honours bachelor of experiential design

Honours Bachelor of Experiential Design

Applying for Ministerial Consent Under the Post-secondary Education Choice and Excellence Act, 2000

The Secretariat Postsecondary Education Quality Assessment Board 900 Bay Street 23rd Floor, Mowat Block Toronto, ON M7A 1L2

Tel.: 416-325-1686 Fax: 416-325-1711

E-mail: [email protected]

sheridancollege.ca

Section 1: Introduction

1.1 College and Program Information

Full Legal Name of Organization: Sheridan College Institute of Technology and Advanced Learning

URL for Organization Homepage (if applicable): http://www.sheridancollege.ca/

Proposed Degree Nomenclature: Honours Bachelor of Experiential Design

Location Trafalgar Campus, 1430 Trafalgar Road, Oakville Ontario, L6H 2L1

Contact Information: Person Responsible for this submission: Name/Title: Melanie Spence-Ariemma, Vice Provost, Academic Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x4226 E-mail: [email protected]

Name/Title: Joan Condie, Dean, Centre for Teaching and Learning Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x2559 E-mail: [email protected]

Site Visit Coordinator (if different from above): Name/Title: Ashley Day, Coordinator, Program Review and Development Services Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x5561 E-mail: [email protected]

Honours Bachelor of Experiential Design | 2


1.2 Table of Contents Section 1: Introduction .................................................................................................. 2 1.1 College and Program Information .......................................................................................... 2 1.2 Table of Contents ................................................................................................................... 3 1.3 Executive Summary ............................................................................................................... 5 1.4 Program Overview ................................................................................................................ 22 1.5 Program Abstract ................................................................................................................. 33 Section 2: Degree Level Standard .............................................................................. 34 2.1 Depth and Breadth of Knowledge ........................................................................................ 34 2.2 Conceptual & Methodological Awareness/Research and Scholarship ................................. 37 2.3 Communications Skills ......................................................................................................... 38 2.4 Application of Knowledge ..................................................................................................... 38 2.5 Professional Capacity/Autonomy ......................................................................................... 39 2.6 Awareness of Limits of Knowledge ...................................................................................... 41 Section 3: Admission, Promotion and Graduation Standard ................................... 42 3.1 Admission Requirements for Direct Entry ............................................................................ 43 3.2 Admission Policies and Procedures for Mature Students .................................................... 43 3.3 Promotion and Graduation Requirements ............................................................................ 44 3.4 Advanced Standing Policies and Requirements .................................................................. 44 3.5 Degree Completion Pathways .............................................................................................. 45 Section 4: Program Content Standard ....................................................................... 47 4.1 Professional Advisory Council .............................................................................................. 47 4.2 Professional Accreditation .................................................................................................... 55 4.3 Learning Outcomes .............................................................................................................. 56 4.4 Course Descriptions ............................................................................................................. 61 4.5 Course Schedules ................................................................................................................ 69 4.6 Work-integrated Learning Experience .................................................................................. 80 4.7 Course Outlines .................................................................................................................... 88 4.8 Degree Completion ............................................................................................................ 151 Section 5: Program Delivery Standard ..................................................................... 183 5.1 Quality Assurance of Delivery ............................................................................................ 183 5.2 Student Feedback .............................................................................................................. 187 5.3 Web-facilitated, Hybrid and Online Delivery ....................................................................... 188 Section 6: Capacity to Deliver ................................................................................... 189 6.1 Learning and Physical Resources ...................................................................................... 189 6.2 Resource Renewal and Upgrading .................................................................................... 202 6.3 Support Services ................................................................................................................ 203 6.4 Faculty ................................................................................................................................ 205 6.5 CV Release ........................................................................................................................ 210 6.6 Curriculum Vitae of Faculty Delivering Core Courses ........................................................ 211 Section 7: Credential Recognition Standard ........................................................... 244 7.1 University Credential Recognition ...................................................................................... 245 7.2 Industry Credential Recognition ......................................................................................... 253


Section 8: Regulation and Accreditation Standard ................................................. 268 Section 9: Nomenclature Standard ........................................................................... 269 Section 10: Program Evaluation Standard ............................................................... 270 Section 11: Academic Freedom and Integrity Standard ......................................... 271 Section 12: Student Protection Standard ................................................................. 272 12.1 Student Protection Regarding Academic Calendar .......................................................... 272 12.2 Student Awareness of Policies and Procedures .............................................................. 272 12.3 Resolution of Students’ Academic Appeals, Complaints, Grievances, and/or Other Disputes ................................................................................................................................... 272 12.4 Student Dismissal ............................................................................................................. 273 12.5 Current Academic Calendar ............................................................................................. 273 Section 13: Optional Material .................................................................................... 274 Appendix 1: Environmental Scan & Academica Program Feasibility Study ............................. 274 Appendix 2: Proposed Program Map ....................................................................................... 341 Appendix 3: Admission Requirements Comparison ................................................................. 342 Appendix 4: Selected Employment Opportunities .................................................................... 351 Appendix 5: Professional Behaviours Framework .................................................................... 376 Appendix 6: SEGD Professional Development/Skills Survey ................................................... 380 Appendix 7: Non-Duplication of Programs ............................................................................... 394 Section 14: Policies .................................................................................................... 400 References .................................................................................................................. 401


1.3 Executive Summary 1.3.1 Introduction Experiential design (XD) is an important emerging field that can be defined as involving the creation of physical environments that communicate. This is a distinctive area of practice that combines spatial knowledge (scale and materials) with communications skills (multi-sensory, including visual) with an overarching understanding of human-centred design (cognitive and behavioural theory). Part of the impetus for the development of this program is the expressed shortage of skilled designers in this growing field and the current reliance on workplace training to fill that need.

A critical aspect of rising global urbanization in the 21st century is the increasing complexity of cities, and their importance in driving the economies and culture of nations. How we build and assemble these complex environments is managed by a host of professionals, including architects, planners, landscape architects, transportation and civil engineers, as well as experiential designers.

Experiential designers address the communication networks, as well as public place making, wayfinding, exhibition design, and themed and branded environments within cities and communities. Increased urbanization, investment in creativity and culture, as well as the integration of technology in built environments have influenced a significant shift within design education. In fact, the design disciplines are uniquely positioned to build liveable, resilient, culturally rich communities that engage their citizens and improve their quality of life.

The proposed program aligns well to Sheridan’s Strategic Mandate Agreement (SMA) and to its suite of design programs. Experiential design is situated within several areas of Growth and Strength identified within the SMA, including Healthy Communities, Design, Creativity, Digital Media and Business. Extensive stakeholder consultation indicates this program would be well integrated across operational and academic areas within Sheridan.

Sheridan has demonstrated leadership in developing and delivering ground-breaking design education, with a proud 50-year history. Existing degrees include Industrial Design, Interior Design, Game Design, Illustration, Graphic Design and, most recently, the pioneering Interaction Design degree that has doubled in registration over four years. Sheridan’s facilities, technologies, faculty, industry connections and culture provide a strong foundation to deliver the proposed Honours Bachelor of Experiential Design degree, the first undergraduate program in this discipline within Canada.

As design and design thinking are increasingly embraced by the world of business and commerce, the core discipline of “design” as an academic enterprise has become more dynamic and multi-valent. In this expansive new era for “design,” disciplinary boundaries and definitions are also evolving. “Experience” or “experiential” are terms that reflect the


effort to remap the domains of design. This term can overlap with a number of design sectors.

The Society for Experiential Graphic Design Professional Development (SEGD) has led the way by using “experiential” to carve out and connote a distinct territory. We are aligning our Experiential Design degree - designing for spatial experience in urban environments - to this nomenclature.

The digital revolution has disrupted traditional avenues of communications; traditional graphic and communication design practices have likewise been transformed. Two areas have emerged from this shift: experiential design and interaction design. Experiential design (XD) as well as interaction design (IxD) have evolved concurrently to respond to the increasing technological sophistication of our everyday environments (interaction design) while applying human-centred design methodologies to create compelling experiences within these built environments (experiential design). Experiential design is a distinct area of design practice which integrates with architecture and urban planning, but represents unique areas of expertise, rooted in 20th century notions of graphic design, but recontextualized by technology within a spatial domain. Information no longer flows exclusively from the printed page, but instead is ubiquitous, communicated and accessed constantly and is immersed in our urban environments. Communication in the 21st century requires greater breadth and integration of skills because of the diversity of communication channels available including: built environments, digital devices, broadcast and print media.

Post-secondary design graduates will need to navigate more complex design opportunities by synthesizing a diverse range of skills and knowledge drawn from various domains in order to participate in and facilitate collaborative ways of working.

Experiential design (XD) and interaction design (IxD) are differentiated areas of practice, defined by the environments where they are applied. Interaction design addresses virtual environments (banking, retail, service and the internet of things) and experiential design addresses experiences in physical built environments (retail, public space, events, exhibitions and museums, as well as branded and corporate spaces). An experiential designer will collaborate with an interaction designer to bring virtual and digital augmentations to physical spaces.

Employer Interest The majority of junior designers working within experiential design have education in graphic design, industrial design, architecture and/or interior design. Junior experiential designers typically take three years of on the job training to be fully ready to take on XD projects on their own. Therefore, specialized education in experiential design will meet a definite education and training gap identified by employers, by ensuring that graduates are ready to participate in a professional environment, as fully as possible, immediately following graduation.


In the Environmental Scan (Appendix 1) most of the employers interviewed felt challenged to find qualified people to work on projects that require experiential design expertise and, as a consequence, they hire graphic designers to fill these roles. These complementary design fields do not possess the breadth of the experiential design skillsets, thus, they require additional training (through both the workplace and elsewhere). In some cases, employers indicated that the learning curve for these complementary design practitioners was quite steep.

A testament of one employer interviewed confirms the need for specialized training in experiential design:

I am really excited that Sheridan is doing this – we have been trying to look for people that are a good fit and this takes time. Although we are looking for graphic designers this is largely because there is no program that allows them to specialize in this area. (Interviewee comment - Appendix 1)

Many current XD practitioners in the industry have developed the required skills through a process of job experience, and post-graduate training. Currently, experiential designers have formal academic training focused in specific design areas complementary to but outside of experiential design, such as: architecture, urban design, industrial design or graphic design. They may have strengths in the foundational competencies based on their education, but a large portion of experiential design training occurs on the job. As indicated by employers interviewed in the 2017 Society for Experiential and Graphic Design Professional Development (SEGD) Professional Development/Skills Survey (Appendix 6), it can take anywhere from three to four years for a new employee to gain the diversity of skills and knowledge required to manage experiential design projects.

The experiences of employers looking to hire experiential design professionals are supported by results from the Society for Experiential Graphic Design Professional Development/Skills survey released in March 2017. Figure 1 demonstrates the reliance on workplace training and independent learning for the professional development of junior designers due to the shortage of baccalaureate level programs in this discipline.


Figure 1: How will your junior staff (< 3 years) gain these skills? Chart adapted from the SEGD Professional Development/Skills Survey, March 2017, segd.org (Appendix 6)

While internationally there are several graduate level design programs that are directly related to experiential design (see Section 7), there is a high demand within the profession for baccalaureate level graduates who require less training upon entering the workforce.

Employers within the field are eager to hire graduates who have training in synthesizing multisensory communication and spatial design skills with knowledge in human-centred design methods, research, technology, materials and media because of the challenge of finding candidates with the appropriate education or experience. The proposed Honours Bachelor of Experiential Design degree will align with the present and future needs of the profession, while moving away from the apprenticeship model that is currently in place.

Impacts of Urbanization The growth of technology in our urban environments, along with increased urbanization and population density has necessitated the development of new ways of communicating in public spaces. Experiential design provides the expertise to create platforms for the communication of content through various media and at different scales. It also addresses communications across diverse cultures that exist in urban centres. This encompasses: wayfinding systems that provide legible and comprehensive orientation and navigation across extensive networks; placemaking which aims to build healthier, more socially, and economically viable communities by creating spaces that foster gathering and social interaction within a community; and public installations and interventions that can explore relationships between a place, space and its constituents through the lenses of activism, advocacy via theoretical or speculative investigations.

Arup Group, a UK based independent firm of designers, planners, engineers, consultants and technical specialists, notes in their 2013 report for the UK’s Department


for Business, Innovation and Skills (BIS), that they estimate the smart cities industry will be worth more than $400bn globally by 2020. In the ARUP UrbanLife: The smart solution for cities report, they describe smart cities:

Urban sustainable development has emerged as a strategy and policy priority for city leaders. One way cities are responding is by building smart cities. A smart city is one that uses technology to transform its infrastructure and make better use of energy and resources. Information and communications technologies (ICT) can be deployed to create new, intelligent ways of making our urban centres more resource efficient and reduce their carbon footprint. (Hill, Doody, Watts, Buscher & McClure, 2011, p. 7)

Clive Roux, the CEO of the Society for Experiential Graphic Design (SEGD), has identified the development of ‘smart cities’ as a key driver in growth and opportunities in the profession of experiential design.

Integration of Technology and Media in Built Environments Due to the overwhelming amount of information that needs to be accessed, shared, and communicated within complex environments, there has been an accelerated evolution in “smart” devices and networked urban infrastructure that integrates technology and digital media with physical spaces at all scales. Integrating technology, communications, media, data collection and analytics with physical infrastructure has significant implications for experiential design and other design disciplines. There are increased opportunities to develop communication platforms and built elements that can provide real-time information to improve quality of life for inhabitants and citizens. Different types of interactions between people and places can be facilitated through well-considered design approaches. Streamlined and integrated connectivity can reduce the costs of implementation and maintenance, as well as consumption of resources.

Communications and technology companies such as Cisco, Ericsson, and JCDescaux are integrating technology based on the Internet of Things with built elements within the urban context. One example is “connected” bus shelters that can provide real-time information for public transit systems, interactive wayfinding, dynamic advertising and Wi-Fi capability for travellers to create a seamless experience. Experiential designers are involved in these types of projects and provide expertise in designing the built structure, signage, maps and other communication elements, as well as collaborating with interactive designers to develop the digital components and interfaces within this type of shelter.

Increased Investment in Cultural Capital Urbanization also fosters increased growth in cultural capital, which has become a significant economic driver. Small, medium, and large cities and towns invest in cultural institutions, hospitality, and events to support tourism and to create meaningful experiences to engage communities. Many cultural institutions, governments, corporate


and non-profit organizations use events to engage diverse audiences through the integration of space, performance, and communication. These can be events at all scales, including music and cultural festivals, sporting and recreational events (such as the Olympics), conferences and conventions, retail launches, and trade shows. All of these areas are important employers of experiential design.

The 2012 UNESCO report, Culture: a driver and enabler of sustainable development connects the economic benefits of investment in the cultural sector with sustainable development, particularly in the areas of poverty reduction and job creation that support the preservation and further development of cultural heritage. Their research indicates that, “Today, many cities use cultural heritage and cultural events and institutions to improve their image, stimulate urban development, and attract visitors as well as investments” (Unesco, 2012, p. 4). UNESCO notes that most middle-income countries are developing vibrant cultural sectors, and as a result, there is an increased investment in this area.

Growth in the cultural sector is reflected in Canadian data. The federal government has tracked growth in attendance at and development in heritage institutions. The Government of Canada (2015) survey of heritage institutions identifies growth in this sector:

Art galleries, museums, historic sites, archives, zoos and botanical gardens all saw an increase in the number of visits they received during 2013, with overall attendance reaching a record 61.9 million visits, up 10.4% from the 2011 figures (56 million). Museums received the majority of those visits, topping 25 million, followed by historic sites with 11.7 million (Government of Canada, 2015, p. 3).

Cultural industries play a significant role in both the Canadian and Ontario economy. For example, based on the Provincial and Territorial Cultural Satellite Account, the direct economic impact of Ontario’s cultural products, in 2010, was $22 billion, accounting for 3.7% of Ontario’s GDP (Toronto Artscape, 2015).

Museums, art galleries and cultural institutions develop opportunities for education and engagement through exhibitions and interpretive programming that involve the creation of storytelling experiences in physical spaces. Sports tourism is also a part of the social and cultural community. An example of this is the annual National Hockey League Winter Classic event, an experiential design project conducted by BaAM productions of Oakville (an ad hoc PAC member for the program). These spaces have the potential to become catalysts for meaningful social interaction and community building.

Experiential design is integral to the planning and development of these types of events, since they often require the integration of spatial design, built elements, digital media


and multi-sensory communications. Experiential designers will collaborate with theatre production and event planning professionals, as well as experts in logistics, sound and lighting design.

1.3.2 What is Experiential Design? Experiential design is a distinct area of practice that synthesizes knowledge in three key domains: spatial knowledge (scale, structure, form and materials), communications skills (multisensory, including visual), and an overarching understanding of human-centred design (including perception, cognitive and behavioural theory). The diagram in Figure 2 was generated by the program development team to represent the thematic and methodological areas used within the program. The inner rings show the intersection of the thematic areas of knowledge and skills that inform the practice and is evidenced within the Honours Bachelor of Experiential Design curriculum. The outer ring captures the theoretical and methodological approaches employed in all thematic areas within the curriculum: design thinking, sustainability, professional practice, and design studies.

Figure 2: Experiential Design Themes and Methods


Much like a choreographer, an experiential designer determines the movement through space, and develops possible narratives and interactions within the environment. An experiential designer can have one of many strategic roles within the project team and can lead processes in problem solving, design, and planning. These roles and responsibilities are fluid, based on the type, scope, and scale of the project. An experiential designer works closely with clients and organizations to develop strategies for multi-sensory communications in a variety of built and natural environments. The selected examples reveal the depth and breadth of experiential design practice and demonstrate the ways in which the role of the experiential designer can change, depending on the intended outcomes of the project. The integration of knowledge of spatial design, multi-sensory communication and human-centred design is the core asset that an experiential designer contributes to a project team.

Experiential Design Areas of Practice Experiential design focuses on experiences within environments that we encounter every day, including: airports, hospitals, museums and cultural institutions, historic sites and monuments, retail environments, shopping centres, public pathways and spaces, sport and recreation centres, and temporary events such as concerts, festivals and sport competitions. In general, Experiential design encompasses the following six areas of practice:

1. Wayfinding2. Public Installation3. Placemaking & Identity4. Exhibition Design & Interpretation5. Themed and Branded Environments6. Event Design


1. WayfindingWayfinding (or wayshowing) integrates physical and digital elements to developnavigational systems at various scales. These systems communicate information usingbuilt elements and mobile/digital technologies. Wayfinding systems can facilitatenavigation, not only within large buildings, but also between several buildings and withinurban and natural environments. These projects can range in scale and timelines.Some, like the examples below, are extensive and can span decades. The aim is forclear, legible, and comprehensive orientation in complex environments and publicspaces.

Example 1 - Wayfinding: The Legible London Project The Legible London project (Figure 3) involves the design and implementation of a comprehensive pedestrian wayfinding system for London, UK. The project was developed by Transport for London, collaborating with AIG London and Lacock Gullam, with the aim to encourage more visitors and residents to walk and/or use public transit. The system consists of over 1,300 elements and this continues to expand.

Figure 3: The Legible London project (2004 – present) Design Team: Applied Information Group/Applied Wayfinding, Lacock Gullam, UK (industrial design)

Figure 4 represents the multi-disciplinary nature of experiential design practice by visualizing the typical project teams for an urban wayfinding project such as the examples provided of Legible London. Experiential designers will often have a project management role and oversee other designers and affiliated professionals (architects, urban designers, engineers). The size and diversity of project teams will vary depending on the type and scope of the project.


Figure 4: Urban wayfinding team composition for the Legible London Project

2. Public InstallationPublic installation projects encompass a wide range of opportunities for artists,architects, landscape architects, and experiential designers to collaborate. Installationscan be permanent or temporary and at various scales and timeframes. The aim can beto explore the relationships between a place, space, and its users through the lenses ofactivism, advocacy, and theoretical or speculative investigations.

Example 1 – Public Installation: The Movement Cafè The Movement Café was designed by Morag Myerscough as a temporary café and public space to coincide with the opening of the 2012 Olympic Games in London (Figure 5). The project integrates space, furniture, large scale vibrant typography, and graphics, housing a café, performance area, and seating. Many of the built elements are made from reclaimed materials.

Figure 5: The Movement Café, Greenwich, London, UK Design Team: Studio Myerscough; Morag Myerscough and Luke Morgan


3. Placemaking & IdentityPlacemaking aims to improve the spaces that foster gathering and social interactionwithin a community, such as streets, sidewalks, parks, buildings, and other areas usedby the public. The intention is to build healthier, more socially, and economically viablecommunities. Often places lack a distinct sense of identity; placemaking can help todefine the unique qualities of a space through the integration of history, culture andenhancement of physical attributes.

Example 1 - Placemaking & Identity: Erie Commercial Slip The Erie Commercial Slip project is a 12 acre renewal site. It was developed by C&G Partners, who were responsible for the master planning and the design of interpretive elements, which represent the commercial activity of Buffalo’s waterfront and Canal life in its heyday (Figure 6). Sculptural elements in glass, steel and bronze are juxtaposed with the restored Erie Commercial Slip and warehouses, expressing the district’s past and future. Stories of legendary personalities and citizens are told with hands-on displays, typography, and graphics reminiscent of Canal-era broadside posters.

Figure 6: Erie Commercial Slip, Erie Canal, C&G Partners, Buffalo, NY Design Team: C&G Partners, Flynn Battaglia, Mathews Nielsen, John Milner Associates

Example 2 - Placemaking & Identity: Daniels Spectrum Spectrum is an integral part of the revitalization of the Regent Park neighbourhood in Toronto. Entro was the experiential design consultant responsible for the design of the exterior and interior graphic elements, wayfinding and donor recognition for the Daniels Spectrum building (Figure 7). The Centre, operated by Artscape, is an artistic, cultural and social hub for the community and showcases how design can activate cultural expression and creativity. The coloured bands on the exterior and interior of the building represent the flags of the countries of the ethnically diverse residents. The striped pattern is a primary element of the identity of the facility and has been adopted across all communication platforms.


Figure 7: Daniels Spectrum, Entro Communications, Regent Park, Toronto, ON. Design Team: Entro (experiential design), Diamond Schmitt Architects (architecture)

4. Exhibition Design & InterpretationExhibitions involve the creation of storytelling experiences in physical spaces.Museums, art galleries, and cultural institutions develop opportunities for education andengagement through exhibitions. Exhibition design is a highly collaborative practice thatinvolves knowledge in spatial design, multi-sensory communication, digital andaudio/visual media and visitor experience. As noted, the role of the experiential designervaries according to the project needs and the team required to meet these needs.Figures 8 and 9 illustrate the practice of exhibition design interpretation.

Example 1 - Exhibition Design: The Hall of Biodiversity The Hall of Biodiversity designed by Ralph Appelbaum Associates (Figure 8) is a 2,500 square-foot immersive diorama that depicts part of the Dzanga-Sangha rain forest, one of Earth’s most diverse ecosystems with more than 160 species of flora and fauna. The hall’s Spectrum of Life exhibit showcases the diversity of life resulting from 3.5 billion years of evolution. More than 1,500 specimens and models, from microorganisms to terrestrial and aquatic giants, are organized into 28 groups along the 100-foot-long installation.

Figure 8: The Hall of Biodiversity, American Museum of Natural History, Ralph Appelbaum Associates, New York, NY Design Team: Ralph Appelbaum Associates (exhibition design consultants) with the American Museum of Natural History Exhibitions Lab and other museum departments.


Figure 9 provides one example of an in-house museum exhibition project team. As shown, the experiential designer is a part of the Core Museum Exhibition Team for the Museum Exhibition Project.

Figure 9: The diagram above represents the structure of an in-house museum exhibition project team. Consulting design studios specializing in exhibition design such as Ralph Appelbaum Associates often work directly with in-house teams and can provide a range of design services depending on the museum’s resources and capabilities.


