School of Design, FHAD
Higher Education Division
Contemporary Design Issues
Semester One 2017
Creation date: 20/02/17
1. Project Background
2. Explanation of the Project
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2.4 Learning Materials & Resources
3. Requirements and Deliverables
4. Project Deadline
5. Teaching Method
6. Learning Objectives
Appendices: Assessment Sheet & Cover Sheet
1. Project Background
This project requires students to engage with a contemporary design issue that is relevant to their particular design or media interests. Designers and media practitioners are required to think broadly and deeply about the ways in which political, economic, social, technological and environmental changes affect how and where they work, the kind of work they do and every aspect of the reception and use of their designs/productions and management of projects. They need to develop an understanding of the professional and ethical issues related to their practice, minimising the use of resources, their capacity to contribute to better environmental outcomes, and the social and cultural contexts their work will be received in and influence. This assignment is intended to develop your knowledge of how design and media are practised in the world today and your thinking about the kind of practitioners you will aim to be.
2. Explanation of the Project
Select one of the questions about a design issue from the list below. Carefully consider the question. You must read the set readings and watch the set media carefully, and think critically about the ideas they present. Undertake additional independent research about the issue. You must find relevant journal articles (not on the list), and seek out books and websites. Research relevant examples of design or media to support and illustrate your argument. Don’t rely solely on examples that have been introduced in tasks, studio learning activities and lectures, you should seek out your own examples.
You will be required to submit an essay plan outlining your research, your examples, your argument and relevant quotes from the set reading/viewing that you will use to support your argument. Incorporate either visual analysis or an analysis of the chosen technology/ materials/ building/ manufacturing /production process of the examples in your own words. Then write an argumentative article combining your ideas about the issue, the set reading, your research and your own analysis.
The final article must be at least 1,500 words in length (no more than 1,700 words) and all quotes must be acknowledged with double inverted commas, unless they are 3 or more lines, in which case they must be indented. Reference to the source of quotes should be in brackets according to the APA6th Edition referencing system (as used in the questions below). Here’s a link to the library guide: http://www.swinburne.edu.au/lib/studyhelp/referencing.htm.
Any significant research (statistics, a unique or new point of view) that you incorporate must also be acknowledged with the source in a bracket. An illustration of each example discussed should be included and must have a caption sentence or two and the source in brackets. A reference list (bibliography) in sections with alphabetical author surname order for books and articles and first letter of web address after ‘www’ for web sources must be attached at the end of the assignment. The cover page for this subject (below), should be pasted in as the front page of your assignment.
You are required to;
Choose one topic from the list.
Read all the set readings and view the set media (“set” means compulsory here). Refer to them in your discussion. Read some or all of the recommended readings.
Research independently, finding your own texts including relevant scholarly journal articles, online sources and books. Refer to some of them in your argument.
Find relevant examples of design or media to discuss the topic/answer the question.
Structure a coherent argument with an introduction, a discussion referring to your chosen examples and a conclusion.
Express your own ideas on the topic.
Use APA 6th Edition in-text references to acknowledge the source of ideas and any significant information from your research. The texts must be listed in your reference list (bibliography).
Provide illustrations with one to two effective sentences of caption and cite the source in a bracket.
Practice good sentence and paragraph construction and use proper punctuation. (Grammarly makes this easier.)
Check your article by getting a Turnitin Originality Report to ensure you have referenced all quotes. You can obtain one every 24 hours.
Upload your completed Essay Plan for the article in .doc/docx/pdf format by Friday in Week 8 into the ‘Assignment’ area in the left hand menu in Blackboard.
Your tutor will provide feedback on your Essay Plan in Blackboard by the end of week 10. You will use this feedback in completing your assignment.
Upload your completed article in .doc/docx/pdf format by Friday 4.00PM in Week 12 into the ‘Assignment’ area in the left hand menu in Blackboard.
