
R3 University 2005
Dissertation Proposal: L. Smith
Press
Graduation Project
Course Code: BDG404

Credit: 30
COURSE AIM
The Graduation Project aims to let students develop a substantial project that
demonstrates their intellectual, technical and creative abilities.
COURSE OBJECTIVES
● The graduation project is a semester long course which aims to let students develop
projects that demonstrate their intellectual, technical and creative abilities. It is
designed to ensure specialisations in any of the key areas.
○ Industry sponsored projects

○ Research based projects
○ Social innovation & Design (Projects at interdisciplinary intersections, working with
incubation centres, NGOs)
○ Emerging scenarios in design (Self-initiated projects)
● The course aims to showcase the overall disciplinary and interdisciplinary learning
process of students through the B. Des Global programme.
● Students will be mentored to clearly demonstrate that they have been able to define a
problem clearly, and are able to understand the difference between process and
product, both of which are equally important.
● They understand the importance of the form in which their work is presented.
LEARNING OUTCOMES
● Through a combination of close mentoring and real-life exposure, students will be able
to engage with questioning, problem-finding and problem-solving.
● Students will develop the ability to do independent research and arrive at design-
based solutions.
● They will also be able to generate documentation, final outcomes and presentations
that showcase their design/ research journey which matches up to professional,
ethical, legal, security.
COURSE DURATION

COURSE CONTENT
Modul
e No.
Research
● In-depth research of pertaining to disciplinary and

interdisciplinary aspects of their projects focussed on
I questions and problem finding. 25
● Students engage with both primary and secondary research

and document findings in text and data visualisation
formants.
Problem Solving
● Analysing problems and developing tools, elements and

II positioning enable a solution-based approach. 40
● Doing case study research of similar problem-solving

approaches and refining research/ design goals.
Iteration
● Working towards the final outcome, developing design/

III research solutions. 60
● Putting them up for faculty/peer/industrial scrutiny –

collecting feedbacks doing further developments.
Final Out Come
IV ● Generating the final outcome and the graduation project 60

document though a faculty/peer/industrial review process.
TEACHING METHODS:
● The course comprises of, individual discussions, research, documentation, field work,
studio work & the critical development of specialist interests in design.
● The students will have the opportunity to examine & question the many ways in which
practice & research in design discipline takes place.
EVALUATION:
INTERNAL:


Co
nt Do
Co Ex M Int
n s thi n on tio
al on n ns
nki n
ng
10% 35% 30% 25%
A B C D

A + B + C + D = 50 marks
EXTERNAL:
End Year Jury
REFERENCE BOOKS:
Edition and
Sr.
No.
Publication
Concise Guides to Conducting American

R1 Kathy R. Berenson Behavioral, Health, and Social Psychological 2018
Science Research Association
Prentice Hall
India
K.G. Krishnamurthy, Learning
R2 Professional Practice Latest Edition
S.V. Ravindra Private
Limited
International
Experimental Design Association
R3 Binder, T. & Brandt Research: Genealogy, of Societies Latest Edition
Intervention, Argument of Design
Research
Communicating the User Atlantic
Richard Caddick, Experience: A Practical Guide Publishers
R4 2nd Edition
Steve Cable for Creating Useful UX and
Documentation Distributors
Dalsgaard, P. Halskov,
R5 Maps for Design Reflection Routledge 2018
K, Nielsen

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PHILOSOPHY AND APPROACH OF THE PROGRAMME (GLOBAL DESIGN)

PEDAGOGY AND DELIVERY STRUCTURE

The Bachelors of Design - Global Design Course includes –

● QUANTIFYING CONTACT HOURS LEARNING IN DESIGN

● EVALUATING LEARNING IN DESIGN

● SUCCESSFULLY PASSING A YEAR

● Successful completion of a course

An educational program leading to award of a Degree certificate.

● Students can secure an admission to the program of Design through Common

DURATION AND STAGES OF THE PROGRAM

The program of Bachelor of Design program shall be of minimum duration of 4 academic

QUANTIFYING CONTACT HOURS LEARNING IN DESIGN

Quantification of contact hours learning is important to ensure that a candidate has

Credit system is a method of quantifying learning undergone by a candidate during faculty

o One lecture period per week --- 1 credit

*Illustration of calculation of Course Credits and annual Credits in a year

● Curriculum Weeks: A Year constitutes of approximately 26-28 weeks (180 days) of

● Evaluation Weeks: Minimum of 2 to 3 weeks in a annually to be dedicated for jury and

● Regular course of study means a minimum attendance of 75% in a year. The

Learning in a Year categorized under headings:

Course: Course is structured curriculum that is studied by a student in design discipline. A

General Core foundation (CF)

Core Course (CC)

Ability Enhancement Courses

● Ability Enhancement Compulsory Courses (AEC)

Supplementary Activities: Electives, master classes, presentations, seminars, industry visits,

Teaching and learning methods:

The contents of the Curriculum shall be taught in an application- oriented manner on a

EVALUATING LEARNING IN DESIGN

Assessment is an integral part of the system of education as it is instrumental in identifying

The terms and stages related to assessment are explained below.

Continuous Course Assessment (CCA): (Practical and Theory Course)

Learning Diary (explorations and course specific documentation)

SKILLS LEARNING PROCESS COMMUNICATION LEARNING ATTITUDE

*A, B, C, D is the marks weight-age out of 50 For CCA.

End Annual Assessment (EAA): (Practical Course)

End Annual Assessment (EAA): (Theory Course)

EAA for theory courses will be done through written examination.

Experiential Learning Abroad

Grades Points (GP):

Marks Grades Grade Point (GP)

*Refer "Successfully Completing a Course"

Cumulative Grade Point Average (CGPA):

Annual Credit I = AC1 Year Grade Point Year 1 = AGPA I

YEAR 2 CC CCA ESA CCA+ESA GP

AGPA IV= (8 x 6 + 7 x 5 + 7 x 2 + 8 x 6 + 8 x 5 + 8 x2) / 26 = 7.73

Annual Credit I= 48 AGPA I = 8.63

Partial Cumulative Grade Point Average (CGPA)=

*Illustrator for CGPA for final result of the candidate.

YEAR 1 YEAR 2 YEAR 3 YEAR 4

Successfully completing a course:

A student is required to obtain a minimum of 40 % marks in both CCA and in EAA

CCA minimum passing marks = 20 out of 50

CCA minimum passing marks = 8 out of 20

Completing a Course repeat:

Rules for Rechecking of Answer Script

Successfully completing a year:

Revision of Regulations, Curriculum and Syllabi

Experimental Learning certification

● Host institution will provide each student with a Certificate of completion in