5. Themed and Branded EnvironmentsThis category includes retail and corporate environments, theme parks, and hospitality.There are many professional opportunities for experiential designers within these areasat a global scale, given the growth of multi-national companies. Projects can be atvarious scales and involve large and smaller teams of designers, with both experientialand affiliated expertise.

Example 1 – Branded Environment: 101 Tech Headquarters Gensler has diverse areas of design expertise and will create collaborative teams for specific projects based on the type and scope of the work required. At Gensler, experiential design practice is situated within the Brand Design group. Experiential designers work on a wide range of projects across sectors including corporate, retail, health, arts and culture, and entertainment, to name a few.

This project creates an immersive visual experience and story for a vacant 280,000-square-foot Silicon Valley office space (Figure 10) aimed at brokers and potential technology sector tenants. Super-sized graphics frame general information about the building and its assets and engaging visual elements highlight the property's differentiators and wellness benefits, such as expansive natural light and outdoor amenities. An 11-stop tour through the property includes interactive iPad stations loaded with panoramic simulations of the space, creating a memorable experience that resulted in a signed tenant soon after installation.

Figure 10: 101 Tech Headquarters, Gensler, San Jose, CA Design Team: Gensler (Brand Design and Environmental & Experiential Design)


6. Event DesignThe design of events involves integrating many facets, including built elements, theatreand performance, audio/visual/digital media, lighting, and logistics. These projects areusually temporary, last for short periods of time, and can present unique designchallenges. Experiential designers are often members of multi-disciplinary teams thatdevelop events at various scales.

Example 1 – Event Design: Toronto 2015 Parapan Am Games Ceremonies BaAM Productions specialize in creating entertainment, culture, and sports themed experiences. They were co-producers of the Parapan Am Games closing ceremony (Figure 11). They were involved in the concept and creative development, scenic design, lighting, costume, and media design as well as programming and logistics. This project consisted of the conception and implementation of programming featuring a wide range of performances and a closing ceremony celebration. In addition to the design of the built elements, the multi-disciplinary teamwork involved costume and media design, musical production, staging and choreography, along with site logistics and operations.

Figure 11: Toronto 2015 Parapan Am Games Ceremonies, BaAM Productions Design Team: BaAM Productions (experiential design), FiveCurrents (live entertainment production), Live Nation (live music)


1.3.3 Alignment with SMA The proposed Honours Bachelor of Experiential Design has been developed within the 2012 - 2017 SMA period. It is important to note that there is a clear alignment between both the current and the upcoming SMA in 2017 - 2020. Though creativity is not listed as an area of strength/growth in the upcoming SMA, it is an institutional priority that creativity permeates all Sheridan programs. Experiential design, as a strategic part of the design offerings in the Faculty of Animation, Arts and Design, is rooted in creativity. The proposed Experiential Design degree also aligns with Sheridan’s areas of strength in Healthy Communities, Design, Creativity, Digital Media and Business.

1.3.4 Duplication & Program Differentiation Currently there are no Experiential Design programs in Ontario. The proposed Experiential Design program would be the only design program in Ontario that approaches design from a spatial perspective, as experienced in urban settings. This program integrates the study of communication with literacy in urbanism. Design programs in Ontario all offer courses in research, visual communications and human-centred design, since these are foundational to all design disciplines. However, each design discipline has its own mandate and audience. For example, graphic design addresses communication through a variety of 2D contexts including screens, while experiential design addresses communication that is immersive and experienced spatially. The examples below provide brief comparisons of how the programs in different design disciplines compare to the proposed Honours Bachelor of Experiential Design program.

Humber College: Bachelor of Interior Design The curriculum for the Bachelor of Interior Design is accredited by the Council for Interior Design Accreditation (CIDA). The program emphasizes: materials, interior envelope, built environment and communication courses that focus on Computer Aided Design software in order to communicate design solutions. Humber’s curriculum does not include communication focused courses relating to narrative, graphic and information design or interactive platforms, time-based and digital media. The proposed Honours Bachelor of Experiential Design integrates aspects of visual and multi-sensory communications, foundations in Interaction Design including digital, time-based & interactive media to support design in public spaces, urban environments as well as immersive experiences such as events and exhibitions.

OCAD University: Bachelor of Environmental Design This Environmental Design program has an Interior Design Specialization that is accredited by the CIDA. This program is focused primarily on interior & landscape design practice and includes spatial design applied to various physical environments. The curriculum does not include communication design courses relating to narrative, multi-sensory communication, interactive and digital media. The proposed Honours Bachelor of Experiential Design also has a strong emphasis on integrating these multi-


sensory communication and interactive digital media skills to create immersive experiential design solutions and enhance the built environment.

University of Toronto: Bachelor of Arts, Architectural Studies The curriculum for Architectural Studies consists of courses focused on architecture, urban design, and landscape architecture and offers breadth in three specialist streams: design, history and technology. The curriculum does not include communication design courses relating to narrative, multi-sensory communication, interactive and digital media. The proposed Honours Bachelor of Experiential Design also has strong emphasis on integrating these multi-sensory communication, and interactive digital media skills applied to the built environment to create immersive experiential design solutions.

Humber College: Bachelor of Graphic Design The Humber Graphic Design program focuses on producing design generalists, with an emphasis on design for media communications and user experience (UX) design. There is no mention of experiential design, spatial design in the built environment, or multi-sensory communications in the curriculum. These are the areas of focus in the proposed Honours Bachelor of Experiential Design program which will provide specialized education that addresses this growing industry need.

The proposed Honours Bachelor of Experiential Design program is differentiated in its specialized approaches even to the foundational disciplines of communications, human-centred design and research in order to fully address the mandate of the program. Practitioners of experiential design require knowledge of multi-sensory range of communications, such as visual, as well as audio, touch, smell, and even taste. Since the curriculum seeks to develop literacy in physical navigation of urban environments, principles of narrative, materials, and scale are uniquely stressed.

This interdisciplinary field of practice engages with practitioners from architectural studies, industrial design, interior design, interaction and experience design as well as graphic design. The skills required in this expanding field are not delivered in existing programs. The SEGD and the ad hoc Professional Advisory Council expressed the need for specialized training in experiential design. The SEGD Professional Development Skills Survey in March 2017 (Appendix 6) identified that 70 percent of experiential designers received on the job training in order to acquire the level of skill to contribute to the sophisticated demands of experiential design projects. Survey respondents and the ad hoc PAC indicated that it currently takes more than three years to develop the experiential design skills needed when hiring graduates from programs in other design disciplines such as architecture, interior design or graphic design. This program will fill the gap between graduation from other design programs and the three years or more on the job training currently required. The curricular structure and focus of the program, will allow students to fill experiential design related positions immediately following graduation.


1.4 Program Overview The proposed four-year Honours Bachelor of Experiential Design degree program provides students with the knowledge and skills required to create spatial experiences that educate, orient, engage, and inform. Students apply principles of design thinking and human-centred design to support communication strategies in the built environment that enhance the global growth of intelligent, resilient (smart) cities. Increased urbanization, investment in cultural capital, and the integration of technology in all aspects of everyday life are influencing shifts within design education, leading to the emergence of experiential design as a unique area of study and practice. Graduates need to navigate complex design problems, drawing from various domains, in order to facilitate collaborative ways of working.

The proposed Honours Bachelor of Experiential Design would be the first undergraduate degree offered in this discipline, in Canada. Internationally, there are many pathways for Masters and PhD education, with specializations in Exhibition Design, Architecture, Communication, Fine Arts, Service/Social Design and trans-disciplinary degrees. Graduates may find entry into the profession through mid-level employment as designers, strategists, researchers, and planners in diverse areas of experiential design practice, including exhibition design, event design, theme parks, public space planning, urban and national parks wayfinding, retail and corporate environments, and the hospitality sector. Graduates may also work as self-employed consultants.

Sheridan’s Faculty of Animation, Arts and Design (FAAD) is well positioned to deliver design degrees in emerging areas of practice. The proposed Honours Bachelor of Experiential Design degree aligns with the strategic direction of FAAD to deliver degrees in already established areas of expertise. FAAD has provided leadership in design education since the founding of Sheridan in 1967. Sheridan’s original graphic design diploma program curriculum included wayfinding, one of the key areas within experiential design practice. FAAD is the largest art and design faculty in Canada, with 6,390 students (as of 2016)1. The FAAD art and design programs are recognized by the National Association of Schools of Art and Design and, according to the nomenclature for non-U.S. institutions, programs are described as substantially equivalent. Sheridan is the second institution, after the Alberta College of Art and Design, in Canada to receive this prestigious recognition.

As a leader in design education, Sheridan has expertise in developing successful degrees in emerging and established design practices. A testament to this is the successful Honours Bachelor of Interaction Design program, that launched as the area of practice was emerging. Sheridan was the first college in Ontario to offer a degree in this discipline. The proposed degree is also in an emerging field and is complementary

1 Largest specialized/dedicated arts school in Canada based on a comparison of published enrollments by Sheridan College Institutional Research in August 2017. This number includes both full-time and part-time students.


to the Interaction Design degree. The proposed Honours Bachelor of Experiential Design program represents a strategic step for the continued growth of the already innovative design cluster within FAAD, directly addressing the evolution of design education in response to technological, social, and cultural changes that are transforming practice. Sheridan has the resources and expertise to deliver the program, continuing to provide leadership in art and design education in North America and beyond.

Graduate Attributes To determine the unique competencies and program learning outcomes for the experiential designer, an analysis and comparison of core competencies and standards was conducted from the diverse professional design organizations that come together in the field of experiential design:

• Society for Experiential Graphic Design (SEGD)• American Institute of Graphic Arts (AIGA)• Council for Interior Design Accreditation (CIDA)• Canadian Architectural Certification Board (CACB)• American Society of Landscape Architects (ASLA)• Sheridan’s Honours Bachelor of Interaction Design (program learning outcomes)

Other resources include the 2015 Academica survey, the ad hoc PAC and the Society for Experiential Graphic Design Professional Development/Skills survey, March 2017 (see Appendix 6). Data from these sources inform the key graduate attributes which, broadly speaking, consist of foundations in design thinking, communication, physical space, interaction design, and the integration of digital media and technological elements within built environments; an aptitude for problem solving and independent learning, as well as effective skills in leadership, collaboration, project management, and work in interdisciplinary teams. The desired graduate attributes are reflected in the learning outcomes for the proposed degree and addressed throughout the curriculum.

Critical Performance Statement By the end of the program, graduates will have demonstrated the ability to create compelling experiences by applying principles of design thinking and human-centred design to support communication strategies for a range of built environments.

Program Learning Outcomes 1. Create effective multi-sensory, spatial and experiential design solutions through

design thinking and an iterative design process.

2. Apply qualitative and quantitative research where applicable to critically investigateexperiential design hypotheses.


3. Employ design communication tools to develop design solutions that integrateknowledge of materials, form, space, structures, multi-sensory experiences andinteractive media

4. Develop an informed practice through integration of cultural history and theory ofExperiential Design, with reference to art and other design disciplines.

5. Integrate principles of human-centred design and sustainability within designthinking methodologies in experiential design projects.

6. Apply principles of cultural awareness, social engagement and civic literacytowards the goal of building resilient and connected communities.

7. Practice professionalism, collaboration, leadership, and interdisciplinary teambuilding in the execution of projects that acknowledge relevant laws, codes,guidelines, and professional standards.

8. Develop a flexible personal career strategy that considers team-based practices,entrepreneurship and networking among a wide range of industry practitioners.

See Appendix 5 for the Professional Behaviours Framework

Student Interest / Environmental Scan Highlights The 2015 Academica survey results indicate strong interest in the proposed Experiential Design program, with 24 percent of students surveyed very to extremely interested and 30 percent moderately interested (Academica, 2015). Employer interviews were also very positive with expressions of interest in hiring graduates from program. There was an indication that the demand for experiential design services and projects is growing. There are currently no experiential design undergraduate programs in Canada, but graduates from this program would be eligible as applicants for postgraduate programs across the country in related fields.

1.4.1 Curriculum Teaching and Learning Approach The proposed Experiential Design degree’s teaching and learning approach is based on experiential learning theory (Kolb, 1984) which sees students engage in the process of doing as a means of transforming experience into knowledge. In the proposed program, design thinking informs the experiential learning methodologies across the curriculum:

Design thinking is a human-centered approach to innovation that draws from the designer's toolkit to integrate the needs of people, the possibilities of technology, and the requirements for business success. (Brown, 2017, para. 2)


Design thinking employs an iterative process of making and reflection that is in parallel with the experiential learning methodologies, where knowledge results from the process of grasping and translating experience into reflective awareness, which can be called upon to inform further discoveries, applications, and processes.

Applied, high impact experiential teaching and learning strategies (Kuh, 2008) offer effective methods to incorporate collaborative learning techniques and problem based learning into the curriculum. Collaborative learning in the proposed degree will see students working autonomously in groups to meet the challenges of a given design project. More specifically, collaborative learning combines two key goals: learning to work and solve problems in the company of others and sharpening one’s own understanding by listening seriously to the insights of others, especially those with different backgrounds and life experiences.

To support the collaborative learning, an emphasis is placed on professional skills, scaffolded throughout the curriculum. These skills were identified by the ad hoc PAC and the program development team in response to the growing and ever-changing nature of design. These professional skills have been defined for the purpose of the proposed degree as critical thinking, critique, collaboration, project management and leadership; attributes and values which, combined, are seen as crucial to the success of the future graduates of the proposed degree.

The scaffolding of the professional behaviours builds from a foundational awareness of individual strengths, which inform the student’s ability to participate effectively in team-based environments. In the senior years within the program, the knowledge of effective collaboration, project management, and reflective practice culminate in an understanding of leadership capabilities, roles, and skills.

Figure 12: Professional Behaviours Model

Leadership

Critique&ReflectivePractice

ProjectManagement

Collaboration&Team-work


Other key features of the curriculum include:

Professional Behaviours: The program development team has scaffolded the professional behaviours critique, collaboration, project management and leadership, and intentionally laddered them in course learning outcomes throughout the program.

Writing and Communication: These skills are emphasized throughout all four years of the program and include different types of writing (academic, technical and professional/business) and developing well-honed presentation skills.

Studio-Based Learning: Working in groups within studio courses allows students the opportunity to develop both technical and professional skills. Through a variety of design research scenarios, students develop experiential design solutions in multiple contexts, gain experience facilitating and leading discussions, and engage design thinking methodologies for problem framing as well as stakeholder engagement and participation.

Some highlights of the curriculum related to the teaching and learning approach are:

• First year: The role of first year is to provide a theoretical and contextual foundationfor the domain of experiential design. Students are introduced to a breadth ofexperiential design foundations including: spatial design, communication, digital andinteractive media, history and theory, sustainability and design thinking and human-centred design. By the end of first year, students will be able to complete siteanalyses and craft basic proposals informed by foundations in communication andnarrative, multi-sensory implications, and human centred design.

• Second year: Within the second year of the program, the foundations students areexposed to are situated and considered within the context of the global community.Students consider the impacts of space on populations, while exploring topics suchas: sustainability, public space and placemaking, spatial communications and smartspaces. The Experiential Design Studios provide students an opportunity tosynthesize the skills and knowledge introduced in first and second year, as theywork to develop design solutions related to wayfinding and exhibition design.

• Third year: As students enter into the second half of the program, the curriculumshifts from an exploration of discreet theory and practice, to an emphasis onresearch and professional practice. In the third year the Experiential Design Studiosbecome more complex and larger in scope. Elective studio options are available toprovide opportunities for further specialization or more in-depth exploration of aparticular subject area and may provide opportunities to engage with externalstakeholders.


• Fourth year: The fourth and final year of the program provides students with anopportunity to refine their research and design skills through two semesters focusedon thesis/capstone studios. Students will return from their internships (situatedbetween third and fourth years) with a deeper context and understanding of theexperiential design practice. The self-directed nature of the Design Thesis courseallows students to explore problems, materials, or processes building on theknowledge experiences gained within their internship. Through seminars and designstudios, students will conduct research and create design proposals that will bepresented within a professional context.

1.4.2 Applied Research Research in experiential design is informed by design thinking methodologies. Design thinking is a methodology that imbues the full spectrum of innovation activities with a human-centred design ethos (Brown, 2017). The proposed program incorporates the three main phases of design thinking within the curriculum, including: Inspiration, Ideation, and Implementation stages of development (Brown, 2017). The process of design thinking involves an iterative design approach and refers to the cyclic process of prototyping, testing, analyzing, evaluating and refining a product or process.

Research skills are developed across the curriculum to ensure that students are exposed to research concepts, including awareness of ethical secondary and primary research. Capstone projects provide students an opportunity to develop design research-focused innovative projects.

1.4.3 Internship The internship will provide students with the opportunity to acquire professional experience, within experiential design, in a wide variety of working environments and contexts. Given the diverse nature of and global scope of design practice, there are many local, national, and international employers who will be able to offer relevant and appropriate internship positions.

Employer interviews from the Environmental Scan (Appendix 1) and ad hoc PAC consultations have indicated industry support for internships with a variety of paid positions available in different sectors and areas of experiential design practice. These professional contacts have been facilitated through the program development process and with the Co-op Office (see Section 4.6 for more information).

Discussions with the ad hoc PAC have confirmed that students who have completed the third year are best suited for internships since they will have the appropriate level of skills and knowledge to work on teams and on projects of a larger scope. In addition, the ad hoc PAC confirmed that the seasonal timing of when the internships are offered does not pose a concern. In general, the ad hoc PAC members felt that the


spring/summer is an appropriate time of year to hire interns. Therefore, the 14 week (420 hour) internship will occur between third and fourth year.

As discussed in the Program Differentiation appendix (see Appendix 7), internships for students in the proposed program would leverage skills in spatial design, multi-sensory communication, and human-centred design. There is no identified direct competition with other Sheridan programs for internships including Honours Bachelor of Interaction Design, Interior Design, and Industrial Design.

1.4.4 Credential Recognition Employment The employment landscape, both nationally and internationally, is rich and varied with positions in small, medium, and large sized design studios and consultancies, as well as in-house design departments. In multi-national or larger design studios, there may be groups focused on specific design expertise, such as experiential design, architecture, graphic design, industrial design, or interaction design. Project teams will be created, with members from each group. In small to medium size studios or in-house departments, an individual experiential designer can take on a variety of roles depending on the type and scale of the project.

In Canada, there are many successful experiential design studios, such as Entro Communications, Lord Cultural Resources, BaAM, and Watt International, with national and international clients. Globally, experiential design is a well-established profession with a wide range of employment opportunities for junior, intermediate, and senior designers.

The Society for Experiential Graphic Design (SEGD) is experiencing an increased growth in membership and, according to their executive team, this growth is an indicator for the expansion of jobs within the industry, as well as an increased awareness of the profession. The results from the employer interviews in the Environmental Scan and consultations with the ad hoc PAC support the evidence of growing opportunities in this discipline.

In a single search across websites, such as Workopolis and Monster, as well as industry sites, over 100 jobs were retrieved using the search terms of ‘Experiential Design’ and ‘Environmental Graphic Design.’ Recent studies conducted by the SEGD reveal not only a significant number of jobs in experiential design, but also specify skills and knowledge domains aligned to the proposed curriculum of the proposed program.

The scope of affiliated professional organizations in North America that support experiential design extends beyond the SEGD and represent employment internationally. These Associations represent areas of practice described in the introduction such as exhibition and museum design, communication and wayfinding,


and events and entertainment. The majority of the associations listed below have international membership. The membership numbers are as of 2016.

Based in Canada • Association of Registered Graphic Designers – 3,100 members• Canadian Museum Association – over 2,000 members• Ontario Museum Association – 1,299 members

Based in the US • American Alliance of Museums – 4,000 museum members, over 21,000 museum

professionals• Environmental Design Research Association – 473 members, 22 countries• Exhibition Designers and Producers Association –300 corporations in 18 countries• International Association of Exhibitions and Events – over 10,000 members in 52

countriesNational Association for Museum Exhibition – over 800 members

• Themed Entertainment Association – over 1,000 members; four internationaldivisions

The SEGD has identified a range of industry sectors for experiential design services. Areas of practice such as wayfinding, exhibition design, and placemaking are possible within any of these sectors. The employment landscape includes a range of opportunities for Experiential Design program graduates (Figure 13). With increased professional experience, designers will often take on senior or leading roles where they manage larger scale projects and teams.


Figure 13: Experiential design industry sectors and employment landscape

Currently, the only way employers can find candidates that are capable of applying specific theory and practice related to experiential design is through hiring graduates of related fields (architecture, graphic design, industrial design) and investing time in extensive on-the-job training or by seeking those with a graduate degree. With the maturation of the industry there is strong interest in a focused undergraduate education that produces job ready junior experiential designers.

Further Education Internationally there are many pathways for graduate level education with specializations in exhibition design, architecture, communication, fine arts, service/social design and transdisciplinary degrees.


An undergraduate degree is supported by strong economic and social arguments. A focused four-year degree is less of an economic burden to students and employers. It also allows for a deeper exploration of experiential design theories and concepts at the graduate level. Table 1 identifies several national and international graduate programs at the Masters level that are in direct alignment with the proposed Experiential Design degree, with some of these institutions having provided letters of support (see Section 7.2).

Table 1: Selected graduate level studies in Experiential Design Institution Program Credential University of Calgary Environmental Design Master of Environmental

Design Carleton University* Design Master of Design

Concordia University* Design (trans-disciplinary; communication, interaction, built environments)

Master of Design

George Washington University, Corcoran College of Art and Design

Exhibition Design Master of Arts

FIT SUNY* Exhibition and Experience Design Master of Fine Arts Iowa State University Environmental Graphic Design Master of Arts Parsons the New School Design and Urban Ecologies Master of Science University of the Arts Museum Exhibition Master of Fine Arts AUT University Spatial Design Master of Design Glasgow School of Art* Design Innovation and

Environmental Design Master of Design

University of Lincoln UK Design for Exhibitions and Museums Master of Arts University of the Arts London, Central St. Martins UK

Narrative Environments Master of Arts

Royal College of Art Information Experience Design Master of Arts Konstfac University College of Arts, Crafts and Design

Spatial Design Master of Design

York University, Ryerson University*

Media and Culture, Politics and Policy, and Technology in Practice

Masters of Communication and Culture

University of Toronto* Urban Design Master of Urban Planning *Programs marked with an asterisk have provided letters of support (see Section 7)

In addition to the programs listed in Table 1, the Rhode Island School of Design (RISD) launched a new Master of Design program in Interior Studies (Exhibition and Narrative Environments) in the Summer of 2017. The University of Colorado Boulder has


developed a Master of Fine Arts in Experience Design (based in the Theatre and Drama department) that started in the Fall of 2017.

The continued growth of graduate level programs related to experiential design is evidence of the diversity of options available for further education, as well as growing industry demand for designers with this specific type of education.

1.4.5 Capacity to Deliver The development team has planned an effective use of existing faculty, resources, and space based on sharing with programs in the existing design cluster. One full-time faculty equivalent (coordinator) and 3.5 part-time faculty equivalents will be required to deliver the first year. The target is 4.5 full-time and 15.2 part-time equivalents by the fourth year, including cross-appointed faculty. Existing faculty who will be transferred to this program all have subject matter expertise and appropriate credentials. For additional details on the allocation of teaching contact hours (TCHs) across full-time and part-time faculty, refer to Section 6.

The proposed program will be delivered at the Trafalgar campus to allow for shared specialized resources and spaces, such as the FAAD Digital Fab Lab. In addition, there are labs, studios, and maker spaces that have been developed for the existing Interaction Design program that can be leveraged in the delivery of the proposed program.

The program will also be drawing on other resources across the Sheridan campuses. Opportunities exist for collaboration on special projects and some thesis level work with other Sheridan programs. For example, in discussions with the Faculty of Applied Science and Technology, potential collaborations have been identified with the Centre for Advanced Manufacturing and Design Technologies and the Skilled Trades at the Davis campus to work on fabrication projects, as well as the option to access faculty expertise.