Failing to acknowledge use of copyright material represents failure to realise the brief and will result in a mark of zero. Copying another student’s work or submitting work for a second time if you are repeating this unit is regarded as plagiarism and will result in a mark of zero.
1. Design with handcrafted elements or the appearance of handcrafting can suggest resourcefulness and thrift, a luxury of time or childhood creativity according to author and social theorist Mel Campbell. She also warns that “[F]etishising handmade things is a tiny protest against the tyrannical consumer cycle of newness and obsolescence. But ultimately it’s a just another kind of consumerism (2009, p.17).” Compare and contrast three examples of contemporary design with genuine handcrafted elements or that give an impression of handcraft. Explain which elements of each design is handcrafted or signifies handcraft and what messages these examples communicate to their target demographic taking into account Campbell’s arguments. [Ensure your examples are design rather than handcraft. If in doubt, ask your tutor.] Set reading & viewing (compulsory)
ABC-TV (Australia). (2015, September 3). Rise of the Makers [Television Broadcast, episode 1). In Bespoke. Australia: Australian Broadcasting Corporation. http://edutv.informit.com.au/watch-screen.php?videoID=1030482
ABC-TV (Australia). (2015, September 10). Makers and Markets [Television Broadcast, episode 2). In Bespoke. Australia: Australian Broadcasting Corporation. http://edutv.informit.com.au/watch-screen.php?videoID=1036095
Campbell, M. (2009, May 21). Canvas. The Age, p.17.
Hackney, F. (2013) Quiet Activism and the New Amateur: The Power of Home and Hobby Crafts, Design and Culture, 5, 2, 169-194.
Metcalf, B. (2008) DIY, Websites and Energy: The New Alternative Crafts [Blog post]. Retrieved from http://www.brucemetcalf.com/pages/essays/contemporary_craft.html
Black, A. & Burisch, N. (2010) Craft Hard, Die Free: Radical curatorial strategies for craftivism in unruly contexts In Glenn Adamson (Ed.) The Craft Reader. Oxford: Berg.
Engestrom, U. (2005). Draft Craft Manifesto. Retrieved from http://ullamaaria.typepad.com/hobbyprincess/2005/03/draft_craft_man.html
Jackson, A. (2010) Constructing at Home: Understanding the Experience of the Amateur Maker. Design and Culture, 2,1, 5-26.
2. Data visualisation—the gathering, conceptualisation and presentation of data in 2D and 3D formats and more recently, using digital technologies to create interactive interfaces, has the capacity to transform our understanding of an issue. Designer Aaron Koblin even suggests that designers and other creatives have a “responsibility” to transform data to enhance public understanding of important issues.
Compare and contrast three outstanding examples of time-based data visualisation that have transformed data into a coherent set of ideas about significant political, economic, social, technological or environmental issues. Explain which of Reas and McWilliams’ (2010) categories of data-visualisation the examples fit, how their design elements contribute to the visual, sonic, spatial and/or tactile representation and how symbolism (colour, shape, form, motifs, etc), have been used by the designers to communicate with their target audiences and generate understanding of data.
[Students who choose this topic must research their own examples and not use those shown in the Week 2 screenings. They must be time-based and interactive, not 2D.] Set reading (compulsory)
Hohl, M. (2011). From Abstract to actual: art and designer-like enquiries into data visualisation, Kybernetes, 40, 7-8, 1038-1044.
Lockton, D., Nicholson, L., Cain, R. & Harrison, D. (2014). ‘Persuasive Technology for Sustainable Workplaces’, Interactions, 21, 1, pp. 58-61.
Reas, C. & McWilliams, C. (2010). Form + Code in Design, Art, and Architecture. New York: Princeton Architectural Press.
Roberts, L. (2006). Good: Ethics of Graphic Design. Lausanne, Switzerland: AVA Publishing. (Philosophy – an Interview with Anthony Grayling)
Tufte, E. (1983). The Visual Display of Quantitative Information. Cheshire, Conn., US: Graphics Press.
3. Like development aid, much design for development has been increasingly criticised for not having real, sufficient, diverse or lasting value for the people it is intended for. Ambitiously, Victor Margolin (2007, p.115) imagines a design-based future for developing countries: -Design for development needs to broaden its brief from an emphasis on poverty alleviation to include the strategic creation of products for export.-
Ilse Oosterlaken (2009, p.100) equates most designs for development that use a `participatory’ process as having a limited, user-centred approach; and suggests instead a more universal design approach, which she calls ‘capability sensitive design’.
Research three recent examples of capability-sensitive design from one or more design disciplines – architecture, urban planning, or industrial, communication, multi-media or digital design – that would improve the lives of poor people in developing countries. One design should be sourced by a designer/s from a developing country. Discuss aspects of each example’s potential for real, sufficient, diverse and lasting value for the targeted users.
Set reading (compulsory)
Hancock,T. (2001) People, partnerships and human progress: building community capital, Health Promotion International, 16, 275-280.
Margolin, V. (2007).Design for Development: towards a history, Design Studies, 28, 111-115. Oosterlaken, I. (2009). Design or Development: A Capability Approach. Design Issues: 25, 4, 91-102.
Pilloton, E. (2009). Design Revolution: 100 products that are changing people’s lives. London, UK: Thames & Hudson.
Polak, P. (2007) Design for the Other 90%, in C. Smith, (Ed.) (2007). Design for the other 90%. New York, USA: Cooper-Hewitt, Smithsonian, National Design Museum.
Polak, P. (2008). Out of Poverty: What Works When Traditional Approaches Fail. San Francisco, USA: Berrett-Koehler.
Murcott, S. (2007). Co-evolutionary design for development: influences shaping engineering design and implementation in Nepal and the global village, Journal of International Development. 19, 123-144
Thackara, J. (2011) Africa: Where events are king. Retrieved from http://designobserver.com/feature/africa-where-events-are-king/25028
4. Architects and designers working on social infrastructure projects (schools, hospitals and community centres, etc) for disadvantaged communities in developing nations, should consult with communities about their needs and be mindful of the long term impacts of the buildings they design. Compare and contrast three recent projects for the way their designers have addressed the social, economic, and environmental issues affecting the communities for whom they were constructed. [Students choosing this topic should not use housing as an example, although an institution like an orphanage or refuge would be acceptable.] Set reading and viewing (compulsory)
Antonelli, P. (2005). Safe: Design Takes on Risk. New York, USA: MOMA, New York.
Architecture for Humanity (Eds.) (2006). Design like You Give a Damn: Architectural Responses to Humanitarian Crises. London, UK: Thames & Hudson.
Bell, B. & Wakeford, K. (Eds.) (2008). Expanding Architecture: Design as Activism. New York, USA: Metropolis.
Hancock,T. (2001). People, partnerships and human progress: building community capital. Health Promotion International, 16, 3, 275-280.
Kontentreal Productions (Producer) (2006). The Druk White Lotus School, Ladakh. Design E2: The Economies of Being Environmentally Conscious [DVD]. Series 2
Ban, S. (2013) Emergency Shelters Made from Paper [Video file]. Retrieved from: https://www.ted.com/talks/shigeru_ban_emergency_shelters_made_from_paper?language=en
Fitrianto, A. (2011). Learning from Aceh, in M. Aquilino (Ed.), Beyond Shelter: Architecture for Crisis, Thames & Hudson: London.
Heringer, A. (2014) Handmade Architecture as a Catalyst for Development [Video file]. Retrieved from: https://www.youtube.com/watch?v=0KQhbx3e_JM
McQuaid, M. (2003). Shigeru Ban. London, UK: Phaidon, (especially chapter on ‘Paper’, pp. 28-47).