Under the current enrolment plan, the projection for year one of the degree program includes 49 full-time students, distributed across two sections, resulting in first year section sizes of approximately 24 to 25 students each. Accounting for attrition over the course of the program, we anticipate that by year four the program will achieve a stable state of 168 full-time degree-seeking students.

See Section 6: Capacity to Deliver for more information.


1.5 Program Abstract The proposed four-year Honours Bachelor of Experiential Design degree provides students with the knowledge and skills required to create spatial experiences that educate, orient, engage, and inform. Students apply principles of design thinking and human-centred design to support communication strategies in the built environment that enhance the global growth of intelligent, resilient (smart) cities.

Increased urbanization, investment in cultural capital, and the integration of technology in aspects of everyday life are influencing shifts within design education. Experiential design has emerged as a unique area of study and practice that addresses our increasingly diverse and complex urban environments, greatly impacted by new technologies. Graduates need to work collaboratively across various domains to navigate complex design problems.

Experiential Design would be the first undergraduate degree offered in this discipline in Canada. Internationally, there are many pathways for Masters and PhD, education with specializations in exhibition design, architecture, communication, fine arts, service/social design and trans-disciplinary degrees. Employment opportunities for graduates include roles such as: designers, strategists, researchers and planners within experiential design practice including exhibition design, event design, theme parks, public space planning, national parks wayfinding, retail and corporate environments, and the hospitality sector. Graduates may also work as self-employed consultants.


Section 2: Degree Level Standard

2.1 Depth and Breadth of Knowledge Theoretical foundations developed across the proposed program are rooted in design thinking, spatial design, and communication design knowledge, along with human-centred principles and methodologies (cognitive and behavioural). Courses that focus specifically on the historical and theoretical contexts of experiential design establish context for practice. Studio-based learning in core studio and thesis courses synthesize the foundations developed from first to third year. The curriculum builds student capacity to develop experiential design solutions that address the ambiguity inherent to increasing complexity in communities and cities.

The professional behaviours embedded in the program and course learning outcomes have been developed parallel to the core thematic areas of the curriculum and are integrated in studio, theory and professional practice courses. Learning within this program has been structured to help students develop communication, ideation and facilitation skills through group work and critique processes. The structure of the areas of practice applied in the Honours Bachelor of Experiential Design curriculum is illustrated in Figure 14.

Figure 14: Diagram representing overview of the Honours Bachelor of Experiential Design curriculum


The core areas of theory and practice in experiential design have been categorized under the themes of space, multi-sensory communication and human centred design. Infused across all streams in the curriculum is an intentional scaffolding of: writing and communication, studio-based learning, and professional behaviours, to prepare students for graduate level study and for their future careers as experiential designers.

Historical and theoretical context Within the first two years of the proposed Experiential Design program, students explore the concepts and theories of multi-sensory communication within visual, narrative and spatial contexts. Experiential design theory, history, research and professional practice courses establish the core history and theory of the practice, and introduce the methodological approaches and philosophical underpinnings of human-centred design. Building upon a solid foundation of cultural and theoretical approaches to experiential design practice, students explore and develop design solutions for physical spaces that engage, entertain and inform. In the communications and studio courses, students learn to use a variety of media to capture, iterate, and express design concepts to a variety of internal and external stakeholders and peers. Theory and research are scaffolded across the curriculum and inform the practice in studio courses.

Studio-Based Learning Research is integrated as part of an iterative design process in all studio courses. Students will have dedicated courses on human-centred research methods, as well as other research and prototyping/testing methodologies that are relevant to experiential design practice. Building upon the foundations established within the space, materials, form and structure courses, as well as the Digital, Interactive and Time-Based Media courses, students work in groups within the core studio courses to develop both their technical and professional skills. The core studio courses expose students to concepts related to exhibition design, orientation and navigation, public space, as well as themed spaces prior to engaging in their senior level thesis projects. Through the scaffolding of complexity across these design research scenarios, students have the opportunity to develop experiential design solutions in multiple contexts; gain experience facilitating and leading discussions; and engage design thinking methodologies for problem framing, as well as stakeholder engagement and participation. Design thinking, critical thinking, systems, and holistic thinking are firmly established in the first two years of the program.

Design Research The skills described above are all focused on design research to leverage design thinking and iterative design methodologies for problem framing and stakeholder engagement and participation. An iterative design process occurs primarily during ideation and refers to a cyclic process of prototyping, testing, analyzing, evaluating and refining a product or process. The intention is to arrive at an optimal solution within a specific timeframe, as informed by successive iterations. Through courses focused on research, students engage in discussions of contemporary experiential design practice


from cultural and historical perspectives. By the end of the fourth year, students build upon their experiential design skills to apply project management strategies such as planning, facilitation, team building, and collaboration. Stakeholder engagement and collaborative work further support the development of skills in critical thinking and analysis. Students will then be able to apply specific methodologies related to problem definition to identify key parameters and project scope.

The core and elective studios provide students with exposure to the key areas of practice within experiential design, as well as skills and knowledge drawn from related disciplines. Experiential design is a highly interdisciplinary profession and it is essential that students are aware of the range of expertise and collaborative practice that is required to design and implement this type of work.

Professional Behaviours The proposed program curriculum provides an environment that fosters self-reflection. Experiential design is a highly dynamic and evolving field that requires a commitment to life-long learning. Contexts, projects and possibilities afforded by cultural, social, and technological change are always in flux, so graduates will need to be adaptive, open and responsive within their practice.

The professional behaviours embedded in the program and course learning outcomes have been developed parallel to the core thematic areas of the curriculum and are integrated in studio, theory and professional practice courses. Learning within this program has been structured to help students develop communication, ideation, and facilitation skills through group work and critique processes.

• Critique and Reflective Practice: In order to provide a detailed analysis andassessment of a piece of work, students must exercise their ability tocommunicate processes, articulate examples, interpret the parameters of thework in process, and be receptive to feedback from others. As a member of ateam, they must also be comfortable articulating their reactions to the work ofothers, providing feedback in a constructive, respectful way.

• Collaboration and Group Work: Students learn to engage collaboratively as ateam by working together to determine the end product and milestones; solicitingand integrating unique perspectives to enrich ideas, and sharing equally in theleadership and support of peers, all in an effort to achieve team and projectobjectives.

• Project Management: An iterative project management approach employs aprocess with students cycling through project stages, where they must analyze,design, develop, evaluate and refine the deliverables in a purposeful and ongoingmanner. Students reflect and evaluate each stage of the process against thestated goals of the project.


• Leadership: In line with design thinking and experiential methodologies,students develop an awareness of the values required for effective leadership incollaborative team-based environments in experiential design. Through aparticipative leadership approach, students will begin to use collaborativestrategies that engage teams and synthesize knowledge of individual strengthsand align them to project objectives.

Breadth Learning In accordance with the Sheridan Breadth Policy v.4 and the PEQAB Program Content Standard, the proposed Honours Bachelor of Experiential Design ensures that students will be expected to successfully complete eight (8) non-core courses (20 percent of the program credits), including 1000 level courses in two (2) of the five (5) fields of study, and a minimum of two (2) courses at a higher level of study. In line with Sheridan requirements for all degree programs, Composition and Rhetoric from the English/Literature discipline is a mandated non-core course.

In addition to the required breadth courses, students will have opportunities to engage in collaborative projects with internal and external stakeholders and partners in the core and elective studios. The exposure to other areas of expertise and working methods will enhance learning outside the discipline.

2.2 Conceptual & Methodological Awareness/Research and Scholarship Students will be exposed to current research practices and methodologies through the theory, history, research and professional practice courses. Students engage in secondary research in the first semesters of the program, and progress to explore a variety of primary research methodologies as they enter into courses related to human-centred design and design research. The practice of prototyping, testing and iteration is introduced across the first year of the program within the digital, interactive and time-based media courses as well as space, materials, form and structure courses. These methods are practiced within core and elective studios that makes use of case studies, precedents and benchmarks to demonstrate best practices in research methodologies.

The Design Thinking course and research courses provide students with a solid foundation in different problem solving methodologies in design and related disciplines. These methods can be applied directly to studio courses, evident across the program, where project critiques are required on a regular basis. Critique requires the student to develop a rationale/argument to support their decisions and to articulate their research in relationship to the project objectives. This culminates in the thesis experience in the final year of the program.

Within the first thesis course, students undertake the requisite research, prototyping, and iteration to produce an innovative evidence-based proposal for an experiential


design project. The final semester thesis course provides students the opportunity to turn their initial proposal ideas into a fully developed concept that they can present to others. Through research, testing, critique and iteration, students refine their proposal and produce a unique contribution to the field of experiential design.

2.3 Communications Skills Students are required to communicate design concepts and proposals verbally, visually, and in writing. Due to the interdisciplinary nature of the discipline, students will need to develop the ability to communicate to a wide range of stakeholders and audiences. The curriculum prepares students to tailor communications for both specialist (multi-disciplinary team members) and non-specialist audiences (clients, community and other stakeholders).

Critiques within the studio courses build communication skills, including, verbal, written, and visual presentation. Students will be required to communicate, critically analyze, discuss, and defend their design ideas, informed by experiential design theory, research, and practices. Across the curriculum, students develop skills and knowledge in multi-sensory communication and will be adept at using a range of media, tools, and techniques to express design proposals and solutions.

The ability to develop spatial and communication-based narratives/storytelling is a core area of the proposed program, developed primarily in the communication and digital, as well as the interactive media streams. Students craft narratives as part of project proposals for studio courses and this also builds skills in personal and professional communication (visual, verbal and written). Experiential design is focused on creating spaces that communicate, therefore design outcomes are centred on a well-crafted narrative experience. Throughout the program, proposal writing, and research skills are honed through practice, critique and iteration. These skills are emphasized throughout all four years and impact various types of writing and presentation skills (academic, technical and professional/business).

2.4 Application of Knowledge In studio courses, students have the opportunity to apply the theory learned in other courses to design projects, thus creating an intersection of theory and praxis. The theoretical underpinning is in design thinking, which is the originator of creative problem solving/creative processes.

The first two semesters are intended to introduce core principles and theories that can be applied from second to fourth year. As students progress through the curriculum, they have increased opportunity to synthesize different domains of knowledge, particularly in the core and elective studios. On their work placement, students will have an opportunity to observe and engage in the work of practitioners. As projects increase


in complexity and scope, the application of relevant research methods (both quantitative and qualitative) become further integrated in studio work, culminating in capstone/thesis projects.

As noted, design thinking and human-centred research methods are at the core of the design process, hence, the honing of such skills and knowledge equips students to apply theory directly to practice in a concrete manner. Design thinking provides the tools and methods to define problems and parameters. Problem solving, iterative research, and proposing solutions are at the core of all design education and practice.

The ability to make use of scholarly reviews and primary sources is developed across the theory, history, research, and professional practice courses. Design methodology, which is iterative, integrates research as part of the practice. In the history and theory courses, students are expected to engage in academic research and writing and, thus, will be taught proper citation practices. The library will be asked to provide workshops to support student learning in this area. Through these courses, students will be grounded in ethical research methods, as well as certified in Canadian Tri-Council Research Ethics TCPS2, which is required for the human-centred design courses. The theory, history, research and professional practice courses lay the foundation for understanding and applying both primary and secondary research methods to inform the design process and practice, as they move into the studio courses.

2.5 Professional Capacity/Autonomy Collaborative practice and team work are embedded in the curriculum in all studio courses, as well as the theory and history courses. Design Thinking and Strategy, in particular, focuses on developing skills in facilitation and stakeholder engagement. Collaboration is core to experiential design practice, since designers are always working with experts and professionals within other disciplines. By building in team work from years one to four, the students will become more adept at decision-making within complex contexts. They will also learn the fine balance of showing initiative and taking personal responsibility for their aspect of a team project, while respecting the input and roles of others within the team.

Peer evaluation and self-reflection are integrated into many of the courses, allowing students to better assess their role, including strengths/weaknesses, and their accountability within group work. Also inherent in the critical performance statement of the program is the value of community building and stakeholder engagement, which reflects Sheridan’s Strategic Mandate to build healthy communities. Within the studio courses, students are often creating original works, informed by reflection, research and analysis. They build confidence and hone their skills in managing complex projects of increasing scope, as they move from year one to four.

Resiliency is an underlying value of the program as much of experiential design practice is focused on the urban context, which is complex and dynamic. The Professional


Practice course in year three offers students the opportunity to develop an individual career plan, in addition to fostering self-reflection to develop a personal design mission statement and assessing possibilities for continued studies upon graduation. Experiential design is a highly dynamic field that requires a commitment to life-long learning.

In the history and theory courses, students are expected to engage in academic research and writing, thus, they will be taught proper citation practices and the foundations of academic integrity. The Library will be asked to provide workshops to support student learning in this area, along with specific resources on copyright and intellectual property best practices.

In years three and four, students will address professional ethics/integrity in practice. The topic of social responsibility is embedded in years one and two within the Design for Sustainability, Design Thinking and Strategy, as well as the Human-Centred Design courses. Inclusivity and sensitivity to the diverse perspectives of stakeholders/ constituents are integral to these courses and will be applied in studio work. The third year Elective Studio: Participatory and Service Design, in particular, builds on social responsibility in exposing students to methods of co-design and co-creation that are holistic approaches to stakeholder engagement and result in deeper involvement in the design process.

The internship between years three and four provides students with the opportunity to acquire professional experience within a professional context, amongst a wide variety of working environments and organizations. Opportunities to work within small local to large international organizations have been captured within the letters of support (see Appendix 7), exposing students to different cultures, practices and experiences within the field.

The intention of the program is to foster student development into active and engaged citizens, sensitive and responsive to people and to the world around them; intent on contributing to the betterment of society within a complex global context. An important contribution of the ad hoc Professional Advisory Council was their advice on how to build professional behaviours within the program. Covering a range of experiential design areas of practice and operating at both the local and international level, these industry perspectives provided invaluable input.


2.6 Awareness of Limits of Knowledge Students develop an understanding of the limits of their own knowledge and ability within the context of professional practice. Across the four years of the program curriculum, students learn to work with professionals in related, but distinctive, fields (e.g. architecture, interior design, interaction design). An important component of their education within the program is the configuration of an experiential design team, including the roles and boundaries between disciplines, where their role starts and finishes, the importance of recognizing one’s own limitations, and the need for input from other professionals when engaging in experiential design projects.

In design education, critique and self-reflection are integral to the design process. The core and elective studio courses provide opportunities for students to challenge themselves and develop and hone their skills and knowledge through an iterative process. Through self-reflection, peer-review and critique, students gain an appreciation for the variety of potential approaches to a given problem. They develop a capacity to navigate uncertainty and ambiguity in research and core studio projects. The Design Thinking and Strategy course provides methods and tools for students to reflect on and assess their process and to foster openness to failure as a vehicle for learning.

Design thinking underpins problem definition and assessment of project scope, where students learn to respond to change in developing successful solutions. Given that group work and collaboration are built into the curriculum, students benefit from peer collaboration and feedback, including faculty and external partners. They apply the self-knowledge gained through this reflective process to an understanding of how their personal preferences may influence interpretations. Throughout the process, students develop the capacity to navigate evolving information and shifting priorities leading to stronger planning, monitoring and measuring of proposals. Students make informed choices by considering the context in which they perform their roles, using objective versus subjective measures for success.


Section 3: Admission, Promotion and Graduation Standard In addition to direct-entry students, the Art Fundamentals, Media Fundamentals and Visual and Creative Arts programs at Sheridan provide a viable applicant pool for the proposed program and will follow the same admission criteria (see Table 2 in Section 3.1). The Office of the Registrar provided support to the development team to determine the best admissions strategy to meet targeted enrolment and ensure minimal attrition. Admissions requirements for degree level programs and diplomas in the competitive landscape were analyzed to inform our approach (see Appendix 3). Most of the design programs listed in Appendix 3 require both a minimum GPA of 3.0 (70 percent), as well as a portfolio evaluation.

Sheridan degree programs have an admissions minimum GPA of 65 percent and the proposed Experiential Design program will be consistent with this practice. Data gathered in the research process show there is a strong correlation between higher grades and retention. In appropriate environments, such as recruitment days, industry days, and student advising, a recommendation of 70 percent can be communicated to manage student expectations. Further, students should hold a minimum of 70 percent in an English 4U course.

At Sheridan, the majority of other design programs require a portfolio submission for admissions. For the proposed Honours Bachelor of Experiential Design degree, the portfolio process measures evidence of students’ visual and written communication skills, conceptual thinking ability, and capacity to reflect on and articulate their learning. These fundamental skills are critical to the success of students in the Experiential Design program. The portfolio assessment, in combination with an applicant's academic achievement in high school, are used to inform the selection process. While both grades and portfolio are being assessed, they will be weighted differently and will be defined in an objective rubric.


3.1 Admission Requirements for Direct Entry Table 2: Program Admission Requirements

Program Admission Requirements

Academic Ontario Secondary School Diploma (OSSD) or equivalent*, including these required courses: • Grade 12 English (ENG4U), min.70% average

plus • Five other Grade 12 credits (U or M)

and • a minimum of 65% overall average

or • Two semesters of post-secondary education, including required courses,

with a minimum of 65% overall average.Applicant Selection

Eligible applicants will be selected on the basis of their previous academic achievement (the average of their six highest senior-level credits, including required courses) and a portfolio. Applicants who do not meet the admission requirements for this program will be assessed and advised individually and may be considered for other, related programs.

Other The submission of a portfolio* including: • Selected creative work (8-10 pieces); media and content are open ended

(visual/fine arts, 2D design, sculpture/3D, spatial design/architecture,robotics/computing; interaction, web, video and other media)

• A one-page written reflection outlining interest in design• Documentation of process work with sketch book or concept book

*Student grades and portfolio will be weighted differently.

3.2 Admission Policies and Procedures for Mature Students Sheridan’s Admission Policy defines a mature student as an applicant who has reached the age of 19 on or before the start of the program and who does not have an Ontario Secondary School Diploma, or equivalent.

To be considered for admission to Ontario College Bachelor’s Degree or Collaborative College-University Degree Programs, an applicant must have the minimum of one of the following in addition to any identified program prerequisites:

• Ontario Secondary School Diploma (OSSD) or equivalent plus Grade 12 EnglishENG4U or equivalent including required courses, with a minimum 65 percentoverall average. Some programs require 65 percent in each course;

• Two semesters of postsecondary education including required courses with aminimum 65 percent overall average. Some programs require 65 percent in eachcourse;

• Criteria established by articulation agreements; and/or• International credentials equivalent to the minimum credential entrance

requirements as determined by the College.


3.3 Promotion and Graduation Requirements Sheridan’s policy and procedures for Promotion and Graduation are designed to:

• be consistent with the learning outcomes for the program, and• ensure a minimum level of demonstrated achievement as evidenced by the

Grade Point Average (GPA)

The process for calculating the Grade Point Average (GPA) is defined within the Sheridan Academic Standing Policy and Procedure. Students are required to achieve a minimum GPA in professional (core) courses of 2.5 for both promotion and graduation. They are required to achieve a minimum GPA in courses outside the professional field of study (non-core courses) of 2.0 for both promotion and graduation. The overall minimum GPA for graduation from the program is 2.4.

Students who do not achieve the minimum GPA requirements for their program of study but are above the academic suspension threshold will be placed on academic probation.

Students who are continuing in their program while on Academic Probation must meet specific GPA requirements. Those students who do not meet the GPA requirements of Academic Probation at the end of the term will be placed on academic suspension for two consecutive terms.

Students who have met the specific Program Term GPA requirement(s) but not the minimum Program Cumulative GPA requirement(s) for graduation will be issued a graduation warning. Once the minimum Program Cumulative GPA requirement(s) have been met, the student will return to Good Standing.

Academic Suspensions will not be issued to students in their first semester following admission.

Students in a Degree Program and whose Program Term GPA and Program Cumulative GPA fall below 2.0 will receive an Academic Suspension (SP) from the program for two consecutive terms.

3.4 Advanced Standing Policies and Requirements Sheridan is committed to creating accessible pathways for current and future students. The Advanced Standing Policy is intended to support student mobility within the postsecondary educational system. Students may apply to receive advanced standing for specific Sheridan course(s) based on the successful completion of similar courses at other recognized postsecondary institutions subject to meeting applicable Sheridan policies.


Candidates must have achieved a minimum of a C grade in the course that is being considered for advanced standing, or the minimum pass for the course for promotion within the program, whichever is higher.

Courses considered for advanced standing must have been completed within five years prior to the request except with the permission of the Dean or designate of the respective School.

3.5 Degree Completion Pathways Since no diploma or certificate program in experiential design exists at Sheridan presently, all possible program pathways will require students to begin at the introductory level of the format. However, a number of programs have outcomes that complement those of the proposed Experiential Design degree, and students of these programs can receive up to one semester of credit as outlined below.

The proposed Honours Bachelor of Experiential Design degree offers admission pathways for:

• Secondary School (see Section 3.1 for admission requirements)• A three-year Interior Design Advanced Diploma program• A three-year Architectural Technology Advanced Diploma program• International students who can demonstrate evidence of any of the above

The following degree completion pathways are based on a comparison of the outcomes of the proposed degree program to a number of Ontario College Advanced Diplomas, with the aim of creating a pathway for students into the degree program. In general, where outcomes align, levels of complexity and proficiency attained in the degree are greater than the expectation of the diploma program. Moreover, it has been noted in the alignments that the Advanced Diplomas generally focus on one applied area of design. The gap in outcomes is measured between student performance at the end of each diploma and the end of the proposed degree. See Section 4.8.1 for the full gap analysis between the proposed degree and the programs below.

Table 3: Degree completion pathways Program Advanced Standing towards Degree

Completion Interior Design – Ontario College Advanced Diploma (MTCU 61833)

equivalent to one semester

Architectural Technology – Ontario College Advanced Diploma (MTCU 60600)

equivalent to one semester


Exclusions Through a careful analysis of the Vocational Learning Outcomes for programs aligned to MTCU program code 61820, students holding a Graphic Design Ontario College Advanced Diploma would not be eligible for a meaningful pathway into the proposed program. As a minimum, individual applicants will be eligible for only three transfer credits, and may challenge individual courses using the PLAR process. For details on the identified gap please see Section 4.8, Table 10.


Section 4: Program Content Standard

4.1 Professional Advisory Council Table 4: PAC Membership Name Occupation Related

Credential(s) Professional Affiliation(s)

Employer

Andrew Kuzyk

Partner Bachelor of Industrial Design

ACIDO (Association of Canadian Industrial Designers of Ontario), RGD (Registered Graphic Designers), ARIDO affiliate (Association of Registered Interior Designers of Ontario), SEGD (Society for Environmental Graphic Designers), CUTA (Canadian Urban Transit Association), DX (Design Exchange)

Entro Communications SEGD Toronto Chapter Co-Chair

Cynthia Damar Schnobb

Associate and Design Director

Bachelor of Industrial Design

ACIDO, SEGD Entro Communications SEGD Toronto Chapter Co-Chair

Dan Suria Senior Designer

Bachelor of Design

RGD Gensler (Toronto) (international architecture and experiential design firm)

Robert Ouellette

Founder Master of Architecture, MBA

OCADU, Fellow, Strategic Innovation Lab

MESH Cities

Edmund Li

Senior Associate

AOCAD (Communication Design), Architectural Science diploma

RGD, SEGD Reich + Petch


Name Occupation Related Credential(s)

Professional Affiliation(s)

Employer

Justin Molloy

Director of Education

Master of Architecture

SEGD Society for Experiential Graphic Design

Clive Roux

CEO Bachelor of Commerce, Bachelor of Industrial Design

SEGD, IDSA (Industrial Designers Society of America)

Society for Experiential Graphic Design (SEGD)

Jason White

Executive Creative Director

Bachelor of Fine Arts

SEGD, Television Academy, SoDA

Leviathan

Chad Hutson

President Bachelor of Science

SEGD, SoDA, Themed Entertainment Ass’n

Leviathan

Greg Neely

Principal Bachelor of Fine Arts

SEGD, RGD, AIGA Forge Media + Design, Principal

Paola Poletto

Manager, Adult Learning & Residency Programs

Master of Fine Arts

NA Art Gallery of Ontario

Andrew Davies

Executive Director

Master of Architecture, Master of Science (Cities)

NA No. 9

Beverly Wells

Director of Environments

B.A.A. Interior Design

NA Shikitani Lacroix

Chris Pommer

Partner Bachelor of Environmental Studies, Bachelor of Architecture

Toronto Public Art Commission, Toronto Society of Architects

PLANT Architects

Kim Heppler

Director, Client Design & Delivery

Master of Architecture

NA Cadillac Fairview

John Potter

Senior Advisor, Design Excellence,

Bachelor of Environmental Studies, Bachelor of

OAA, MRAIC, LEED AP Metrolinx


Name Occupation Related Credential(s)

Professional Affiliation(s)

Employer

Planning & Policy

Architecture, Bachelor of Arts

Christine Kerr

Vice President

Bachelor of Arts (Grama)

Themed Entertainment Association

BaAM Productions

Helen Brannigan

Business Development Manager

Bachelor of Science

NA 3M Canada

Joseph Sponder

Senior Exhibition Designer

NA NA Ontario Science Centre


4.1.1 Professional Advisory Council Minutes

Ad Hoc PAC meeting: Tuesday, April 26, 2016 Entro Communications, 33 Harbour Square, Suite 202

Ad Hoc PAC Attending: Andrew Kuzyk and Cynthia Damar-Schnobb (Entro Communications), Christine Kerr (BaAM Productions), Chris Pommer (PLANT Architects), Dan Suria (Gensler), Rob Ouelette (MESH Cities), John Potter (Metrolinx), Andrew Davies (no.9), Panya Clarke Espinal (Artist), Edmund Li (Reich + Petch), Greg Neely (Forge Media + Design), Beverly Wells (Shikitani Lacroix), Paola Poletto (Art Gallery of Ontario), Kim Heppler (Cadillac Fairview), Helen Brannigan (3M Canada), Jason White and Chad Huston (Leviathan), Clive Roux and Justin Molloy (Society for Experiential Graphic Design), Ralph Applebaum (Ralph Applebaum Associates), (Bruce Mau Design)

Sheridan College Attending: Ronni Rosenberg, Donna Braggins, Angela Iarocci, Claire Ironside, James March and Nancy Goncalves (Faculty of Animation, Arts and Design); Heather Farmer and Theresa Fraser (Centre for Teaching and Learning).

Notes from Honours Bachelor of Experiential Design Phase 1: Program Proposal (May 1, 2016)

On Tuesday April 26th, the development team met with the Ad Hoc Program Advisory Council to present the preliminary concept for the Honours Bachelor of Experiential Design program to discuss their needs when hiring and developing employees within their organization and to seek feedback on the proposed program learning outcomes and conceptual program map.

The inaugural meeting included 18 members from the experiential design community, ranging from those focused in architecture, graphic design, user experience design, interaction design, environmental design, spatial design, sustainable design, and community engagement.

The central topics and themes that were discussed at the meeting are as follows:

1. A number of committee members preferred the use of the term multi-sensorycommunication in lieu of visual communication, as a multitude of sensory inputs is akey differentiator to the practice of traditional graphic design, and also captures thebroad spectrum of communication strategies used in experiential design.

2. Graduates should ideally possess substantial architectural sensitivity and a keenunderstanding of space and scale as a social and imagined construct. Graduatesshould understand how to move through and interact in multi-dimensionalscenarios.


3. The program would benefit from embedding cultural history as a core component ofthe curriculum. It was mentioned on several occasions that it is crucial that studentsare exposed to a broad range of disciplines outside of design (e.g., astronomy,physics, geography).

4. The ability to communicate through oral and written language was also consideredto be a critical aspect of success in the field. In particular, committee membersidentified building positive collaborative relationships across a broad range ofdisciplines and human dynamics were critical to experiential design practice.

5. Members encouraged the integration of psychology and behavioural studies as acore aspect of the curriculum.

6. A strong focus on narrative and storytelling was encouraged to be a corecomponent of both practicum and studies-based courses.

7. One committee member utilized the metaphor of experiential designers beingconductors of orchestras, facilitating aspects of a wide variety of disciplines within agiven project.

The integration of sustainable design practices as a core value emphasized across the entire program was praised by committee members. One member in particular used the term resilient design as potentially alternate terminology. One committee member cautioned that, due to the nature of 3D/spatially built class projects, students will require a fair amount of working space to perform adequate learning processes.

The majority of these concepts have been integrated throughout the proposal.

There were some concerns as to whether the program was suitable at the undergraduate level. The program was initially perceived as one that requires a level of sophistication and leadership beyond the competencies of an individual exiting high school. However, upon further discussion around admission requirements and screening criteria, the Ad Hoc PAC provided feedback that would strengthen the strategy that was initially proposed.

Ad Hoc PAC meeting: Tuesday, November 28th, 2016 Entro Communications, 33 Harbour Square, Suite 202

PAC members attending: Andrew Kuzyk and Cynthia Damar-Schnobb (Entro Communications), Chris Pommer (PLANT Architects), Dan Suria (Gensler), John Potter (Metrolinx), Greg Neely (Forge Media + Design), Paola Poletto (Art Gallery of Ontario), Kim Heppler (Cadillac Fairview), Helen Brannigan (3M Canada), Joe Sponder (Ontario Science Centre)

Sheridan College attending: Ronni Rosenberg, Dean, FAAD; Donna Braggins, Associate Dean, FAAD;


Angela Iarocci, Professor and Coordinator, FAAD; Claire Ironside, Professor; James March, Professor; Heather Farmer, Centre for Teaching and Learning

Welcome and introductions Comment from PAC member on how Experiential Design (XD) is differentiated from Interaction Design (IxD): “Interaction design is a subset of Experiential Design. While XD covers “everything” IXD is a specific piece of XD.”

Discussion about Critical Performance Statement and Program Learning Outcomes Embed Critical Thinking – iteration, resilience, reflective Questions regarding the admission requirements, pre-requisites. Business acumen, basic business knowledge – ROI/Viability, communication across areas Outcome #10 – express more clarity regarding feasibility/viability, risk mitigation. Communication outcome – Outcome #4 embed communication with specialists and nonspecialists.

Discussion regarding the graduate attributes Some concerns around the level of rigour in this program – almost at the level of a graduate program. It may be challenging for younger students, as it seems the program is halfway between a bachelor and a masters. That’s not a bad thing, we just need to manage our expectations around where our graduates will be. Conversation around coding and seeing it as a literacy. How much depth? Having enough familiarity in order to have the conversation and be able to investigate it. You need to know how it influences the design.

Defining being “resourceful” in this field; we should be clear about what this means within the context of design education and practice. Internship Opportunities in your organization Chris (PLANT) - Don’t look at hiring interns any differently than hiring a new employee. Don’t look at them as a temporary hire, often not very valuable (on both sides). Often come just finished school, paid, often 3-6 months. Have hired a couple people through this. Seasonality doesn’t matter.

Entro – Always better to have higher level students or graduates. It can be painful when you lose them at the end of the internship. There are advantages to having them at the end of 3rd year, and get them again after they have had time to develop and mature. The role of the employer is much like as a sponsor. Internships are seen as a process to bring them into the firm for a long-term relationship.

Joe (OSC) – What if the purpose of the internship is just to provide some experience working in the firm? Exhibition designers don’t necessarily have the ability to produce a project that ends up on the floor. Even within a short amount of time an intern can gain familiarity with the work environment, gain confidence and realize what it’s like to work in a team.


Experiential Design - Sometimes 3 week projects some are 3 year projects or longer. Overall, it was agreed that the students appreciate the internship experience and learn a lot.

The internship coincides with the co-op student availability. Typically, 4 months for the coop. Often students take a whole year off. Could we explore multiple options for student coops? Interns are always paid; this is the industry standard.

Is the concern how much time they are available to get up and running in a project or is the issue how much they know before they come in to do the project? The primary concerns appear to be how long they are able to work. The employers want to provide exposure to a complete experience. Don’t want to crush their spirit!

Job Description Activity The members of the Ad Hoc PAC completed the worksheet, these will be synthesized.

Curriculum Overview After presenting, discussion of considerations. Cognitive psychology, how humans interact and interpret the world. Sensory triggers. A course focusing on Perception should be mandatory. Do the students have a home base for studio work? Do they not stay at school because the spaces aren’t conducive to that? Don’t want to leave their computers – how to get students to interact with actual stuff.

Will there be a space where students can build stuff? Discussion went to including a makers space. Buddy in a senior class. Mentorship is important.

Could this work to provide some help for the senior projects? AGO – it is important for graduates to be able to work in a museum context to apply co-creation and participatory design methods. All the emphasis is on visitor experience and students/graduates should understand this. Graduate needs to be able to synthesize visitor research and synthesize research into the design prices. Not seeing enough emphasis on the end user in the curriculum so far. **HF Note – Could we bring participatory Design into the Core?**

Question to the PAC – how to define strategy and how to integrate that with design?

Knowing that the students aren’t learning one methodology – rather learning a process they can apply in a variety of contexts. The process aspect really must be driven home. Acknowledging that students do not always understand the value of explaining their process. **This feels closely connected to what Chris was saying earlier regarding critical thinking and resilience. ** Basic lists of environments where they may be working in could be useful for applicant.


Discussion about what they look for in a graduate portfolio Assessing their process and ability to think. What things do they look at. Looking at materials and how light falls on surfaces and form/structure. Attention to detail. What they say and how they go about it. When we interview, now they are either coming from industrial design, architecture and graphic design. Need to assess how malleable they are; are they willing to learn new things? Spatial understanding is good. Value is often in the combination or skills/knowledge in different design areas.

Excited by potential graduate who can tell a story in both a virtual and spatial way. Selling the design via story with an emotional connection with the client. This helps to sell the thought process.

Often interesting to see how they discuss those interactions. Talking about working with the team and pull in other people’s strengths and learning. Metacognition will be very important - left brain, right brain balance is critical.

Discussion on the name: Some leaning towards Experience Design but Experiential Design is also a good option.


4.2 Professional Accreditation Currently there is no professional accreditation requirement for experiential designers.

The Society for Experiential Graphic Design (SEGD) has expressed interest in exploring a regulatory process in concert with the proposed Honours Bachelor of Experiential Design degree program. These discussions will be ongoing as the degree development process progresses.


4.3 Learning Outcomes 4.3.1 Degree Level The following summary table identifies the courses that map to each competency in the Board’s degree level standard.

Table 5: Degree Level Standards Mapped to Proposed Courses

Courses De

pth

and

Brea

dth

of

Know

ledg

e

Conc

eptu

al

Met

hodo

logi

cal

Rese

arch

&

Scho

lars

hip

Com

mun

icat

ion

Skill

s

Appl

icat

ion

of

Know

ledg

e

Prof

essi

onal

Ca

paci

ty a

nd

Auto

nom

y

Awar

enes

s of

Li

mits

of

Know

ledg

e

Space, Materials & Structure X X X Communication, Type & Symbol X X Fundamentals of Spatial Interactions X X X X

Experiential Design History & Theory X X X X X Composition & Rhetoric X X Site Analysis X X X X X Communication & Narrative X X X Multi-Sensory Environments X X X Human-Centred Design X X X X X Experiential Design Studio: Exhibition X X X X X X Spatial Communication X X X Integrated Narratives X X X Design for Sustainability X X X X Experiential Design Studio: Orientation and Navigation X X X X X X

Design Thinking X X X X X


Courses

Dept

h an

d Br

eadt

h of

Kn

owle

dge

Conc

eptu

al

Met

hodo

logi

cal

Rese

arch

&

Scho

lars

hip

Com

mun

icat

ion

Skill

s

Appl

icat

ion

of

Know

ledg

e

Prof

essi

onal

Ca

paci

ty a

nd

Auto

nom

y

Awar

enes

s of

Li

mits

of

Know

ledg

e

Smart Spaces X X X

Public Space & Placemaking X X X X Experiential Design Studio: Public Space X X X X X X Branded Experiences* X X X X X Social Experiences* X X X X X Research Methods X X X X X Experiential Design Studio: Themed Space X X X X X X

EX-Lab* X X X X X

Sound & Light* X X X X X Professional Practice X X X X X Experiential Design Thesis 1 X X X X X Service Design* X X X X X Experiential Design Theory Seminar X X X X Experiential Design Thesis 2 X X X X X X Special Topics* X X X X X X

Experiential Design Portfolio Project X X X X X X *Elective Studio Course


4.3.2 Program Level Learning Outcomes

Level 1 – introduce; Level 2 – apply; Level 3 – competency

Table 6: Program Level Learning Outcomes Honours Bachelor of Experiential Design Term 1 Term 2 Term 3 Term 4 Critical Performance Statement: By the end of the program, graduates will have demonstrated the ability to create compelling experiences by applying principles of design thinking and human-centred design to support communication strategies for a range of built environments.

Space, Materials

& Structure

Comm

unication, Type & Sym

bol

Fundamentals of

Spatial Interaction

Experiential Design History & Theory

Site Analysis

Comm

unication & Narrative

Multi-sensory

Environments

Human-Centred

Design

Experiential Design Studio: Exhibition

Spatial Com

munication

Integrated Narratives

Design for Sustainability

Experiential Design Studio: O

rientation & Navigation

Design Thinking

Smart Spaces

Public Space & Placem

aking

1 Create effective multi-sensory, spatial and experiential design solutions through critical thinking and an iterative design process. 1 1 1 1 2 1 2 2 1 2

2 Undertake qualitative and quantitative research into critical experiential design issues, demonstrating awareness of research ethics. 1 1 1 1 1 1 1 1

3 Employ design communication tools to develop design solutions that integrate knowledge of materials, form, space, structures, multi-sensory experiences and interactive media.

1 1 1 1 1 2 2 1 2 2 2

4 Develop an informed practice through integration of cultural history and theory of experiential design, with reference to art and other design disciplines. 1 1 2 2

5 Integrate principles of human-centred design, sustainability and participatory design to problem solving methodologies aimed at experiential design solutions. 1 1 1 1 1 1/2 1/

2 1 1/2 1/2 1/2

6 Apply principles of cultural awareness, social engagement and civic literacy towards the goal of building resilient and connected communities. 1 1 1 1 2

7 Practice design management strategies of professionalism, collaboration, leadership, and interdisciplinary team building in the execution of projects that comply with relevant laws, codes, guidelines, and professional standards.

1 1 1 1 1 1 1

8 Employ a flexible personal career strategy that considers team-based practices, entrepreneurship and networking among a wide range of industry practitioners. 1 1 1 1


Honours Bachelor of Experiential Design Term 5 Term 6

Critical Performance Statement: By the end of the program, graduates will have demonstrated the ability to create compelling experiences by applying principles of design thinking and human-centred design to support communication strategies for a range of built environments.

Experiential Design Studio: Public Space

Elective Studio A: Branded Experiences

Elective Studio B: Social Experiences

Research M

ethods

Experiential Design Studio: Them

ed Space

Elective Studio C: EX-Lab

Elective Studio D: Sound and Light

Professional Practice

1 Create effective multi-sensory, spatial and experiential design solutions through critical thinking and an iterative design process. 2/3 2/3 2/3 2/3 2/3 2/3

2 Undertake qualitative and quantitative research into critical experiential design issues, demonstrating awareness of research ethics. 2 2 2 2 2 2 2


2 2 2/3 2 2/3 2


5 Integrate principles of human-centred design, sustainability and participatory design to problem solving methodologies aimed at experiential design solutions. 2 2 2 2 2 2 2/3

6 Apply principles of cultural awareness, social engagement and civic literacy towards the goal of building resilient and connected communities. 2/3 2 2/3 2 2/3


2 2 2 2 2 2 2

8 Employ a flexible personal career strategy that considers team-based practices, entrepreneurship and networking among a wide range of industry practitioners. 2 2 2 2 2 2 2



Honours Bachelor of Experiential Design Term 7 Term 8 Critical Performance Statement: By the end of the program, graduates will have demonstrated the ability to create compelling experiences by applying principles of design thinking and human-centred design to support communication strategies for a range of built environments.

Experiential Design Thesis 1

Experiential Design Elective Studio C: EX Lab

Experiential Design Elective Studio E: Service Design

Experiential Design Theory Sem

inar

Experiential Design Thesis 2

Experiential Design Elective Studio F: Special Topics Section

1

Experiential Design Elective Studio F: Special Topics Section

2

Portfolio Project

1 Create effective multi-sensory, spatial and experiential design solutions through critical thinking and an iterative design process. 3 3 3 3 3 3

2 Undertake qualitative and quantitative research into critical experiential design issues, demonstrating awareness of research ethics. 3 3 3 3 3 3


3 3 3 3 3 3


5 Integrate principles of human-centred design, sustainability and participatory design to problem solving methodologies aimed at experiential design solutions. 3 3 3 3 3 3

6 Apply principles of cultural awareness, social engagement and civic literacy towards the goal of building resilient and connected communities. 3 3 3


3 3 3 3 3 3 3 3

8 Employ a flexible personal career strategy that considers team-based practices, entrepreneurship and networking among a wide range of industry practitioners. 3 3 3 3 3



4.4 Course Descriptions Core Courses

Table 7: Core Courses Course Title (Core)

Calendar Course Description

Year 1 Semester 1 Space, Materials & Structure

Understanding spatial design, materials and basic structures is fundamental to Experiential Design. This course is an introduction to the principles of spatial design including visual representation and scale. Different types of materials, three-dimensional forms and structures will also be explored. Students engage in research and hands-on activities including drawing and modeling to develop design projects.

Communication, Type & Symbol

Typographic and symbolic systems are the primary forms of conveying information in spatially-based communications. This course introduces the basic principles and practices of typography and symbol design. Students explore human-centred design factors such as legibility and accessibility as they apply to type and symbol. A variety of media and scales are addressed. Case studies, readings on current research findings and methods, practical activities and projects will illuminate the topic.

Fundamentals of Spatial Interactions

Human-Computer Interaction is a central area of investigation in Experiential Design and it is fundamental to studio work. This course introduces user experience and user interface principles within a spatial context. Students explore the interactions between a diverse range of participants/audiences to inform Experiential Design scenarios. Students engage in a variety of human-computer interaction scenarios through the observation of interactive spaces, the execution of digital prototyping and developing a fluency for digital languages.


All professional design builds on past developments in both practice and theory. This course introduces the cultural and theoretical evolution of Experiential Design as it has emerged through practice in other fields, including urban planning, architecture, graphic design and interaction design. Examples of notable past work will be explored to reveal underlying principles. Students will engage with the historical content of this class through research, writing, and presentations.

Composition & Rhetoric

Composition & Rhetoric is an advanced level English course which focuses on the art of argument and persuasion. Students explore the function and strategies of argument through reading, writing and oral presentations. In this course, students examine different theoretical models for organizing arguments and presenting evidence, employ primary and secondary sources in research, and construct their own arguments.


Course Title (Core)


Year 1 Semester 2 Site Analysis Site analysis provides core skills and knowledge for Experiential

Design. Building on the fundamentals of spatial design, materials, form and structure, this course involves the documentation and analysis of the physical, programmatic, socio-cultural and political contexts of interior and exterior spaces. Students will work in groups and individually to apply research methods and tools required to document, visualize and analyze a selected space. This analysis will inform the design of an installation proposal for a small-scale interior or exterior space.

Communication & Narrative

Storytelling is one of humanity’s most important communication tools and in design it is fundamental to creating meaningful experience. This course introduces the basic narrative structures we use to convey compelling stories. Students discover various visual strategies for constructing narrative and explore how these can be achieved at various scales in 2D, virtual, and physical space. Through case studies, interactive lectures and hands-on projects students explore and experiment with image making methods, compositional strategies, and colour theory.

Multi-Sensory Environments

A deep understanding of the senses is critical to developing multi-sensory elements and spaces. This course builds on fundamentals of interactions within a spatial context and explores pathways to integrating the human senses into an environment. Students engage in developing an environmental installation through multi-sensory exercises, projects proposals and physical and digital prototyping.

Human-Centred Design

Humans are at the centre of all experiences. Human-centred design is one of the three core areas of Experiential Design and it is fundamental to studio work. This course builds on the awareness of the context of Experiential Design history, theory and studio. Students explore the requirements and needs of a diverse range of participants/audiences to inform Experiential Design scenarios. Students engage in explorations of a variety of human-centred research methods through readings, case studies and practical activities.


Course Title (Core)


Year 2 Semester 3 Experiential Design Studio: Exhibition

Exhibitions in museums and art galleries offer public experiences that are educational, entertaining, and contribute to the social identity of communities. This course introduces the institutional context behind the public face of an exhibition, outlining the aims for exhibitions, and the team members responsible for different aspects of their planning and implementation. Students apply research methods, site analysis, communication, storytelling, spatial planning, structure, materials, and digital media to the development of design proposals. Students work with an internal or external partner in the development of group and individual projects.

Spatial Communication

Effective organization of diverse content is fundamental to clear communication within a space as well as to represent different aspects of a space. In this course students develop more complex awareness within the concepts, vocabulary, techniques and skills in spatial communication. Students explore a range of design strategies for combining typography, symbol, image and colour, applied to more complex project scenarios. They also apply a variety of techniques for organizing content, diagramming, mapping and visualization to represent design concepts as well as the physical and programmatic characteristics of a space. Through readings, case studies and practical activities, students will develop design concepts for the organization and visualization of a range of content and complete visual spatial documentation of a chosen site.

Integrated Narratives

Storytelling is central to the sharing of human experiences. Constructing narratives through designed objects and spaces is a critical component of Experiential Design practice. This course builds on interactive environments in emphasizing the role narratives play in communication within spaces. Students explore narratives among diverse range of participants/audiences to inform Experiential Design scenarios. Students explore integrated narratives through readings, case studies and practical activities.

Design for Sustainability

In a complex and dynamic global context, it is essential for Experiential Designers to build knowledge of the diverse facets of sustainability to inform their design practice. Building on principles of Human-Centred Design and content introduced in the Space, Materials and Structure course, students will engage in a range of topics related to design for sustainability including: general theories and principles of sustainability, materials and fabrication processes, social innovation and community engagement. Students will engage in readings, writing, group discussions and presentations to explore specific sustainable design strategies that they can apply in studio courses.


Course Title (Core)


Year 2 Semester 4 Experiential Design Studio: Orientation and Navigation

Complex urban environments and large facilities such as hospitals or academic campuses require clear, understandable wayfinding systems to ensure ease of navigation and orientation. Students will assess wayfinding requirements based on an analysis of an existing system and develop a proposal for a new system applying principles and methods of wayfinding planning and strategy. Students will apply skills and knowledge in human-centred design from first and second year studio courses to design a wayfinding system for an interior or exterior site.

Design Thinking Design thinking provides a framework for processes and methodologies for problem-solving, discovery and research in the design disciplines, including Experiential Design. Students will learn about the similarities and differences between creative and critical thinking, systems and futures thinking. They will experience and reflect on the wide-ranging applications of design thinking and experiment with various methods, both individually and collectively. Students will engage in collaborative projects, presentations, workshops, discussions and case studies.

Smart Spaces With technology rapidly advancing each year, objects and spaces are becoming increasingly integrated and intelligent. These developments provide opportunities for Experiential Design practitioners when crafting spaces and environments. This course aims to solidify the integration of technology within spaces in order to create effective and meaningful experiences. Students explore the requirements and needs of a diverse range of new technologies to inform Experiential Design scenarios. Students engage in technological explorations through case studies, practical activities, and workshops.