Murcott, S. (2007). Co-evolutionary design for development: influences shaping engineering design and implementation in Nepal and the global village, Journal of International Development. 19, 1, (Jan), 123-144.
5. Expanding populations and urban sprawl are affecting life in many cities around the world. Cars and other forms of motorised transportation can clog city streets leading to pollution and to a diminished sense of public ownership of space. But some inspirational city leaders and designers are fighting back. In 1974 the Mayor of Bogota, Columbia, reimagined his city by prioritising public transport (buses) and bicycles over single-occupant commuter cars. He banned cars from many roads, and bike lanes were created allowing citizens to ride to work, schools and shops. This example has inspired cities all over the world. In Melbourne for example, the Cyclovia Festival in Brunswick, and better provision of cycling paths, has seen cyclist numbers increase. In fact, these schemes have been so successful that Melbourne is now deemed a world cycling city by the world’s cycling organisation Union Cycliste Internationale. Copenhagen was the first city to be acknowledged by this body, and remains the best model of a bicycle-friendly city.
The social benefits of prioritising cycling and walking are many. Cycling arguably results in safer cities where there is increased ‘social inclusion’ and ‘public ownership’ and there are measurable health and environmental benefits. But these schemes also have critics.
Research three initiatives of any city (not Bogota) to encourage bicycle use and their use of design. One example should be drawn from a developing country, and one from here in Australia. Why not explore the Melbourne Bike Scheme and take your own photos? Compare and contrast the various strategies and use of design to encourage cycling. Which are the most effective and why? Who are the supporters of the schemes, and who are the detractors? Are there gender issues that need to be considered? Finally, how are the special needs of the “other-abled”, the elderly and young addressed by these schemes?
[‘Cycling’ is a broad topic area. You may explore any or all of the following; commuter cycling, recreational cycling, and work related cycling (deliveries made by cycling couriers and cycle-trucks carrying retail goods).] Set reading and viewing (compulsory) Campion, V. (2013, September 18). Sydney’s message to Lord Mayor Clover Moore – we’re over your bikes. The Daily Telegraph. Retrieved from http://www.dailytelegraph.com.au/news/nsw/sydney8217s-message-to-lord-mayor-clover-moore-we8217re-over-your-bikes/story-fni0cx12-1226721346780?nk=145ae0cddf83ae42ccc1fb785731bde4 City of Melbourne Transport Strategy. Retrieved from http://www.melbourne.vic.gov.au/AboutCouncil/PlansandPublications/strategies/Pages/transportstrategy.aspx Garrard, J. & Rose, G. & Lo, S. (2008). Promoting transportation cycling for women: The role of bicycle infrastructure. Preventive Medicine 46, 1, January, 55-59. Kontentreal Productions (Producer) (2006). Bogotá. Design E2: The Economies of Being Environmentally Conscious [DVD]. Series 2 Lucas, C. (2011, July 22). Melbourne gains ‘bike city’ status. The Age. Retrieved from http://www.theage.com.au/victoria/melbourne-gains-bike-city-status-20110721-1hqx1.html Recommended Fleming, S. (2010) Cycle Space: Architecture & Urban Design in the Age of the Bicycle. Rotterdam, Netherlands: nai010. Hustwit, G. (Director) (2012) Urbanized [DVD]. Swiss Dots.