Public Space & Placemaking

Experiential designers often work within the public realm and thus require knowledge of the historic role and contemporary functions of urban public spaces. The course will provide an overview of historical and current public space theories and practices that inform design within urban contexts. Students engage in field-work, presentations, and case studies to inform the development of an experiential design proposal within a public space.


Course Title (Core)


Year 3 Semester 5 Experiential Design Studio: Public Space

Activation and intervention in urban public spaces that engage citizens and communities is central to Experiential Design practice. In this course, students will build on skills and knowledge from the Site Analysis and Public Space & Placemaking courses as well as other first and second year studio courses. Through group work, students will complete a comprehensive site analysis for a public urban site and develop a concept design for a temporary or permanent installation with interactive and/or performative components. Each student will develop a final, detailed proposal for the installation including a presentation, display and summative written report.

(Experiential Design Elective Studio Option A) Branded Experiences

Brands today are immersive and multi-platform; brand identity systems must provide the flexibility and robustness needed to communicate effectively and with continuity in a variety of 2D, virtual and physical spaces and at a wide range of scales. This course examines relevant factors such as audience needs, brand message, and technical constraints. Over the duration of this course students will engage with the research, planning, and design of a hypothetical multi-platform brand identity system for a cultural, community or corporate organization. A range of methods and approaches to designing multi-platform brand identities will be explored through readings, case studies, and practical activities.

(Experiential Design Elective Studio Option B) Social Experiences

Social media have dominated the way in which humans interact on a daily basis. In industries such as education, entertainment and marketing, social experiences—and the blending of physical and virtual spaces—have become increasingly commonplace and effective. This course aims to articulate and emphasize the impact of creating social and participatory spaces (both physical and virtual) with existing and artificial platforms. Students examine the social landscape within a psychological context to inform Experiential Design scenarios. Students engage in explorations of a variety of social experiences through readings, data analysis, case studies and practical activities.

Research Methods Research is a part of all design projects, where it can take approaches ranging from secondary research into published literature, to human-centred primary research aimed at understanding interactions and behaviours in physical space. This course concentrates on user needs, introducing observation, interviewing and participant engagement as primary design research methods. Students identify design opportunities to research; conduct secondary research; develop and implement a basic primary design research plan. Students apply current techniques to collect, record and analyze data relating to relevant design research challenges.


Course Title (Core)


Year 3 Semester 6 Experiential Design Studio: Themed Space

Themed spaces encompass a wide range of environments within Experiential Design practice, including retail, commercial and educational contexts as well as installations for events for festivals, trade shows, theme parks and sports and entertainment experiences. This course will build on previous studio courses and provide students with further focus on the specific design considerations for these types of environments and experiences. Students will engage in field research, site and visitor documentation and analysis to develop two design projects, one focused on a temporary event and the other on a retail, commercial or educational environment.

(Experiential Design Elective Studio Option C) EX-Lab

In-depth knowledge of materials, fabrication, construction and assembly techniques is essential within Experiential Design practice. This course provides students with the opportunity to engage in hands-on experimental research methods focused on materials and fabrication processes and an iterative design approach. Students create prototypes and design explorations at various scales combining both physical and digital production methods integrating considerations of sustainability, durability and maintenance.

(Experiential Design Elective Studio Option D) Sound & Light

Sound and Light play a critical role in mediating the relationship between human beings and their environment. User experiences are created and influenced through the effective use of sound and light design. Students explore the wide ranging capabilities of sound and light to influence tone, generate user feedback, and induce interaction in Experiential Design scenarios. Students explore a variety of sound and lighting design scenarios through readings, case studies, demos and practical activities.

Professional Practice

The role of the experiential designer is both diverse and complex and the ability to navigate this multifaceted industry is essential as students begin to prepare to transition into professional practice. Understanding the experiential design industry provides a key insight for students as they prepare to transition into a professional practice. This course examines a variety of opportunities to engage with industry professionals and professional activities. Students explore the requirements and needs of the Experiential Design industry to inform their career planning and development of a design portfolio.


Course Title (Core)


Year 4 Semester 7 Experiential Design Thesis 1

The ability to effectively conceive, research, and propose a project is a fundamental part of the design process. This course provides students with the opportunity to synthesize learning from previous studio and theory courses. Students undertake the requisite research, testing, and iteration to produce an evidence-based proposal for an Experiential Design project. Starting with a broad topic, students develop research and design objectives to explore a range of possible outcomes. In a collaborative environment, those outcomes are tested and refined to become the basis of further research that sets the foundation for a formal project proposal.

(Experiential Design Elective Studio Option E) Service Design

Service Design is an emerging field that focuses on designing improved experiences for customers, visitors and citizens in a variety of contexts and for different applications. This course builds on human-centred design principles, design thinking, and advanced research methods to immerse students in the principles, theories and methods of designing service-based experiences. Students will engage in individual and collaborative work to develop a service design proposal applying tools and methods such as customer journey mapping, touchpoint analysis, storyboarding and roadmaps.

Experiential Design Theory Seminar

One of the roles of research is to develop and disseminate new knowledge to a wider community of stakeholders outside the educational institution. This course develops a focused body of research on an annually-chosen topic, and presents the material for discussion at a symposium of invited critics and guest speakers. Students write individual reports on different aspects of the chosen subject, develop group summaries for presentation at the symposium, manage and host the invited guests, and document the event afterwards with a publication.

Year 4 Semester 8 Experiential Design Thesis 2

The ability to fully develop an implementable project plan based upon an initial proposal is an essential part of the design process. This course provides students the opportunity to turn their initial proposal ideas into a fully developed concept that they can present to others. Through research, testing, critique and iteration students refine their proposal and produce an individual Experiential Design project.


Course Title (Core)


(Experiential Design Elective Studio Option F) Special Topics

The field of Experiential Design is constantly evolving in response to emerging trends and technologies. Through an historical overview of the selected area of focus and an understanding of current developments, students build upon emerging trends to propose design innovation. Areas of focus are student driven and may align to thesis projects, previous studio project or other areas of interest in Experiential Design. Students explore through research, design development and prototyping to deepen their design portfolio.

Experiential Design Portfolio Project

It is essential that a designer is able to develop a portfolio of creative work across different platforms that reflects their skills, knowledge and experience. Students will develop an individual portfolio that reflects a flexible, personal career strategy, to be presented at a graduate exhibition showcase. Students plan, perform, and receive evaluations of their work within a context that emulates the professional workplace as closely as possible. Guest speakers representing different career opportunities will offer a broad range of perspectives on Experiential Design professional practice.

Non-Core Courses The breadth course elective descriptions on file with PEQAB are current.


4.5 Course Schedules Experiential design is a field that draws on disciplinary expertise in spatial design, multi-sensory communications and human-centred design. As evidenced with the development of the graduate attributes, learning within experiential design builds on skills from related design fields, including architecture, industrial design, interior design, interaction design and graphic design. For faculty with experience at the intersection of the supporting domains, a Masters is the typical terminal credential.

The proposed delivery of the program is 120 credits over 144 hours. This includes both standard classroom delivery for studios in the Faculty for Animation, Arts and Design (3 credits: 3 hours), as well as in studio settings, with varied credit to hour ratios dependent on delivery. These proposed models for delivery reflect the experience and evolution of studio courses across programs within the Faculty of Animation, Arts and Design.

The three studio credit/hour models defined below allow for the appropriate balance of theory and practice in the delivery of the program and course learning outcomes:

1: Studio - Demonstration: This is the standard classroom delivery which focuses on lectures and demonstration and provides limited in class practice; 1:1 ratio (3 credits: 3 hours).

2: Studio - Practice: This model is used where time to practice course learning outcomes is required. Six hour classes can be delivered because they accommodate practice; 1:2 (3 credits: 6 hours).

3: Studio – Investigation: With the integration of theory and practice, these synthesis courses deal with increased levels of complexity and ambiguity. These studio courses support the design, development and iteration in the design process, six hour/six credit courses are introduced in the third year Experiential Design Studio courses in preparation for the complexity of fourth year thesis research; 1:1 (6 credits: 6 hours).

Please see Table 8 for the breakdown of the number of core and non-core hours.


Undergraduate Course Schedule 2 Table 8: Undergraduate Course Schedule

Course Title Core Hrs.

Non-core Hrs.

Core Cr.

Non-Core Cr.

Pre- & Co-Reqs.

Highest Qualification Earned & Disc. of Study

Year 1 Semester 1 Space, Materials & Structure 42 3 M Env. Studies, M.Arch.

MFA Conceptual Art Communication, Type & Symbol

42 3 MA Communication & Culture

Fundamentals of Spatial Interactions

42 3 MFA Visual Art M.Sc., MDes. Graphic Design


42 3 MFA Conceptual Art

Composition and Rhetoric 42 3 M.A., PhD preferred

Year 1 Semester 2 Site Analysis 42 3 Space,

Materials & Structure

M.Arch.M Env. Studies, M.Arch.

Communication & Narrative 42 3 Communication, Type & Symbol

MFA Visual Art M.Sc., MDes. Graphic Design

Multi-sensory Environments 42 3 Fundamentals of Spatial Interactions


Human-Centred Design 42 3 Experiential Design History & Theory

M.Sc., MDes. Graphic DesignMFA Conceptual Art

Breadth Elective 42 3 Composition and Rhetoric

M.A., PhD preferred



Non-core Hrs.

Core Cr.

Non-Core Cr.

Pre- & Co-Reqs.


Year 2 Semester 3 Experiential Design Studio: Exhibition

84 3 Site Analysis M.Arch.MFA Conceptual Art

Spatial Communication 42 3 Communication & Narrative


Integrated Narratives 42 3 Multi-sensory Environments


Design for Sustainability 42 3 Design for Sustainability


Breadth Elective 42 3 M.A., PhD preferred

Year 2 Semester 4 Experiential Design Studio: Orientation & Navigation

84 3 Experiential Design Studio: Exhibition


Design Thinking 84 3 Design for Sustainability

MDes.

Smart Spaces 42 3 Integrated Narratives


Public Space & Placemaking 42 3 Experiential Design History, Theory Year 2





Non-core Hrs.

Core Cr.

Non-Core Cr.

Pre- & Co-Reqs.


Year 3 Semester 5 Experiential Design Studio: Public Space

84 6 Experiential Design Studio: Orientation & Navigation


Choose 1 of 2 Elective Studio A: Branded Experiences 84 3

Year 3 Standing*

MA Communication & Culture MFA Visual Art

Choose 1 of 2 Elective Studio B: Social Experiences

Year 3 Standing*

M.Sc., MDes. Graphic Design

Research Methods 84 3 Human-Centred Design: Design Thinking

MDes. MFA Conceptual Art

Breadth 42 3 M.A., PhD preferred

Year 3 Semester 6 Experiential Design Studio: Themed Space

84 6 Experiential Design Studio: Public Space

M.Arch.M Env. Studies, M.Arch.M.Sc., MDes. Graphic DesignMFA Conceptual Art

Choose 1 of 2 Elective Studio C: EX-Lab

84 3

Year 3 Standing*

M.Arch.M Env. Studies, M.Arch. M.Sc.,MDes. Graphic Design

Choose 1 of 2 Elective Studio D: Sound & Light

Year 3 Standing*




Non-core Hrs.

Core Cr.

Non-Core Cr.

Pre- & Co-Reqs.


Professional Practice 42 3 Year 3 Standing*

M.Arch.MFA Conceptual Art


Year 4 Semester 7 Experiential Design Thesis 1 84 6 Experiential

Design Studio C: Themed Space, Year 4 Standing*

MA Communication & Culture MFA Visual Art M.Arch.M Env. Studies, M.Arch.

Choose 1 of 2 Elective Studio C: EX-Lab

84 3

Year 4 Standing*

M.Arch.M Env. Studies, M.Arch.M.Sc., MDes. Graphic Design

Choose 1 of 2 Elective Studio E: Service Design

Year 4 Standing*

M.Sc., MDes. Graphic DesignMDes.

Experiential Design Theory Seminar

42 3 Year 4 Standing*

MA Communication & Culture MFA Visual Art M.Arch.M Env. Studies, M.Arch. M.Sc.,MDes. Graphic DesignMFA Conceptual Art




Non-core Hrs.

Core Cr.

Non-Core Cr.

Pre- & Co-Reqs.


Year 4 Semester 8 Experiential Design Thesis 2 84 6 Experiential

Design Thesis 1 Year 4 Standing*

MA Communication & Culture MFA Visual Art M.Sc., MDes. Graphic DesignM.Arch.M Env. Studies, M.Arch.MFA Conceptual Art

Special Topics Studio 84 3 Year 4 Standing*

MFA Visual Art M.Arch.M Env. Studies, M.Arch.

Portfolio Project 42 3 Professional Practice

MFA Visual Art M.Arch.M.Sc., MDes. Graphic DesignMFA Conceptual Art

Breadth Elective 42 3 M.A., PhD preferredSubtotal Course Hours 1680 336 96 24 Total Program Hours and Credits 2016 hours 120 credits

% Total Credits - Core 80% % Total Credits – Non-Core 20%

The prerequisite *Year 3 Standing is defined as a course that is available to a student in year 3 of the program who has completed 48 credits. The prerequisite *Year 4 Standing is defined as a course that is available to a student in year 4 of the program who has completed 72 credits.

This allows for students who are on a reduced course load, or who have failed a course, to continue into these specified upper year courses. These have been created with consideration of these students to not limit their path through the program.

Based upon the requirements of footnote 10 in the 2017 PEQAB Handbook, the proposed program of study meets the breadth/non-core requirements of 20 percent of program credits. There are eight breadth elective courses worth 3 credits each within the program. This comes to a total of 24 credits of breadth of the 120 credits within the program.


4.6 Work-integrated Learning Experience Sheridan College has a successful history in providing students with career education curriculum and in facilitating work experiences for students through our well-established Cooperative Education Office. The Co-op Office employs over 24 staff and partners with over 12,000 employers to provide curriculum-related work experience for students across 50 academic programs that contain Co-op or Internship components. The Co-op Office’s dedicated personnel work diligently to educate certificate, diploma, and degree students on job search and career management strategies that will serve them in securing internship positions and maximizing learning during the work term. The Co-op advisors are experienced and thoroughly familiar with the scope and requirements of these opportunities.

The Co-operative Education Model The co-op/internship model is based on the principle that an academic program, combined with work experience, is relevant to and desirable for effective employment preparation. Work term employment, which varies from sector to sector, allows students to acquire experience in their areas of career interest, while academic terms are devoted primarily to fundamental and theoretical studies. These practical experiences and academic studies complement one another. The motivation, responsibility, and opportunity for insight gained through Co-operative Education can be of significant value to the student's future.

The Cooperative Education Office at Sheridan uses a competitive employment model. While the Co-op Office makes every effort to assist students in gaining employment, there is no guarantee that every student will become employed through the internship employment process. Comparable design programs in the Faculty of Animation, Arts and Design (for example, Honours Bachelor of Interaction Design) have demonstrated 100 percent internship completion rates. The Co-op Office is responsible for the review and approval of co-op/internship job postings, but does not assume responsibility for endorsing the companies.

Sheridan internship job developers reach out to industry to bring in new Internship opportunities which are advertised to the students through our online internship job board. In addition, students conduct their own independent internship job searches, with support from their Internship Advisors.


4.6.1 Requirements/Options for Work Experience The internship will provide students with the opportunity to acquire professional experience within experiential design from amongst a wide variety of working environments and contexts. Given the diverse nature and global scope of design practice, there are many local, national, and international employers who will be able to offer relevant and appropriate internship positions. These professional contacts are being facilitated through the program development process, in combination with the Co-op Office’s job development activities.

The internship will be a minimum of 420 hours or 14 weeks full-time equivalent work and will occur between third and fourth year. Employer interviews from the Environmental Scan and ad hoc PAC consultations have indicated an opportunity for internships, expressing a variety of paid and volunteer positions available in a range of sectors in multiple areas of experiential design practice.

Further discussions with the ad hoc PAC have confirmed that students who have completed the third year are best suited for internships, since they will have the appropriate level of skills and knowledge to work on teams and on projects of a larger scope. In general, the ad hoc PAC members feel that the spring/summer is an appropriate time of year to hire interns. The ad hoc PAC indicate that they often pay for internships.

Students will be able to apply the skills and knowledge they have gained during the first three years of the program in the internship. They will have options from a range of working environments (such as design studios, in-house) in a variety of sectors (including cultural, corporate and government). Students will be able to build a network of professional contacts and affiliations that can lead to employment.

The internship is supervised and assessed by both a college representative, with appropriate academic credentials, and an employer/staff member who collaborate to evaluate the student performance. Students will submit a reflection paper and student performance within the work environment will be evaluated through the employer’s response to a questionnaire.

The Co-op Office has noted that the first few years of a new program are a critical time to build a successful internship and require start-up resources. These start-up activities include building relationships with co-op employers, learning and coming to understand the intricacies of each industry, and working with program Faculty partners to prepare for the first cohort of internship students. Recognizing how important this preparation work is to the student experience, the Co-op Office has begun planning and budgeting accordingly for these activities.


4.6.2 Types of Work Experiences There are wide-ranging internship opportunities within experiential design as indicated in the diagram (Figure 15), representing industry verticals and the landscape for employment opportunities. In Figure 15, the Society for Experiential Graphic Design has identified a range of industry sectors for experiential design services. Areas of practice, such as wayfinding, exhibition design and placemaking, are possible within any of these sectors. The employment landscape includes a range of internships and full-time employment opportunities for students and graduates of the proposed program. The SEGD is also providing current research on industry characteristics and trends that will provide a more detailed perspective on current and emerging employment and internship opportunities.

Figure 15: Experiential Design industry sectors and employment landscape


4.6.3 Plans to Develop Placement Opportunities Letters of support from industry, compiled in Section 7, demonstrate both internship and full-time employment opportunities within experiential design. The successful delivery of the proposed degree internship will require industry-specific knowledge. Therefore, in order to support the Co-op Office the program has budgeted for start-up activities to introduce Sheridan to internship employers in experiential design, build relationships, and prepare for the first cohort of students participating in the internship. Some of these activities include: attending workshops, employer networking events, participating in conferences, membership fees, acquiring industry knowledge and expertise, creating a list of internships/job opportunities for students, higher levels of on-site monitoring and employer support. This phased multi-year financial support for internship start-up begins in the second year of the program, ramps up during the third year before the internships, and concludes in the fourth year of the program. This will enable the Co-op Office to successfully launch internships for this proposed program and then transition into ongoing administration of the internship elements within the Co-op budget.

The internship and employment outlook is strong and supported by the Environmental Scan (Appendix 1) and the SEGD Professional Development and Skills Survey conducted in 2017 (Appendix 6). This positive outlook has been echoed by potential employers and the ad hoc PAC, who have indicated they have employment opportunities available nationally and internationally for Experiential Design program graduates across several areas of practice and industry sectors.

The ad hoc PAC members have indicated that they see internships as an opportunity to build long-term relationships with students. They prefer to have a mentorship role, where they are invested in the continued professional development of the student. Employers want to provide meaningful, holistic professional experiences. According to several ad hoc PAC members, they have strong internship programs that students and graduates of the proposed Experiential Design program would be preferred candidates. They also indicated that they would be interested in creating additional internship opportunities for potential students. Please see the ad hoc PAC minutes in Section 4.1.1 and the letters of support from industry in Section 7.

4.6.4 Support for Work Experience There are four partners in the Cooperative Education and Internship Programs at Sheridan: the Co-op Office, students, employers, and academic departments. The success of the program relies upon all parties understanding their responsibilities.

The Cooperative Education Office Currently, the Co-op Office supports 50 Co-op programs at Sheridan, with students enrolled in a wide range of programs including: arts and animation, business, health, applied computing, and engineering sciences.


The Co-op Office mandate is to: • Provide the delivery and evaluation of Co-op preparatory and work term curricula

(e.g. career planning skills including self-assessment, résumé and cover letterpreparation, job search techniques and effective interviewing skills)

• Develop job opportunities and secure potential employers• Arrange recruiting interviews for Co-op and internship students• Provide professional career guidance to students• Maintain Co-op records• Monitor Co-op and internship work terms by visiting and/or telephoning students

and employers on the job• Support students in Co-op/internship work term opportunities before, during, and

after their work terms to help maximize the students’ whole education and careerexperience

The Student Students must abide by all Co-op policies and procedures. The responsibilities of the student include: • Successful completion of Co-op preparatory course• Maintain good academic standing• Complete all Co-op work term assignments• Exhibit professional conduct during job search and work term• Relate classroom learning to the workplace – this benefits both student and

employer• Exercise ethical workplace conduct and represent Sheridan with a standard of

conduct and performance which will further enhance the relationship betweenSheridan and the employer

• Maintain employer confidentiality• Abide by the policies and procedures of employer• Accept constructive feedback and suggestions for improvement in a positive

manner• Resolve problems or issues that may arise in a prompt and professional manner• Be a productive and responsible employee and take initiative, as appropriate• Advise the employer and Internship Advisor of any concerns or problems with work

assignments or environmental issues as soon as they arise• Set realistic expectations and goals that will encourage self-improvement and

benefit the employer

The Employer To increase the student’s productivity and facilitate learning, it is recommended that employers: • Advise the students with regards to all issues of confidentiality in the workplace

and ensure that any non-disclosure agreements are signed prior to thecommencement of work

• Prepare the student’s co-workers and other staff for the arrival of the student


• Provide the student with an orientation to the workplace, including an overview ofthe organization (e.g. mission statement, products, etc.), physical layout, relevantpersonnel, safety practices, and the duties or tasks expected during the work term

• Provide a supervisor for the Co-op and internship student who will oversee thestudent’s work and discuss expectations for the work term with the student and, ona regular basis, give the student feedback on how he/she is doing, including areasof strength and areas which require improvement

The Academic Department The academic department is responsible for all academic components of the internship. A Co-op Student Advisor works closely with each academic program coordinator to ensure standards are established and relevant information is shared. Faculty members are often involved in finding potential internship positions because of their connections with industry. They may also be asked to vet potential positions for relevance and appropriateness. Faculty help prepare students for their internship experiences through career-related programming embedded in the curriculum. On their return from the internship, students reflect on what they learned in the internship experience and relate it to their curriculum through structured activities provided by faculty.

4.6.5 Work-integrated Learning Experience Outcomes The following chart outlines the learning outcomes for the internship and how possible job responsibilities will allow students to demonstrate these learning outcomes.

Table 9: Work-integrated Learning Experience Outcomes Internship Outcomes How work experience puts into practice the program

learning outcomes By the end of the internship, students will have demonstrated the ability to:

During the internship, students may perform some or all of the following types of tasks with support achievement of program learning outcomes:

Function effectively and professionally as part of a professional team

Collaborate with a diverse professional team (designers, architects, graphic designer, project managers, etc.) on a variety of tasks associated with the development of an experiential design project. Use appropriate terminology to communicate with the design team

Exhibit adaptive and innovative responses to a variety of professional needs and situations

Collaborate with the creative team to find appropriate and innovative experiential design solutions as required by the client. Anticipate actions required to support the design team to perform a task. Analyze workflow processes and identify areas that could be improved.

Exhibit knowledge of processes and requirements in the professional working environment

Conduct research to support the development of a concept or idea. Ensure all materials comply with copyright and code requirements. Process and prepare electronic files for publication. Assist with the basic tasks associated with the development of an experiential design project.


Internship Outcomes How work experience puts into practice the program learning outcomes

Communicate clearly, concisely and correctly as appropriate to the requirements of the position

Participate in meetings. Use listening skills in order to correctly follow instructions from supervisor.

Manage the use of time and other resources to attain work goals within established timelines

Assist in the preparation of project schedules. Assist in arranging resources required for production. Complete assigned work on schedule.

Exhibit improvement after receiving constructive feedback and take responsibility for own actions and decisions

Reflect on performance of duties and make necessary adjustment to performance. Solicit and respond to supervisor feedback on performance.

Identify combination of personal skills, work ethics, positive attitude and behaviours required to secure, maintain and advance on the job

Exhibit appropriate behaviours around clients. Discuss requirements of job and performance with supervisor. Identify and integrate behaviours that contribute to success in the profession. Apply knowledge of ethical and legal frameworks to decision making in the workplace.

Evaluate the breadth and scope of the employment opportunities in the business field

Analyze relationships between clients and designers/supervisor on project team. Identify effective marketing strategies used by the business.

4.6.6 Student Evaluation During Placement Successful completion of the work term is determined on a pass/fail basis. Students will be evaluated by an employer through an employer questionnaire, as well as by a faculty member with subject matter expertise through a reflection paper. Evaluation of the work term is based on timely submission of following documentation:

• Confirmation of Employment Report• Employer Evaluation• Work Term Report

The Confirmation of Employment Report is a written contract outlining the parameters of the internship, including roles and responsibilities, start and end dates, who will be supervising the student, and expected learning outcomes. It represents an agreement among the employer, the student, and Sheridan.


An online evaluation of the student’s performance is completed by the student’s supervisor at the end of the work term to review the student’s progress towards overall expectations and goals, and the student’s work performance in terms of behaviours, abilities, work habits, and technical competencies. All students are assessed in areas such as: interest in the work, ability to learn, quality and quantity of work, analytical and problem-solving, communications—written, verbal and interpersonal, teamwork, dependability, response to feedback, and professionalism. The employer is asked to specifically identify the student’s areas of strength and areas for improvement.

At the end of the internship, the student prepares a Work Term Report. This report, graded by a faculty member, provides information on the company, a synopsis of duties performed, and a full description of one technical and one transferable skill enhanced or developed while on the work term. This report illustrates the understanding and experience acquired during the internship and provides an opportunity to update the student’s résumé.

Employer and student reports are reviewed by Sheridan staff and a final grade of pass or fail is assigned.


4.7 Course Outlines

4.7.1 Core Courses

This Section has been removed for web publication.


4.7.2 Non-Core Courses The breadth course outlines on file with PEQAB are current.


4.8 Degree Completion Interior Design – Ontario College Advanced Diploma (MTCU 61833)

Program Standard Description The portrait of the three-year Interior Design graduate, expressed in the vocational learning outcomes, is aligned with the profession's accepted definition of the interior designer's role. This role is defined as using education, experience, and recognized skills to identify, research, and creatively solve problems pertaining to the function and quality of the interior environment, in order to enhance the quality of life and protect the health, safety, and welfare of the public. The comprehensive nature of the role performances expressed in the learning outcomes will provide a graduate with the foundation required for professional growth in the interior design environment and with the ability to function in a wide variety of employment settings.

The vocational learning outcomes are arranged in chronological order of a design project. This order indicates that a graduate of a three-year interior design program will be able to use the design process to solve a design problem by completing the following phases sequentially:

Programming/Analysis, Design Concept, Design Development, Documentation, Implementation, Evaluation.

Program Standard Vocational Learning Outcomes 1. Analyze a client's needs and goals by using research methodology and

techniques.2. Prepare a design proposal.3. Analyze design components by using the creative process.4. Prepare an appropriate design concept of three-dimensional form which meets the

criteria of a given design project by using the creative process.5. Execute appropriate presentation techniques to communicate the design concept.6. Prepare a design which reflects the concept by using current and relevant

information.7. Communicate to the client the proposed design solution for approval.8. Prepare documentation needed for the implementation of the design.9. Collaborate as part of the management team, as the client's agent, in the

implementation of a design project to ensure that the project reflects the designsolution.

10. Evaluate completed design solutions.

Advanced Standing As a result of the skills developed in the design process, as applied to interior environments, graduates of the Interior Design Ontario College Advanced Diploma from


any Ontario College may receive transfer credit of five three-credit courses (equivalent to 18 hours, or one semester) towards the proposed degree.

Students will be expected to complete courses from all eight semesters of the proposed degree program, as well as meet the degree breadth and internship requirements. However, based on the gap analysis for the Interior Design Advanced Diploma program, students will be exempt from the following courses in the program:

• Space, Materials and Structure• Site Analysis• Two breadth courses (if they meet Sheridan’s policy which requires 60 percent inthree completed general education courses)• One Studio Elective

Architectural Technology – Ontario College Advanced Diploma (MTCU 60600)

Program Standard Description Graduates of the Architectural Technology program, through successful achievement of the vocational standard and the essential employability skills, have the knowledge, skills, and attitudes that are necessary to perform their roles according to recognized Architectural Technology practices. Graduates are able to participate in the design of buildings and building use by communicating architectural and related information effectively through the use of architectural drawings and other graphical representations. Graduates use design solutions to meet established design criteria through the application of relevant mathematical and building science principles, and practices. This work requires the application of design tools such as Computer-Aided Design (CAD) and two and three-dimensional modelling. Graduates promote sustainability in the building industry through the application of sustainable design and building practices. In addition, they will be able to evaluate assignments, establish objectives, set parameters, and determine appropriate procedures and actions. Finally, graduates adhere to applicable laws, exercise due diligence in the workplace, adhere to relevant building codes and standards, safety practices, and work in accordance with labour management principles and practices.

Program Standard Vocational Learning Outcomes 1. Communicate with clients, contractors, other building professionals, and

approval authorities.2. Prepare, read, interpret, and revise drawings, and other graphical

representations used in building projects.3. Obtain, analyze, prepare, and revise specifications and other project

documents used in design and construction.4. Prepare estimates of time, costs, and quantity, and participate in the

tendering process.


5. Solve technical problems related to building projects through the applicationof principles of building science and mathematics.

6. Collaborate with and coordinate information from structural, mechanical, andelectrical building systems professionals.

7. Contribute to the design of architectural projects.8. Contribute to the analysis, planning, and preparation of site planning

documents.9. Comply with the legal and ethical requirements of an architectural

technologist in the practice of building design and construction.10. Assess buildings and their interiors, and make recommendations for their

repurposing and renovation.11. Ensure personal safety and contribute to the safety of others in the

workplace.12. Participate in sustainable design and building practices.13. Use and evaluate current and emerging technology to support building

projects.14. Assist in the planning, scheduling, and monitoring of building projects.15. Apply business principles to design and building practices.

Block Transfer As a result of the skills developed in the design process, project management, and documentation, graduates of the Architectural Technology Ontario College Advanced Diploma from any Ontario College may receive transfer credit of five three-credit courses (equivalent to 18 hours, or one semester) towards the Honours of Bachelor of Experiential Design degree.

Based on the gap analysis for the Architectural Technology Advanced Diploma Program students will be exempted from the following courses in the program:

• Site Analysis• Project Management• Two Breadth courses (if they meet Sheridan’s policy which requires 60percent in three completed general education courses)• One Studio Elective

Students will be expected to complete courses from all eight semesters of the degree program, as well as meet the degree breadth and internship requirements.


Graphic Design - Ontario College Advanced Diploma (61820)

Program Standard Description Graphic design is a profession aimed at providing innovative, creative and sustainable solutions to visual design problems through the planning and creation of effective visual communications. Graphic designers call upon a broad range of knowledge and skills in areas such as art and design, communications, technology, interactive media, and project management to create communication materials and products that are relevant, functional, appealing and accessible. Today’s graphic design services extend far beyond the design of print media, and involve an integrated approach to the design of creative products which can be used in a variety of forms across multiple platforms.

Program Standard Vocational Learning Outcomes 1. Conceptualize and develop design solutions using principles of design to create

visual communications that meet the needs of the project.2. Employ the design process to create design solutions that meet the project objectives

and the needs of the client and/or user.3. Plan, create and use photography, illustration and typography in design layouts to

meet the requirements of the creative brief.4. Design, develop and create a variety of media products using relevant, current and/or

emerging technologies.5. Communicate ideas, design concepts and opinions clearly and persuasively to

others.6. Use recognized industry practices throughout the design process and related

business tasks.7. Plan, implement, and evaluate graphic design projects using project management

skills to deliver quality work to clients according to schedule and within budget.8. Complete all work in a professional and ethical manner, and in accordance with all

applicable legislation and regulations.9. Keep current with visual media design trends, technologies and industry practices

using strategies that enhance work performance and guide professionaldevelopment.

Transfer Credit Though it is apparent that graduates of the Graphic Design Ontario College Advanced Diploma from any Ontario College develop skills in visual communications, project management, and documentation, these skills are not applied to immersive spatial experiences, nor time-based or multi-sensory communications. As a result of a careful analysis of the Graphic Design Ontario College Advanced Diploma program standard, graduates may receive transfer credit of three three-credit courses towards the Honours Bachelor of Experiential Design degree.

Students will be expected to complete courses from all eight semesters of the degree program, as well as meet the degree breadth and internship requirements. However,


based on the gap analysis for the Graphic Design Advanced Diploma Program students will be exempted from the following courses in the program:

• Communication, Type & Symbol• Two Breadth courses (if they meet Sheridan’s policy which requires 60 percent in

their general education courses)

Transfer from a Baccalaureate degree program As an emerging field, there are no directly equivalent programs in Ontario that would qualify as pathways into this degree. We have analysed high affinity programs at Sheridan to establish potential pathways at the end of first or second year. We used an understanding of the core disciplinary areas to identify high affinity programs. Programs we have reviewed include those with focus in the three areas affiliated with experiential design: spatial design, communications, and human-centred design. In considering pathways, we have reviewed programs with some of these elements, such as Sheridan’s Honours Bachelor of Interaction Design, and Honours Bachelor of Interior Design. The analysis was based on a comparison of the learning outcomes for the courses in the first and second year of the programs with the aim of identifying pathway opportunities for students who desire to apply into the degree program at the end of first or second year. This analysis resulted in no meaningful pathways from the comparator degrees into the Experiential Design program. However, the analysis will be kept and maintained by the program in order to inform student support and mobility in the future (see Section 4.8.1).

In analysing these opportunities, it has been noted that all students who have successfully met the course requirements for Composition and Rhetoric or any breadth elective that meets the Breadth Policy and is not on the Program Breadth Exclusion list will be able to apply each of these credits to the Experiential Design program. In addition to breadth, the program identifies advanced based upon the originating program.


4.8.1 Gap Analysis Table 10: Interior Design - Ontario College Advanced Diploma (MTCU 61833)

Program Learning Outcomes: Interior Design – Ontario College Advanced Diploma (MTCU 61833)

Program Learning Outcomes Honours Bachelor of Experiential Design

Gap Analysis Remediation of the Gap

Analyze a client's needs and goals by using research methodology and techniques.

Undertake qualitative or quantitative research into critical experiential design issues, demonstrating awareness of research ethics.

Application of research results to experiential design principles, and issues

This gap is addressed through the following courses: • Experiential Design History and Theory• Design for Sustainability• Human Centred Design• Design Thinking and Strategy• Research Methods• Experiential Design Thesis courses 1 & 2

Prepare a design proposal.

Employ design communication tools to develop design solutions that integrate knowledge of materials, form, space, structures, multi-sensory experiences and interactive media

The design proposal is only one foundational tool used to communicate with other team members.

The Experiential Design degree extends beyond communications within media to include spatial experiences that educate, orient, engage, and inform. The student’s ability to design develop and communication design solutions is fostered throughout the program.

This gap is addressed through the following courses: • Space, Materials and Structure• Communication, Type and Symbol• Fundamentals of Spatial Interaction• Communication and Narrative• Narratives & Digital• Multi Sensory Environments• Experiential Design Studio Courses• Experiential Design Thesis 1 & 2





Analyze design components by using the creative process.

Create effective multi-sensory, spatial and experiential design solutions through critical thinking and an iterative design process. �

The creative process is applied to seek multi-sensory solutions, special and experiential design solutions.

While the degree includes foundations in visual communications within the Communication courses: Communication Type & Symbol, Communication and Narrative, Information and Space; experiential design is a distinct area of practice that synthesizes knowledge in three key areas; spatial knowledge (scale and materials); communications skills (multi-sensory, including visual); and an overarching understanding of human centred design (cognitive and behavioural theory). Courses such as Fundamentals of Spatial Interaction, Space Materials and Structure, and Site Analysis provide students a foundation for this understanding. In later semesters Human-Centred Design, Public Space and Placemaking, the Experiential Design Studios as well as the Studio Electives such as Participatory and Service Design allow students to observe those foundations in practical application. This gap is addressed through the following courses:

• Communication Type & Symbol• Communication and Narrative• Information and Space• Fundamentals of Spatial Interaction• Space Materials and Structure• Human-Centred Design• Public Space and Placemaking• Experiential Design Studios





Prepare an appropriate design concept of three-dimensional form which meets the criteria of a given design project by using the creative process.

Create effective multi-sensory, spatial and experiential design solutions through critical thinking and an iterative design process.

The creative process is utilized, however, multi-sensory, spatial and experiential solutions are Learned, reviewed and applied in addition to three dimensional form.

While the degree includes foundations in visual communications within the Communication courses: Communication Type & Symbol, Communication and Narrative, Information and Space; Experiential design is a distinct area of practice that synthesizes knowledge in three key areas; spatial knowledge (scale and materials); communications skills (multi-sensory, including visual); and an overarching understanding of human centred design (cognitive and behavioural theory).Courses such as Fundamentals of Spatial Interaction, Space Materials and Structure, as well as Site Analysis provide students a foundation for this understanding. In later semesters Human-Centred Design, Public Space and Placemaking, the Experiential Design Studios as well as the Studio Electives such as Participatory and Service Design allow student to observe those foundations in practical application. This gap is addressed through the following courses:






Execute appropriate presentation techniques to communicate the design concept.

Employ design communication tools to develop design solutions that integrate knowledge of materials, form, space, structures, multi-sensory experiences and interactive media

Diploma lacks emphasis on the iterative design process and though creative process is addressed, the importance of critical thinking needs to be infused throughout the program.

The Experiential Design degree extends beyond communications within media to include spatial experiences that educate, orient, engage, and inform. The student’s ability to design develop and communication design solutions is fostered throughout the program. This gap is addressed through the following courses:

• Space, Materials and Structure• Communication, Type and Symbol• Fundamentals of Spatial Interaction• Communication and Narrative• Narratives & Digital• Multi Sensory Environments• Experiential Design Studio Courses• Experiential Design Thesis 1 & 2

Prepare a design which reflects the concept by using current and relevant information.


Diploma lacks emphasis on the iterative design process. The course on experiential design history and theory may provide students with contrasting historical concepts that provide value in the

Diploma lacks emphasis on the iterative design process. The course on Experiential Design History and theory may also provide students with contrasting and historical concepts that provide value in the design process. This gap is addressed through the following courses:

• Experiential Design History and Theory• Design for Sustainability• Human Centred Design• Design Thinking and Strategy• Research Methods• Experiential Design Thesis courses 1 & 2





design process. Communicate to the client the proposed design solution for approval.

Employ design communication tools to develop design solutions that integrate knowledge of materials, form, space, structures, multi-sensory experiences and interactive media.

Diploma lacks emphasis on our relationship tools that can be utilized to help the client (main stakeholder) connect with the design solutions.

This gap is addressed through the following courses: • Project Management• Professional Practice


Prepare documentation needed for the implementation of the design.


The diploma again lacks more involved emphasis on communicating about the process and product via form, space, structures, multi-sensory experiences and interactive media.


• Space, Materials and Structure• Communication, Type and Symbol• Fundamentals of Spatial Interaction• Communication and Narrative• Narratives & Digital• Multi-Sensory Environments• Experiential Design Studio Courses• Experiential Design Thesis 1 & 2





Collaborate as part of the management team, as the client's agent, in the implementation of a design project to ensure that the project reflects the design solution.

Develop a flexible personal career strategy that considers team-based practices, entrepreneurship and networking among a wide range of industry practitioners.

Relationship building and professional reputation is stressed throughout this degree as career long praxis.

Students in this program will explore a greater range. This gap is addressed through the following courses:

• Project Management• Professional Practice

Evaluate completed design solutions.


The Experiential Design degree focusses not on the completed design product, but the iterative design process.

While the degree includes foundations in visual communications within the Communication courses: Communication Type & Symbol, Communication and Narrative, Information and Space; experiential design is a distinct area of practice that synthesizes knowledge in three key areas; spatial knowledge (scale and materials); communications skills (multi-sensory, including visual); and an overarching understanding of human centred design (cognitive and behavioural theory). Courses such as Fundamentals of Spatial Interaction, Space Materials and Structure, as well as Site Analysis provide students a foundation for this understanding. In later semesters Human-Centred Design, Public Space and Placemaking, the Experiential Design Studios as well as the Studio Electives such as Participatory and Service Design allow student to observe those foundations in practical application. This gap is addressed through the following courses:





• Communication Type & Symbol• Communication and Narrative• Information and Space• Fundamentals of Spatial Interaction• Space Materials and Structure• Human-Centred Design• Public Space and Placemaking• Experiential Design Studios• Participatory and Service Design

Apply principles of cultural awareness, social engagement and civic literacy towards the goal of building resilient and connected communities.

Students may choose to take general education courses that focus on the principles of cultural awareness, social engagement, civic literacy and healthy communities. These are not core courses in the Advanced Diploma.

This gap will be addressed through the following courses:

• Site Analysis• Design for Sustainability• Experiential Design Studio Courses• Participatory and Service Design• Experiential Design Thesis


Interior Design Based on the vocational learning outcomes within the published program standards for Ontario College Advanced Diplomas in Interior Design (MTCU 61833), graduates will be eligible for credit transfer for the following courses:

Site Analysis: • VLO1: Analyze a client's needs and goals by using research methodology and techniques.

o Element of Performance: Assess site and building parameters which may impact on the interior design• VLO2: Prepare a design proposal.• VLO4: Prepare an appropriate design concept of three-dimensional form which meets the criteria of a given design

project by using the creative process.o Elements of Performance: Apply the principles of structure and current industry standard methods of

construction and detailingo Apply basic knowledge of building systems (e.g., design within the constraints of HVAC, electrical, plumbing,

sprinklers, conveying systems, communications systems, security and acoustics)• VLO8: Prepare documentation needed for the implementation of the design.

In combination, these outcomes are deemed equivalent to the Experiential Design course, Site Analysis.

Space, Materials and Structure: • VLO4: Prepare an appropriate design concept of three-dimensional form which meets the criteria of a given design

project by using the creative process.o Element of Performance: Prepare preliminary drawings which reflect the concept statemento Apply the principles of structure and current industry standard methods of construction and detailingo Apply basic knowledge of building systems (e.g., design within the constraints of HVAC, electrical, plumbing,

sprinklers, conveying systems, communications systems, security and acoustics)o Select colours, materials, finishes, and lighting

• VLO6: Prepare a design which reflects the concept by using current and relevant information.o Element of Performance: Determine the appropriate use of materials to meet the functional and aesthetic

requirements of a design project

In combination, these outcomes are deemed equivalent to the Experiential Design course, Space, Materials and Structure.


Table 11: Architectural Technology - Ontario College Advanced Diploma (MTCU 60600) Program Learning Outcomes: Architectural Technology – Ontario College Advanced Diploma (MTCU 60600)



Communicate with clients, contractors, other building professionals, and approval authorities.


In addition to networking, the degree expects students to demonstrate an understanding and impact of project start cadence and changes on other industry practitioners.

Students in this program will explore a greater range


Prepare, read, interpret, and revise drawings, and other graphical representations used in building projects.


Graphical representations are only one aspect of project representation. The Experiential Design degree looks to multiple forms of communication.

The proposed degree extends to include spatial experiences that educate, orient, engage, and inform. The student’s ability to design, develop and communicate design solutions is fostered throughout the program. This gap is addressed through the following courses:

• Space, Materials and Structure• Communication, Type and Symbol• Fundamentals of Spatial Interaction• Communication and Narrative• Narratives & Digital• Multi Sensory Environments• Experiential Design Studio Courses


Program Learning Outcomes: Architectural Technology – Ontario College Advanced Diploma (MTCU 60600)



• Experiential Design Thesis 1 & 2Obtain, analyze, prepare, and revise specifications and other project documents used in design and construction.


Paper documents are only one aspect of project representation. The XD degree looks to multi forms of communication and engagement.

The proposed degree extends beyond media communications to include spatial experiences that educate, orient, engage, and inform. The student’s ability to design develop and communication design solutions is fostered throughout the program. This gap is addressed through the following courses:


Prepare estimates of time, costs, and quantity, and participate in the tendering process.


Tendering per se is addressed in the two courses noted. Tenders however, are foundational knowledge for this course.







Solve technical problems related to building projects through the application of principles of building science and mathematics.


Again, problem solving solutions and the iterative design process build and contribute to the ED Designer lens when addressing various and multi- technical problems. At some point an XD Designer may need to consult with a team member on a project who may have a more focussed viewpoint.

While the degree includes foundations in visual communications within the Communication courses: Communication Type & Symbol, Communication and Narrative, Information and Space; experiential design is a distinct area of practice that synthesizes knowledge in three key areas; spatial knowledge (scale and materials); communications skills (multi-sensory, including visual); and an overarching understanding of human centred design (cognitive and behavioral theory). Courses such as Fundamentals of Spatial Interaction, Space Materials and Structure, as well as Site Analysis provide students a foundation for this understanding. In later semesters Human-Centred Design, Public Space and Placemaking, the Experiential Design Studios as well as the Studio Electives such as Participatory and Service Design allow students to observe those foundations in practical application. This gap is addressed through the following courses:

• Communication Type & Symbol• Communication and Narrative• Information and Space• Fundamentals of Spatial Interaction• Space Materials and Structure• Human-Centred Design





• Public Space and Placemaking• Experiential Design Studios• Participatory and Service Design

Collaborate with and coordinate information from structural, mechanical, and electrical building systems professionals.


Problem solving solutions and the iterative design process build and contribute to the ED Designer lens when addressing technical problems.

Students in this program will explore a greater range.

This gap is addressed through the following courses:


Contribute to the design of architectural projects.


Team work and communication is stressed throughout the program.

While the degree includes foundations in visual communications within the Communication courses: Communication Type & Symbol, Communication and Narrative, Information and Space; Experiential design is a distinct area of practice that synthesizes knowledge in three key areas; spatial knowledge (scale and materials); communications skills (multi-sensory, including visual); and an overarching understanding of human centred design (cognitive and behavioral theory).Courses such as Fundamentals of Spatial Interaction, Space Materials and Structure, as well as Site Analysis provide students a foundation for this understanding. In later semesters





Human-Centred Design, Public Space and Placemaking, the Experiential Design Studios as well as the Studio Electives such as Participatory and Service Design allow student to observe those foundations in practical application. This gap is addressed through the following courses:

• Communication Type & Symbol• Communication and Narrative• Information and Space• Fundamentals of Spatial Interaction• Space Materials and Structure• Human-Centred Design• Public Space and Placemaking• Experiential Design Studios• Participatory and Service Design

Contribute to the analysis, planning, and preparation of site planning documents.


Site planning documents in addition to other forms of communication will be prepared by students in this program.


• Space, Materials and Structure• Communication, Type and Symbol• Fundamentals of Spatial Interaction• Communication and Narrative





• Narratives & Digital• Multi Sensory Environments• Experiential Design Studio Courses• Experiential Design Thesis 1 & 2

Comply with the legal and ethical requirements of an architectural technologist in the practice of building design and construction.

Practice design management strategies of professionalism, collaboration, leadership, and interdisciplinary team building in the execution of projects that comply with relevant laws, codes, guidelines, and professional standards.

Similarities are present in these two learning outcomes; however, the Experiential Design program builds on legal and ethical codes to include laws, guidelines (best practices) and professional standards.

This gap is addressed through the following courses: • Experiential Design History & Theory• Site Analysis• Design Thinking and Strategy• Professional Practice• Experiential Design Theory Seminar• Project Management• Experiential Design Studio Courses• Experiential Design Thesis

Assess buildings and their interiors, and make recommendations for their repurposing and renovation.