6. How have the advertisements of contemporary filmmaker Michel Gondry been inspired by the work of two pioneers of spectacular cinema: Georges Méliès and Busby Berkeley? Analysing three different advertisements by Gondry to support your argument, and taking into account his own words (interviews), explain where you think they have been influenced by both of these directors, whether these influences are in the staging of action or ‘in-camera effects’ and how these influences contribute to the distinctiveness of his work. [Please note you may not use music clips as examples.] Set reading & viewing (compulsory) Dellamorte, A. (2007). Exclusive Interview – Michel Gondry. Retrieved from http://collider.com/exclusive-interview-michel-gondry/ Ezra, E. (2000). Georges Melies. Manchester & New York: Manchester University Press. Goldsmith, L. (2004). The Work of Director Michel Gondry. Retrieved from http://notcoming.com/features/gondry/ Gondry, M., et al (Writers/Directors)(2003).The Work of Director Michel Gondry [Documentary]. New York, USA: Palm Pictures. Rubin, M. (1993). Showstoppers: Busby Berkeley and the Tradition of the Spectacle, New York: Columbia University Press. [Chapter 4 Broadway Before Berkeley] Recommended Bromberg, S. & Lange, E. (Directors) (2011) The Extraordinary Voyage, France: France 3, Lobster Films. Hammond, P. (1974). Marvellous Melies, London: Gordon Fraser. Scorsese, M. (Director). (2011). Hugo. [Motion Picture]. Hollywood, Ca: Paramount Pictures. Webster, M. (2008) Marvellous Méliès. Retrieved from http://motiondesign.wordpress.com/category/1910/Yuan, J. (2013). Michel Gondry on The We and the I, Bronx Kids, and Mood Indigo. Retrieved from http://www.vulture.com/2013/03/michel-gondry-the-we-and-the-i-mood-indigo-interview.html
7. Place branding is the practice of applying branding strategies and other marketing techniques to the economic, political and cultural development of cities, regions and countries …However, the branding of places and destinations can be a more intricate and challenging process than the branding of goods and services…(Kemp, E. et al, 2012, p.508).
Compare and contrast the official branding programs of two cities through their graphic identities (logos) or their official website designs. Do not use Melbourne. Explain whether these two cities are presenting themselves as tourist destinations, business hubs, vibrant places to live, or in terms of any other category. Analyse the way the graphic identities have drawn from culture, geography, climate, technology, etc to communicate about the particular cities. Evaluate the strengths and weaknesses of these two branding programs in terms of how they are differentiating each city and communicating the cities’ attributes to the people and organisations they are targeting. Set reading & viewing (compulsory) Kaplan, M., Yurt, O., Guneri, B. & Kurtulus, K. (2010) Branding Places: Applying brand personality concept to cities. European Journal of Marketing, 44, 9/10, 1286-1304. Kemp, E., Childers, C. & Williams, K. (2012). Place Branding: Creating self-brand connections and brand advocacy, Journal of Product and Brand Management, 21, 7, 508-515. Mueller, A. & Schade, M. (2012) Symbols and Place identity: A semiotic approach to internal place branding – case study Bremen (Germany) Journal of Place Management and Development, 5,1, 81-92. Scaramanga, M. (2012) Talking About Art(s): A theoretical framework clarifying the association between culture and place branding, Journal of Place Management and Development, 5,1, 70-80.
8. While designing for sustainability has been considered essential to the practice of informed contemporary design, increasingly the ‘cradle to cradle’ philosophy is being adopted by designers and architects. William McDonough and Michael Braungart in their book Cradle to Cradle: Remaking the Way we Make Things, offer a range of ideas and approaches to help designers to go beyond sustainability in their work. Using two relevant recent projects by two different designers/practices explain how they have used the cradle to cradle approach, referring to the role of upcycling, design for disassembly, keeping materials in closed loops and any of the relevant Five Steps. [Your chosen examples must be by different designers/design practices and you must find them independently. Do not use any of McDonough and Braungart’s projects.] Set reading and viewing (compulsory)
Fuad-Luke, A. (2002). ecoDesign:The Sourcebook. London: Chronicle & Thames and Hudson.
Lewis, H. & Gertsakis J. (2001). Design + Environment: A Global Guide to Designing Greener Goods. Sheffield, UK: Greenleaf. (E Book)
McDonough, W. & Braungart, M. (2002). Cradle to Cradle: Remaking the Way we Make Things. New York: North Star Press. (Chapter 6 Putting Eco-effectiveness into practice)
Van Hattum, R. (Writer, director). (2007). Waste=Food [DVD]. New York: Icarus Films.