Ensure personal safety and contribute to the safety of others in the workplace.

Practice design management strategies of professionalism, collaboration, leadership, and interdisciplinary team building in the execution of projects that comply with relevant laws, codes, guidelines, and professional standards.

Personal safety and the safety of others is demonstrated in all studio courses to adhere to all codes, guidelines and professional standards. Graduates of the XD degree will be able to manage environments and teams so that they are also mentoring and modelling others to do the same.


• Experiential Design History & Theory• Site Analysis• Design Thinking and Strategy• Professional Practice• Experiential Design Theory Seminar• Project Management• Experiential Design Studio Courses• Experiential Design Thesis

Participate in sustainable design and building practices.


Sustainable design and building practices are noted and expanded upon generally and in specialist areas.







Use and evaluate current and emerging technology to support building projects.


The Experiential Design program extends beyond technologies. And communications within media.

The Experiential Design degree extends beyond media communication to include spatial experiences that educate, orient, engage, and inform. The student’s ability to design develop and communicate design solutions is fostered throughout the program. This gap is addressed through the following courses:


Assist in the planning, scheduling, and monitoring of building projects.

Practice design management strategies of professionalism, collaboration, leadership, and interdisciplinary team building in the execution of projects that comply with

This area of practice is built upon and consistently applied in order to meet client needs, work as part of a multi-disciplinary team, contribute to building and






relevant laws, codes, guidelines, and professional standards.

maintaining healthy communities.

Apply business principles to design and building practices.


This area of practice is built upon and consistently applied in order to meet client needs, work as part of a multi-disciplinary team and contribute to building and maintaining healthy communities.





Same as incoming students. Does not appear within Architectural Technology - Advanced Diploma based on VLOs. Students may choose to take







general education courses that focus on principles of cultural awareness, social engagement, civic literacy, healthy communities, these values, practices are embedded throughout the program.


Architectural Technology

Based on the vocational learning outcomes within the published program standards for Ontario College Advanced Diplomas in Architectural Technology (MTCU 60600), graduates will be eligible for credit transfer for the following courses:

Site Analysis: • VLO2: prepare, read, interpret, and revise drawings, and other graphical representations used in building projects.• VLO3: obtain, analyze, prepare, and revise specifications and other project documents used in design and

construction.• VLO8: contribute to the analysis, planning, and preparation of site planning documents.• VLO9: comply with the legal and ethical requirements of an architectural technologist in the practice of building

design and construction.• VLO10: assess buildings and their interiors, and make recommendations for their repurposing and renovation.

In combination, these outcomes are deemed equivalent to the Experiential Design course, Site Analysis.

Project Management: • VLO1: Communicate with clients, contractors, other building professionals, and approval authorities.• VLO2: Prepare, read, interpret, and revise drawings, and other graphical representations used in building projects.• VLO3: Obtain, analyze, prepare, and revise specifications and other project documents used in design and

construction.• VLO4: Prepare estimates of time, costs, and quantity, and participate in the tendering process.• VLO8: Contribute to the analysis, planning, and preparation of site planning documents.• VLO14: Assist in the planning, scheduling, and monitoring of building projects.

In combination, these outcomes are deemed equivalent to the Experiential Design course, Project Management.


Table 12: Graphic Design - Ontario College Advanced Diploma (61820)Program Learning Outcomes: Graphic Design – Ontario College Advanced Diploma (MTCU 61820)



Conceptualize and develop design solutions using principles of design to create visual communications that meet the needs of the project.


Limited to the design of visual communications.

While the degree includes foundations in visual communications, (Communication Type & Symbol, Communication & Narrative, Information & Space) experiential design is a distinct area of practice that synthesizes knowledge in three key areas: spatial knowledge (scale and materials); communications skills (multi-sensory, including visual); and an overarching understanding of human centred design (cognitive and behavioural theory). Courses such as Fundamentals of Spatial Interaction, Space Materials and Structure, and Site Analysis provide students a foundation for this understanding. In later semesters, Human-Centred Design, Public Space and Placemaking, the Experiential Design Studios, and studio electives, such as Participatory and Service Design, allow students to observe those foundations in practical application. This gap is addressed through the following courses:



Program Learning Outcomes: Graphic Design – Ontario College Advanced Diploma (MTCU 61820)



• Participatory and Service DesignEmploy the design process to create design solutions that meet the project objectives and the needs of the client and/or user.

Diploma lacks emphasis on the iterative design process and importance of critical thinking.

One of the foundations for the theoretical approach within this program is the emphasis on design thinking and human-centred design. This is apparent throughout several of our courses in a variety of courses including: Design thinking & Strategy, Design for Sustainability, Human-Centred Design, and this is reinforced throughout the four Experiential Design Studio courses as well as the two Experiential Design Thesis courses. Students are encouraged to explore and experiment within the Experiential Design Elective Studio courses, where there are options in Experimental Design, Participatory and Service Design and well as Special Topics.

In summary, this gap is addressed through the following courses: • Design Thinking & Strategy• Design for Sustainability• Human-Centred Design• Experiential Design Studio• Experiential Design Thesis courses 1 & 2





Plan, create and use photography, illustration and typography in design layouts to meet the requirements of the creative brief.


The application appears to be limited to digital and/or physical media.


This gap is addressed through the following courses: • Space, Materials and Structure• Communication, Type and Symbol• Fundamentals of Spatial Interaction• Communication and Narrative• Narratives & Digital• Multi Sensory Environments• Experiential Design Studio Courses• Experiential Design Thesis 1 & 2

Design, develop and create a variety of media products using relevant, current and/or emerging technologies.

Communicate ideas, design concepts and opinions clearly and persuasively to others.





Use recognized industry practices throughout the design process and related business tasks.

Analyse the relationship of the cultural history and theory of experiential design to current global design practice, with reference to art and other design disciplines

The Advanced Diploma program appears to focus on current processes and commonly used practices.

Given that some experiential design projects may be situated within both current and historical settings, this program provides students with an opportunity to explore and experiment with a variety of cultural and historical contexts which may impact the nature of their design. This gap is addressed through the following courses:

• Experiential Design History & Theory• Site Analysis• Design for Sustainability• Human-Centred Design• Public Space and Placemaking• Experiential Design Studio Courses• Experiential Design Thesis

Plan, implement, and evaluate graphic design projects using project management skills to deliver quality work to clients according to schedule and within budget.

Practice design management strategies of professionalism, collaboration, leadership, and interdisciplinary team building in the execution of projects that comply with

Students will come in with some understanding of project management and how to plan a project limited to the implementation of media.






relevant laws, codes, guidelines, and professional standards.

Degree projects will be much larger and complex, and will include multiple suppliers, manufacturers, contractors, and stakeholders to implement.

Complete all work in a professional and ethical manner, and in accordance with all applicable legislation and regulations.

Practice design management strategies of professionalism, collaboration, leadership, and interdisciplinary team building in the execution of projects that comply with relevant laws, codes,

Same as other incoming students. There will be limited to no exposure to the relevant laws, codes and guidelines as they relate to the built environment.





guidelines, and professional standards.

Keep current with visual media design trends, technologies and industry practices using strategies that enhance work performance and guide professional development.


Emphasis limited to visual media.





Does not appear to be present within the Graphic Design - Advanced Diploma based on the VLOs.

This gap is addressed through the following courses: • Experiential Design History and Theory• Design for Sustainability• Human Centred Design• Design Thinking and Strategy• Research Methods• Experiential Design Thesis courses 1 & 2





Integrate principles of human-centred, sustainability and participatory design to problem-solving methodologies aimed at experiential design solutions.

Same as other incoming students. Does not appear to be present within the Graphic Design - Advanced Diploma based on the VLOs.

This gap is addressed through the following courses: • Experiential Design History & Theory• Design for Sustainability.• Human Centred Design• Design Thinking and Strategy• Public Space and Placemaking• Participatory & Service Design• Branded Experiences• Social Experiences• Ex-Lab• Experiential Design Studio Courses• Experiential Design Thesis


Same as other incoming students. Does not appear to be present within the Graphic Design – Adv. Diploma based on the VLOs.




Graphic Design

Based on the vocational learning outcomes within the published program standards for Ontario College Advanced Diplomas in Graphic Design (MTCU 61820), graduates will be eligible for credit transfer for the following course:

Communication, Type & Symbol • VLO1: Conceptualize and develop design solutions using principles of design to create visual communications that

meet the needs of the project.o Element of Performance: Gather and analyze historical and contemporary visual references to inspire

creative design solutions;o Apply knowledge of design and art history to the creation of visual communications;

• VLO3: Plan, create and use photography, illustration and typography in design layouts to meet the requirements ofthe creative brief.

o Element of Performance: Use typography skills, rules and conventions and apply legibility principles toenhance readability as well as functionality of text;

o Make design choices that are appropriate, compatible and scalable for use with all types of media (e.g., print,web, digital);

o Consider design elements and principles when setting type, making font and font style choices or creatinglogotypes, decorative and expressive type;

o Make design and typography choices that are compliant with the regulations set out by the Accessibility forOntarians with Disabilities Act (AODA), 2005.

• VLO4: design, develop and create a variety of media products using relevant, current and/or emerging technologies.

In combination, these outcomes are deemed equivalent to the Experiential Design course, Communication, Type & Symbol.


Section 5: Program Delivery Standard Sheridan assures quality of program delivery through new program development processes, faculty development programs for new full-time and part-time faculty, ongoing professional development opportunities for faculty, regular student feedback mechanisms and quality assurance processes. Additional information related to quality assurance of delivery can also be found in the Program Evaluation Standard Section 10.

5.1 Quality Assurance of Delivery 5.1.1 New Program Development New program development is a collaborative process involving faculty members in the Faculties, curriculum developers in the Centre for Teaching and Learning, an ad hoc Professional Advisory Council, senior management and representatives from the various service areas of the college. The development process ensures fit with College strategy and Ministry standards, viability of the program in terms of student and employer support and College resources, rigour and relevance in the curriculum, and support from the various areas of the College.

Sheridan’s culture invites creativity and innovation, welcoming input from the College community for the creation of new programs. Once an idea has been formulated, the next step is to examine the industrial and educational context for the proposed program, its competition, and industry trends. Input is solicited from industry through interviews and the creation of an ad hoc Professional Advisory Council.

Once the research for the proposed program has been completed, the first phase of development focuses on creating a vision of and framework for the program. Peer review by a cross-disciplinary Senate committee provides a context to learn from each other’s experiences in degree development and delivery, and an opportunity to identify possible synergies between programs. In the subsequent development phase, detailed curriculum is worked out. A curriculum specialist from the Centre for Teaching and Learning works closely throughout with the program development team from the Faculty to ensure degree level standards are met in outcomes, course content and evaluation methods. Internal stakeholders are consulted to ensure resources and support for the ultimate implementation of the program. Requirements for vetting and/or approval by several internal bodies ensure proposals are scrutinized closely for both pedagogical strength and functional viability before the proposal is submitted to an external approval body.

Sheridan’s policies and practices relating to new program development have been reviewed and approved. The policies on file with PEQAB are current.


5.1.2 Faculty Hiring and On-boarding Full-time Faculty hiring ensures appropriate credentials, expertise, and teaching excellence. Both academic and professional credentials are required, as per the Employee Academic and Professional Credential Policy (Sheridan, 2002). Faculty teaching in applied degree programs have a minimum of a Master’s degree in a field of study related to the subjects taught; many have their doctorates. In applied discipline-related courses, faculty also have appropriate experience related to the subject matter. The hiring process consists of at least three steps: team interviews, a teaching demonstration, and a thorough verification of credentials and references.

Sheridan is committed to excellence in teaching and learning, evidenced through quality curriculum and highly skilled faculty. Upon hire, all new teaching faculty are required to complete Sheridan’s faculty educational development program and successfully meet its learning outcomes (Teacher Education Policy, 2017). Full-time teaching faculty complete a two-year foundational program, Teaching and Learning Academies (TLA), to support their developing practice and enhance their knowledge and skills in learning-focused and scholarly teaching. TLA is comprised of a series of courses and active group learning sessions aimed at facilitating the development of a learner-centred, reflective teaching practice, building collaborative collegial partnerships, understanding College culture and policies, and supporting their continued educational development. As part of the foundational program, faculty engage in self-assessment and reflection, supported by ongoing formative-feedback and deliverables; all culminated in a research project and presentation delivered at the end of the second year.

During the probationary period, new hires are monitored regularly. Faculty are observed teaching and provided feedback by their supervisor.


Figure 16: Teaching and Learning Fundamentals Program (New Full-Time) Effective August 2018


5.1.3 Faculty Hiring and On-boarding Part-time Non-full-time faculty are required to complete a foundational program, Fundamentals of Teaching and Learning (FTL), that must be completed by their third semester of teaching at Sheridan. The FTL program encourages participants to engage in dialogue across disciplines, with an emphasis on best practices in teaching and learning through the completion of the course, guided reflections on practice, the development of a teaching toolkit (individual and collective), and the articulation of a teaching philosophy statement. The main deliverables in FLT consist of a personal teaching toolkit, made up of reflections, applications of teaching approaches, and activities. Faculty are supported in their educational development through collaborations with colleagues, the exchange of ideas, best practices, and formative feedback from peers, as well as Educational Development Consultants and the Associate Dean, Teaching and Learning, in the Centre for Teaching and Learning. Faculty are encouraged to engage in educational development following the completion of FTL to maintain currency.

Figure 17: Teaching and Learning Fundamentals Program (New Non-Full-Time)* *Effective August 2018

5.1.4 Ongoing Professional Development Sheridan is dedicated to the continued development of faculty to maintain currency and support excellence in teaching and learning, consistent with the Formative Faculty Reflection Policy and Procedures (Sheridan, 2017). Structured educational development events, sessions, and workshops are organized and facilitated by the Centre for Teaching and Learning and occur throughout the academic year.

Recent offerings include: • Sheridan Creates (yearly event)• SparkTalks (2018)• Teaching Tuesdays (2018)


• Fostering a Responsive and Supportive Learning Environment (2017-2018)• Educational Developers Caucus Institute (2017)• E-Portfolio Retreat (2016-2017)• Chalk Talk Beyond F2F (2016-2017)• Program Design Retreat Beyond F2F (2016-2017)• Digital Citizens (2016-2017)• TechTalks (2016-2017)

Individuals are also encouraged to support their ongoing development and learning through participation in conferences, workshops, or by upgrading their credentials.

Professional development funding and tuition assistance programs at Sheridan include: • Professional development funding up to $1000 per fiscal year for external PD

activities• Conference scholarships program where faculty can apply for $1500 every two

years.• Sabbatical leaves• Tuition reimbursement for advanced credentials outside of Sheridan (up to

$15,000 for doctoral degree programs)• Employee access to Sheridan courses at a reduced rate ($20 per course)• Employee Learning Calendar (on-site offerings of PD opportunities)

5.2 Student Feedback Sheridan is committed to inspiring creative and innovative teaching and learning, and to providing a premiere learning environment. An important component of that is the regular evaluation of courses by students. Course evaluations are conducted for the following reasons:

1. To provide formative data used by professors for the affirmation of qualityteaching and/or continuous improvement.

2. To provide members of the Sheridan community with information about studentperceptions of teaching and courses at Sheridan.

3. To provide the aggregate data that contributes to program and curriculum review,and to support Sheridan to meet regulatory requirements (program review,PEQAB, CQAAP or other accreditation or quality assurance purposes).

4. To collect data used in the evaluation of teaching for administrative purposes,such as probationary reviews, and as a component part of a formal performancemanagement process, and for decisions related to the provision of futurecontracts for Sheridan’s part-time, Partial Load and Sessional professors.


5.3 Web-facilitated, Hybrid and Online Delivery Sheridan’s policies and practices relating to online learning have been reviewed and approved. The policies on file with PEQAB are current.


Section 6: Capacity to Deliver

6.1 Learning and Physical Resources An effective use of faculty, resources, and space will be based on sharing with other design cluster programs. It is anticipated that one faculty full-time equivalent (FFTE), the coordinator, along with 3.5 part-time equivalents (PTE) will be required to deliver the first year of the program. The expectation is to increase the FFTE and PTE complement as the program rolls out. The target is 4.5 FFTE with 15.2 PTE by the fourth year of delivery. A full-time technologist will be dedicated to the program.

As noted in the program abstract, two fields have emerged to shape the future of 21st century design: experiential and interaction design. The current specialized resources and spaces used by the existing Sheridan Honours Bachelor Interaction Design program at the Oakville Trafalgar campus will be shared with the proposed degree program, as discussed in Sections 6.1.3 and 6.1.4 below.

There are opportunities to collaborate on special projects and some thesis level work with other Sheridan programs. For example, in discussion with the Faculty of Applied Science and Technology, we have identified potential collaborations with the Centre for Advanced Manufacturing and Design Technologies and the Skilled Trades at the Davis Campus to work on fabrication projects, as well as the option to access faculty expertise.

6.1.1 On-site and Electronic Library Resources Sheridan Library and Learning Services provides information and research support to students and faculty in a wide range of academic programs. We currently maintain three library learning commons at each of Sheridan’s three campuses. The Library’s Strategic Plan outlines key priorities for our department. Sheridan Library is available 24/7 via its website: http://library.sheridancollege.ca

Each of the sections in this report describes the range of ways that Sheridan Library and Learning Services could support an Honours Bachelor of Experiential Design along with opportunities for future collaboration.

Strategic Integration & Opportunities in Honours Bachelor of Experiential Design Supports for an Honours Bachelor of Experiential Design would be similar to those already in place for the Honours Bachelor of Interaction Design. These supports include a Library Research Guide outlining relevant resources and classroom and research support. During the fall 2016 semester, students in a design thinking course, taught by Mark Shufflebottom, used a library problem to apply design thinking. Students observed student behaviour and interviewed students and staff in the library and presented their ideas during a later class that was attended by two librarians who shared the student


feedback with library administration. The feedback is documented for future updates to signage and space.

Academic Supports For a full list of supports, see the Faculty Services Guide: http://sheridancollege.libguides.com/faculty_services

Liaison Librarian Program The Liaison Librarian Program offers specialized research support and resources for the Honours Bachelor of Experiential Design including:

In-class and online workshops centred on the development of student research and information literacy skills. Examples of this in FAAD for fall 2016 include:

• Program level orientations for: York Sheridan Design, Honours Bachelor ofPhotography, Visual and Creative Arts, Advanced Television and Film andJournalism New Media Post Grad.

• Research skills workshops for: Research and Chase Reporting in Journalism,Global Research in Visual Merchandising, History of Advertising Photography inHonours Bachelor of Photography, Stagecraft in Technical Production forTheatre and Live Events, Contemporary Issues in Design in 3rd year Craft andDesign, Photo Fundamentals in Honours Bachelor of Photography,Fundamentals of Journalism in Journalism.

• Individualized research consultations for: Stagecraft mood wall assignment inTechnical Production for Theatre and Live Events and History of Non-Fiction Filmin Honours Bachelor of Film and Television (upcoming).

Research Help Library and Learning Services supports student and faculty research endeavours in a variety of ways, including:

• 24/7 access to e-resources, including databases, citation tutorials, e-books,streaming video, etc.

• In-person and online research chat service available during regular library hours,to assist students, faculty or staff in any location

• Customized online research guides with helpful links and library resources forassignments

Content similar to the content in the Design and Interaction Design Research Guides will be helpful for students in Experiential Design. A screenshot of the Interaction Design Research Guide is included Figure 18.


Figure 18: Interaction Design Research Guide

Research Skill Development and Scaffolding Librarians work closely with the Centre for Teaching and Learning, along with faculty and administrators of specific Sheridan programs, to build students’ research skill development. This is achieved through the intentional scaffolding of research and information literacy over the length of an academic program. This work reflects the Information Literacy Competency Standards and Framework for Higher Education endorsed by the Association of College and Research Libraries.

Faculty could collaborate with the FAAD Liaison Librarian to plan research workshops for the Experiential Design: History and Theory, Design for Sustainability and Research Methods courses.

Academic Integrity Sheridan Library and Learning Services promotes a culture of academic integrity, and offers the following to advance it institutionally:

• Reference and Citation specialists who provide guidance for students• Events such as a “Citation Clinic” where students can find point of need help for

their trickiest citation questions• Academic Integrity online tutorial which includes interactive activities and a quiz

which can be integrated into SLATE, Sheridan’s learning management system• Videos with instruction on various citation formats, available on YouTube and to

post on SLATE• Academic Integrity remediation


First Year Academic Skills Librarian The First Year Academic Skills Librarian focuses on initiatives that build essential academic skills for first-year students such as citing sources, avoiding plagiarism and cheating, as well as researching and evaluating sources.

Copyright A copyright guide is posted online and in SLATE, Sheridan’s learning management system, making information and support for copyright accessible in a variety of places.

Tutoring Tutoring Centres, located at Davis, Trafalgar and HMC campuses in the Library and Learning Commons, offer students a centralized space to receive tutoring and access course-related resources and materials. Sheridan’s Library and Learning Services provides:

• Tutoring in Math, Business Math, English, Chemistry and ComputerProgramming at no additional cost

• Peer tutoring in a specific course from a students who has already received an A-grade in that course

• Tutors offer Conversation Circles, which are informal sessions for students topractice speaking, with the goal of building vocabulary and improving confidence

• Peer Assisted Learning in a variety of courses

Students in Experiential Design will benefit from working with an English Tutor to review written assignments.

Universal Access Universal access was identified as a core value in the Library and Learning Services Strategic Plan 2013-2020. The Library Team strives to provide services and collections that are flexible, responsive and accessible to meet the needs of all our users.

Users with Disabilities See the Online Guide to Accessibility in the Library: http://sheridancollege.libguides.com/c.php?g=55358&p=1442958

FCAPS and Part Time Students Sheridan Library and Learning Services fully supports students enrolled in the Faculty of Continuing and Professional Studies and those who are part time. This includes 24/7 access to online resources, late service hours, and online tutoring and research help.

International and English Language Learner Students Representatives from the library have been invited to speak at Pre-Departure orientation sessions for students in India and China, along with orientation sessions for international students on campus.


We offer: • English learning resources along with digital subscriptions to international

newspapers• Access to research help and tutoring services online and in-person. We have

also created an online research guide for international students• Welcome videos for international students

Enhancing Scholarship, Research and Creative Activities SOURCE (http://source.sheridancollege.ca) is Sheridan’s institutional repository, an online venue for the Sheridan community to share its scholarship, research and creative activities with a global audience. Diverse works are included in the repository including research articles, conference proceedings, art work, music, and featured student work. Exceptional work produced by students in Experimental Design may be added to SOURCE at the discretion of the professor and Associate Dean.

Library Collections and Resources Students and faculty in Experiential Design have full access to extensive print and electronic research collections. We aim to acquire material digitally wherever possible, essentially making Sheridan’s collections available anywhere, anytime through the library website (http://library.sheridancollege.ca).

With a growing collection of over 425,000 books, e-books and other materials, over 15, 000 print and electronic journals, 46,000 streaming videos, and more than 200 subscription databases, and a direct borrowing agreement with other institutions, the Sheridan Library already has a solid foundation to meet the needs of Experiential Design.

The Library collects material related to all areas of Experiential Design, and staff closely monitor trends and work with faculty to understand the information needs of the program. In consultation with the Program Coordinators and the Liaison Librarian, the Collections Librarian regularly adds current and relevant material to the library collection in order to ensure that resources reflect the needs of Sheridan’s curriculum. Faculty are encouraged to make suggestions to aid in the development of the library’s collection. In Jan. 2017 the Library opened the first Material ConneXion Library in Canada. The collection includes materials, selected by material scientists, that meet the criteria of being innovative, multi-purpose, and/or sustainable. Materials in the Sheridan Material ConneXion are curated by the Special Collections Librarian with input from faculty in design and architecture related programs. The materials are intended to inspire creative designs.