Recommended for interior design
RAIA Awards. Retrieved from http://dynamic.architecture.com.au/awards_search
[Use search terms ‘sustainable’ in ‘all fields’ and ‘sustainability’ in ‘all fields’.] Thorpe, A. (2012) Architecture & Design versus Consumerism: How Design Activism Confronts Growth. London: Routledge/Earthscan.
Recommended for communication design
Dougherty, B. (2008). Green Graphic Design. New York, USA: Allworth Press & Celery Design Collaborative.
Recommended reference for industrial design
The Journal of Sustainable Product Design
Thorpe, A. (2012) Architecture & Design versus Consumerism: How Design Activism Confronts Growth. London: Routledge/Earthscan (EBook).
You will need to carefully read the set readings for your chosen Issue Assignment question and evaluate the authors’ arguments in relation to the issue, and consider what you think about the issue. Did the author change your viewpoint; did they expand or contradict any of your ideas about designers or media practitioners and the practice of design or filmmaking? The use of concise and relevant quotes substantiates your argument and provides evidence of your research.
2.4 Reading Materials & Resources
Essential reading and research resources for this assignment are listed with each topic above. You are, in addition to using set texts you are expected to undertake further independent research. These should be books, scholarly and professional journal articles and web sources The chosen texts and all other items used should be recorded in a reference list on a separate page at the end of your assignment.
3. Requirements and Deliverables
You are required to upload in Blackboard
1 x Essay Plan – on the supplied pro forma, in Week 8.
1 x 1,500 word article with captioned illustrations in Week 12. Use the following format:
Word document or pdf with the cover sheet attached to the front. (The template for this is page 11 of this assignment brief.) Text must be aligned to the left, not centred, with a left hand margin. You must use 1.5 spacing and number the pages, film and book titles should be in italics. You must use APA6th Edition referencing. The expectation is that you will produce a publication quality piece of writing (including proper paragraphs) about your field of study, presenting a cogent argument, with no errors in expression or spelling.
4. Project Deadline
Essay Plan: Saved as a doc, docx or pdf, uploaded by Friday 28th April 4.00PM.
Completed Assignment: Your article saved as a doc, docx or pdf uploaded by Friday 26th May 4.00PM.
No late submissions will be accepted without a formal extension. For policy and procedures regarding extensions, special considerations and appeals and procedures, please refer to the Unit Outline.
5. Teaching Method
The issues will be discussed in the lectures and covered in screenings in weeks 2-10. At least one set reading for each question will be discussed in the Group Discussion Board and some will be the subject of a weekly learning activity or task. Students will collaborate in discussing issues in their online studio and they will practice writing about design issues each week in all required learning activities and tasks.
6. Learning Objectives
To become familiar with and use a body of relevant critical theory in the form of an argument and apply it to design and/or media practice
To be able to analyse design and media in relation to social, economic and political contexts
To articulate an understanding of a range of contemporary issues related to design and media practice
To write effectively about design and media at the level of a published (professional) magazine
You will employ research in an applied outcome
Completed Essay Plan – week 8
The Essay Plan rubric is available via the Assessment Rubrics tab in Blackboard
Research: Use of set texts, quality of independent research, comprehension of issue
Argument, including independent thinking
Choice of relevant examples
Analysis of examples
Effective captions for illustrations
Acknowledgement of authors with in-text referencing
(APA 6th Edition style citation)
Presentation, including Reference List
(Alphabetical order, use of APA 6th Edition style)
NB. The use of unacknowledged quotes is regarded as plagiarism, which will be penalised with a fail grade.
School of Design, FHAD
Higher Education Division
DDD20004 Contemporary Design Issues
Issue Assignment Cover Page
Semester One 2017
Topic: Paste the first sentence of your chosen assignment question here.
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