Key Reference and Periodical Databases Select Relevant Journals

• Access by design: the journal of the Centre for Accessible Environments• Applied ergonomics


• Arcos: Design, Cultura e Visualidade• Arts Marketing• Asia Design Journal• Augmentative and alternative communication• Australian journal of communication• Building design• Building Sustainable Design• Business and professional communication quarterly• Business communication quarterly• Canadian journal of communication• Casa & Design• Communication design quarterly review• Communication systems design• Communication world• Computer aided design• Craft + design enquiry• DDI: Display & Design Ideas• Design and culture• Design ecologies• Design issues• Design Management Review• Design news• Design Principles & Practices: An International Journal: Annual Review• Design quarterly• Design studies• Design Week• DESIRE: Creativity and Innovation in Design• Ergonomics in design• Facilities design & management• Global design news• Human-Computer Interaction• InfoDesign: Brazilian journal of information design• Information design journal• International journal of design• International Journal of Human - Computer Studies• International journal of mechanics and materials in design• Interactions (New York, NY)• Issues in architecture, art and design• Journal of art & design education• Journal of design research• Journal of Design, Business & Society


• Journal of Management Inquiry• Personal and Ubiquitous Computing• Surface design journal

Select Relevant Databases ACM Digital Library The complete collection of the Association for Computing Machinery's (ACM) publications - journals, proceedings, and magazines. Permitted Uses

Applied Science and Technology Source Over 1,300 full-text journals, magazines, buyer's guides, directories, conference proceedings and more. Permitted Uses

Art & Architecture Source Over 640 full-text journals, 63,040 images, plus 225 full-text ebooks covering fine, decorative and commercial art, as well as architectural design. Permitted Uses

ARTstor Over 1.6 million images from architecture, painting, sculpture, photography, decorative arts, and more. Permitted Uses

Building Green Campus-Wide Contains information on sustainable design strategies, green building materials, and case studies of high performance buildings. Access is available to Sheridan users on-campus only. Permitted Uses

Computer Database Over 800 full-text magazines covering computer-related product information, news and reviews. Permitted Uses

DAAI: Design and Applied Arts Index Abstracts and bibliographic records for articles, news items, and reviews published in design and applied arts. Permitted Uses

IEEE Xplore Digital Library All IEEE journals, transactions, and magazines, as well as the proceedings from 125 IEEE conferences, over 1000 ebooks from MIT and Wiley-IEEE Press, as well as all active IEEE standards. Permitted Uses

JSTOR Over 220 full-text journals. Multidisciplinary. Permitted Uses


Material Connexion Directory of products and manufacturers for thousands of construction and design materials produced worldwide. Permitted Uses *Includes Material ConneXion Library of physical materials at Hazel McCallion Campus(the only such collection in Canada) and Active Matter boxes of new materials atTrafalgar.

Pop Culture Collection 100 full-text, popular journals and magazines. Titles include: Macleans, Newsweek, Vogue, Journal for the Psychoanalysis of Culture & Society. Permitted Uses

ScienceDirect Over 2,000 full text, peer-reviewed health, social sciences, and engineering journals, plus over 1,000 open access journals. Permitted Uses

SocINDEX with Full Text Over 860 full-text journals dating back to 1908, full-text for more than 850 books, as well as selected conference papers from the field of sociology. Permitted Uses

SpringerLink Over 2000 journals, 6,000 perpetual purchase ebooks, and 50 reference works from Springer, a leading scientific, technical and medical publisher. Includes peer-reviewed articles. Permitted Uses

Windows Wear Provides images and analysis of inspiring window displays for the merchandising industry. Use Firefox or Chrome. Permitted Uses

In addition, students in Experiential Design will make use of a number of multidisciplinary databases (ex. Academic Search Complete and Academic OneFILE) to find related information.

Select related E-Book, Streaming Video & Tutorial

Books24x7 Over 29,000 ebooks and 21,500 videos covering business, engineering, and IT topics. See the Books 24x7 Guide for details. Permitted Uses

Films on Demand Thousands of online videos, archival films and newsreels. Multidisciplinary. See the Films on Demand Guide for details and permitted uses.


Lynda.com Over 3,000 videos on computer software, business skills, and design concepts. See the Lynda.com Guide for details and permitted uses.

Safari Books Online Over 12,400 technology, digital media, and business books and videos online. See the Safari Guide for details. Up to 20 users at a time. Permitted Uses

Selected E-Books and Books Al-Azzawi, A. (2014). Experience with technology: Dynamics of user experience with

mobile media devices. London: Springer. doi:10.1007/978-1-4471-5397-9

Aspelund, K. (2015). Designing: An introduction. New York: Fairchild Books, Bloomsbury Publishing Inc.

Brejcha, J. (2015). Cross-cultural human-computer interaction and user experience design: A semiotic perspective. Boca Raton, FL: CRC Press.

Březina, D. (2014). Typography: Practical considerations and design patterns. Freiburg, Germany: Smashing Magazine.

Brown, D., & Books24x7, I. (2013). Agile user experience design: A practitioner's guide to making it work (1st ed.). Waltham, Mass: Morgan Kaufmann.

Buley, L. (2013). The user experience team of one: A research and design survival guide. Brooklyn, N.Y: Rosenfeld Media.

Buxton, W., & Greenberg, S. (2012). Sketching user experiences. Waltham, MA: Morgan Kaufmann.

Calonaci, D. (2016). Practical responsive typography: Get your attractive type design up and running in the browser with real-world, responsive, and tailored tutorials. Birmingham: Packt Pub.

Choi, J. H., Foth, M., Hearn, G., & Books24x7, I. (2014). Eat, cook, grow: Mixing human-computer interactions with human-food interactions. Cambridge, Mass: MIT Press.

Fadeyev, D., & Books24x7, I. (2013). User experience: Practical techniques. Freiburg, Germany: Smashing Media GmbH.

Greenberg, S., & Books24x7, I. (2012). Sketching user experiences: The workbook (1st ed.). Waltham, Mass: Morgan Kaufmann.


Jackson, D. M., Jankovich, R., Sheinkop, E., & Marcus, D. (2013). Hit brands: How music builds value for the world's smartest brands. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited.

Karana, E., Pedgley, O., Rognoli, V., & Books24x7, I. (2014). Materials experience: Fundamentals of materials and design. GB: Butterworth Heinemann.

Kraft, C., & Books24x7, I. (2012). User experience innovation (2012th ed.). New York: Apress.

Kramer, K., & Books24x7, I. (2012). User experience in the age of sustainability: A practitioner's blueprint. Waltham, MA: Morgan Kaufmann.

Krause, J. (2016). Lessons in typography: Must-know typographic principles presented through lessons, exercises, and examples (1st ed.). San Francisco, CA: New Riders.

Kuniavsky, M., Goodman, E., & Moed, A. (2012). Observing the user experience: A practitioner's guide to user research (2nd ed.). Waltham, MA: Morgan Kaufmann.

Lichaw, D. (2016). The user's journey: Storymapping products that people love.

Lockwood, T. (2010). Design thinking: Integrating innovation, customer experience and brand value. New York, NY: Allworth Press.

Mendoza, A. (2014). Mobile user experience: Patterns to make sense of it all. Amsterdam [Netherlands]: Morgan Kaufmann, an imprint of Elsevier.

Nudelman, G., & Krause, W. (2015). Effective sketching for UX design: Practical skills for communicating design to users and stakeholders.

Pallant, C., & Price, S. (2015). Storyboarding: A critical history.

Ritter, F. E., Baxter, G. D., & Churchill, E. F. (2014). Foundations for designing user-centered systems: What system designers need to know about people.

Rosenzweig, E. (2015). Successful user experience: Strategies and roadmaps. Waltham, MA: Morgan Kaufmann is an imprint of Elsevier.

Sauro, J., Lewis, J. R., & Books24x7, I. (2012). Quantifying the user experience: Practical statistics for user research. Waltham, Mass: Morgan Kaufmann.


Sullivan, B. (2015). The design studio method: Creative problem solving with UX sketching. Burlington, MA: Focal Press.

Tillman, B., Fitts, D. J., Woodson, W. E., Rose-Sundholm, R., Tillman, P., & Woodson, W. E. (2016). Human factors and ergonomics design handbook.

Traynor, D., & Books24x7, I. (2012). User experience design. Freiburg, Germany: Smashing Media GmbH.

Villagomez, N. (2015). Culture + typography: How culture affects typography.

Visser, W. (2015). The A to Z of corporate social responsibility.

Next Steps for Implementation and Enhancement Based on evidence presented in this review, Sheridan Library and Learning Services can fully support the proposed Honours Bachelor of Experiential Design. Our current library print and online collection covers all aspects of the program including: design, sustainable design, design thinking, communication, user experience and materials. Students will receive academic support throughout all stages of their program via Library and Learning Services. This occurs through the liaison librarian program, research help services, academic integrity initiatives, the first year academic skills librarian team, services for international students, and tutoring. Faculty and student work is also disseminated through SOURCE, Sheridan’s institutional repository. Sheridan Library and Learning Services will work closely with faculty and administration to ensure that Experiential Design’s needs will be met on an ongoing basis.

6.1.2 Computer Resources and Web Access We propose to share resources and space with the Honours Bachelor of Interaction Design degree program as well as other specialized resources and spaces such as the FAAD Digital Fab Lab. Where appropriate, we will partner with programs with specialized spaces such as the Honours Bachelor of Craft and Design for woodshop and Skills Trades to work on fabrication projects. We have budgeted renovation costs in consultation with Facilities Management for existing shared spaces for upgrades to allow them to function as maker spaces.

In the proposed program, students will be engaged in a wide breadth of creation requiring access to professional level computers in labs that include software to allow for specialized production. The proposed Experiential Design curriculum will leverage existing resources, including technical equipment, software licenses and spaces, with no additional software or seats required. These resources support the development of curriculum activities including:

• Spatial planning documents/drawings• Three-dimensional and full-scale spatial mock-ups, scale models, and renderings• Vector-based assets


• Motion-based artifacts• Interactive/Digital Media prototypes and artifacts• Printed pieces (communication design and typography)

Laboratories/Equipment Students will require regular access to professional workstations containing licensed imaged software that supports the aforementioned various forms of artifact development. Sheridan already has licensing agreements, and an adequate number of licenses, with the majority of the software required for the program. In alignment with Ministry Binding Policies and where appropriate, costs for these services will be included in student fees.

The labs/studios will be configured as hybrid facilities to accommodate the multi-media, material exploration and prototyping requirements within the curriculum. These spaces will foster applied research and will allow for hands-on activities/making along with digital production. In some cases, water will be required and there are existing labs in the J Wing with this amenity.

6.1.3 Classroom Space and Seating Capacity As noted with regards to faculty resources, the program proposes to share other specialized spaces and resources in the design cluster. There are labs, studios, maker spaces, as well as specialized resources such as the Digital Fab Lab, that have been developed for the Interaction Design program that can be leveraged in the delivery of the proposed Experiential Design program. It is recommended that the proposed degree be delivered at the Trafalgar campus to allow for shared resources.

Table 13: Classroom Space and Seating Capacity

Year Unduplicated annual head count

Number of existing classrooms (include seating capacity)

Number of new classrooms required (include seating capacity)

Yr. 1 49 1 maker space (25) 1 lab/flex space (25) 1 classroom/lecture space

No new specialized space is required.


None


None

Yr. 4 168 2 maker space (50) 1 experimental senior space 1 lab/flex space (50) 1 classroom/lecture space

None


6.1.4 Specialized Equipment, Workstations and Laboratory Space Classroom Space Requirements The majority of core courses in years one to three will be taught in either smart classrooms, studios (maker spaces) or labs. Classrooms are assigned based on course requirements related to studio and lab spaces. The non-traditional working spaces have flexibility in their configuration, thus allowing students to work on a broad range of projects, both individually and in groups. Class sections are capped at 25 based on the number of stations available in studios. Non-core courses will be taught in smart classrooms or lecture theatres.

Fourth year courses require a senior studio that has space for 41 students with Wi-Fi, power and drops for laptops and lights for shooting. This uses existing renovated spaces. The proposed Experiential Design degree space requirements assume that the program will be delivered in current spaces shared with existing programs. The limited renovations are included in the proposed budget. The total space required is the equivalent of 3.6 rooms (maker space, labs and hybrid flex spaces as well as a senior studio).

Specialized Equipment Sheridan is committed to ensuring access to appropriate specialized equipment to support the program. Ongoing maintenance and currency of required tools and technology have been built into the budget. The program will share access to the FAAD Digital Fabrication Lab and situate specific equipment in existing labs.

The program requires access to a range of equipment required for model making (woodworking) and interactive prototyping (Arduino, soldering), laser engravers and cutters, 3D printing and rapid prototyping machines, as well as large format printers, much of which is already available at Sheridan. As new technologies are introduced, the nature and type of equipment required to support this program will change. By the time the program is operational, these forms of equipment may have been replaced by the next generation of technology. An ongoing process of environmental scanning and curriculum review will guide the future acquisition of specialized equipment and has been captured in the budget.


6.2 Resource Renewal and Upgrading Sheridan follows an ever-greening strategy for technology regardless of whether the technology is in the hands of students, faculty or administrators. Technology is kept current with refresh windows varying from two to five years depending on the type of technology. Sheridan campuses are fully wireless with more than 2400+ wireless access points deployed across the three campuses. Students have wireless access in classrooms, dedicated student study rooms, residences and in common areas; many of these spaces have wired network connectivity as well.

Classroom teaching and learning equipment are ever-greened based on fiscal cycles and availability. There are approximately 400 teaching and learning spaces across three campuses outfitted with current technology, such as podium, computer (either PC or Mac), up to four projectors, document camera and sound system. Classrooms are designed to support bring your own device (BYOD) for students, and therefore, ubiquitous wireless is available throughout our campuses. There are over 150 classrooms designed to support mobile podium which provides opportunities for various pedagogical styles in delivering curriculum.

The Sheridan library resource has an operational budget for collections of $2 million annually.


6.3 Support Services The Student Advisement Centre helps with program change advisement, college form completion, college policy and procedure explanation, general education and program elective selection, orientation and student success programs, course/program withdrawal consultation and transfer information for other programs and institutions. Each program at Sheridan includes faculty release time for academic advising.

The Career Centre is one-stop shopping for academic and career success, offering tutoring, career planning, and employment services.

Personal Counselling: Sheridan’s professional counsellors work with students on a confidential basis to help them achieve their personal goals. Consultation is available to any student seeking advice on non-academic issues on a drop-in or appointment basis.

Cooperative Education: The Cooperative Education & Internship Office administers the internships that are required for successful completion of degree programs.

Accessible Learning Services: Staff work in collaboration with students with disabilities, faculty and support staff to ensure that fair, equitable and appropriate accommodations are developed and implemented.

The International Centre provides assistance with processing international student applications, advice on housing, residence, off-campus housing or home stay, Health Insurance Coverage/claims and medical referrals, advice on student authorization/visas and extensions, visa and travel information, immigration regulations regarding co-op terms, internships or field placements, personal concerns or emergency situations.

Alumni Association: programs and services for Alumni include Insurance & Credit Card Affinity Benefit Programs; access to Athletic Centres, Libraries & Career Services, Optimal Resume; discounts at Theatre Sheridan; Ovation Magazine once a year and Ovation e-newsletter monthly.

Bookstore provides textbooks – new and used, stationary and professional grade fine art and paper supplies, Sheridan logo clothing, gifts and backpacks, software, general interest books & magazines, personal care items.

Cafeteria: Full service cafeteria facilities and vending machines.

The Sheridan Print Centre: The Sheridan Print Centre is a leader in every facet of document management including: full-service black-and-white or colour copying and printing, special papers, posters and banners, laminating, transparencies and finishing, multimedia and graphics.


Child Care/Preschool: Full-day early childhood programs are available for children 18 mos. to 5 years of age at the Trafalgar Road Campus in Oakville and the Mississauga Civic Centre.

The Financial Aid Office can assist with Ontario Student Assistance Program (OSAP), Part-time Canada Student Loan, Canada Study Grant funding for students with Dependent Children, Ontario Special Bursary Program Funding, Bursary for Students with Disabilities Funding, Child-care Bursary Funding, Sheridan Tuition Reinvestment Bursaries, Ontario Student Opportunity Trust Fund Assistance (OSOTF)

Athletic Therapy Centre provides treatments for recreational/sports injuries.

Athletics and Recreation: Membership to the Athletic Centres is included with tuition fees.

Sheridan’s Health Centres offer professional health care, lifestyle and health counselling, and referrals for students.

Sheridan has three Residence buildings, two at the Trafalgar Campus in Oakville and one at the Davis Campus in Brampton. Students enjoy the comforts of home with easy access to all College services and facilities. All residences are conveniently located close to many sports and entertainment opportunities in the Greater Toronto area.

Facilities Management supports and enhances the quality of the teaching and learning environment by providing a service oriented approach to maintaining the integrity and efficiency of college facilities, in a cost effective manner.

The Library Learning Commons is a state-of-the-art study support environment designed with students’ comfort, convenience and stimulation in mind. The LLC brings together in one place the services that support students in their learning, writing, research, and use of information technology.

Sheridan oneCARD: The Sheridan oneCARD is a multipurpose identification and access card for students and staff. It provides a consistent method of identification that will give an additional means of establishing a safe and secure environment for students and employees on campus. Also, the oneCARD will be used to provision users with access to Sheridan’s Libraries, Network Printers and Campus Recreation facilities.

Inter-Campus Shuttle: Sheridan has partnered with the Sheridan Student Union to offer a free shuttle bus service for Sheridan students and employees. The buses run Monday - Friday between the Davis, HMC, and Trafalgar Campuses. Fully accessible buses feature Wi-Fi, recharging stations to charge laptops or mobile phones en route, and coach style seating.


6.4 Faculty 6.4.1 Proposed Enrolment Under the current enrolment plan, the projection for year one of the degree program includes 49 full-time students distributed across two sections, resulting in two first year section sizes of approximately 24 to 25 students each. This target is determined in part through consultation with the Office of the Registrar and consideration of the portfolio admission requirement. Taking into account attrition over the course of the program, we anticipate that by year four, the program will achieve a stable state of 168 full-time degree-seeking students.

Table 14: Proposed Enrolment Proposed Enrolment Year 1 Year 2 Year 3 Year 4 Year 5 Annual

Ongoing Unduplicated annual head count•

49 95 133 168 168 168

Full-Time Year 1 49 49 49 49 49 49

Full-Time Year 2 0 46 46 46 46 46

Full-Time Year 3 0 0 38 38 38 38

Full-Time Year 4 0 0 0 35 35 35 Anticipated No. of Graduates 0 0 0 33 33 33

• The number of unique students registered in at least one of the three academic termsduring the year. Students are not counted more than once.

In a stakeholder consultation with the Society for Experiential Graphic Design, CEO Clive Roux noted that a recent study conducted by the organization provided strong evidence of growth in the field. They plan to promote the program through their international education committee and stated that they believed there would be strong applicant interest. Based on this information, we know that the profession can support growth in graduates from the program.

In discussion with industry stakeholders, they have made a case that there is an appetite for a larger number of graduates from this program. We would review the application interest, internship potential, and graduate employment success after the first four years of delivery.


6.4.2 Staffing Implications The program has planned an effective use of existing faculty, resources and space based on sharing with programs in the design cluster. It is anticipated that one faculty full-time equivalent (FFTE), the coordinator, along with 3.5 part-time equivalents (PTE) will be required to deliver the first year of the program. The expectation is to increase the FFTE and PTE complement as the program rolls out. The target is 4.5 FFTE with 15.2 PTE by the fourth year of delivery.

Delivery of the proposed program will require a faculty with expertise in spatial design, multi-sensory communications, and human-centred design. As defined within the section on curriculum (see Section 3), learning within the emerging field of experiential design draws on architecture, industrial design, interior design, interaction design and graphic design. As the ad hoc PAC has noted, post-graduate programs have evolved to synthesize the required combination of skills in experiential design and industry experience, and post-graduate programs have led to the demand for this undergraduate program. Studio-based design education is delivered at the Masters level both nationally and internationally. Therefore, a Masters is considered as the terminal credential for the proposed Experiential Design program.

This full-time faculty equivalent of 4.5 by fourth year will result in a teaching complement of faculty who hold a terminal credential. The program will exceed PEQAB’s requirements for faculty with the terminal credential, as all full-time faculty have a Masters in one of the required disciplines of study.

Staffing Core faculty: As defined above, experiential design is a field that draws on a range of disciplinary expertise. The members of the Honours Bachelor of Experiential Design program development team, who would be eligible to teach in the program, represent the diverse range of credentials and professional experience within or affiliated with experiential design.

Angela Iarocci, M.Arch. Claire Ironside, MES, M.Arch. James March, MSc., MDes. Heidi Overhill, MFA, PhD (in progress)

Angela Iarocci has curriculum expertise in information design and has a graduate degree in architecture, as well as extensive professional experience in wayfinding, exhibition design and public installation. She is also adjunct faculty at York University for the Master of Design program and a member of the Academic Task force for the Society for Experiential Graphic Design (SEGD).


Claire Ironside is a licensed landscape architect and has graduate degrees in environmental studies and architecture. She has managed large-scale public art programs for the City of Toronto and maintains an interdisciplinary and collaborative design practice in addition to teaching.

Professors Iarocci and Ironside were recipients of the Ontario Association of Art Galleries Educator Award, Gallery Program in 2009 for their project FishNet: The Great Lakes Craft and Release Project. They have worked collaboratively on a number of funded projects that have been exhibited and published nationally and internationally.

James March has graduate degrees in both psychology and design and provides expertise in interaction design. His professional and personal work has been published in several books and magazines including Applied Arts, FRAME and Communication Arts. He has also published articles in scientific journals including the Psychology of Language and Communication.

Heidi Overhill has an MFA with an emphasis on information and systems design, as well as an undergraduate degree in industrial design. She is an experienced exhibition designer and museum consultant. She is widely published in academic journals and is co-author of DesignDirect: How to Start Your Own Microbrand. In 2008, she won the Gold Prize for research and Best in Show from the Industrial Designers Association of America (IDSA) for her role in the anthropometric research project SizeChina.

Cross-appointed FAAD faculty: FAAD also has full-time faculty who can be cross-appointed to the proposed degree to provide expertise in specific areas, including Renée Alleyn for typography and Myles Bartlett for motion and interaction design and professional practice. In addition, there is a complement of part-time and partial-load faculty members who have the academic credentials to teach degree level curriculum.

Renée Alleyn has a Masters in communication and culture, and an undergraduate degree in design. She provides expertise in typography and type making, working for over ten years as a visual communications designer. She holds undergraduate degrees in graphic design and women’s studies and a graduate degree in communications and cultural studies. Her research explores the intersection of typography and global flows of people, information, and products.

Myles Bartlett has an MFA and is an artist, designer and educator who has spent over 10 years teaching in various post-secondary institutions in the areas of digital art, interactivity design, broadcast design, video/film Production, and art/design fundamentals. Professionally Myles was Art Director at TELETOON Studios Inc. where he directed the art department responsible for Promax BDA award winning Broadcast, Print and Interactive design in support of the eight unique TELETOON Inc. brands over


three national and two regional cable networks, including the TELETOON, TELETOON Retro and Cartoon Network properties.

Karen Oikonen holds a Masters in Design: Strategic Foresight from OCAD. She is an experienced design researcher and service designer with a background in communication design and interior design. Her current research, on the family experience of dying and death, has been presented at conferences across Canada in both healthcare and design and was a featured installation at the 2017 Toronto Design Offsite Festival.

Table 15: Experiential Design enrolment and projected staffing requirements Enrolment Staffing Requirements – Projected

Unduplicated annual head count

Cumulative Full-time Faculty Equivalents

Cumulative Part-time Faculty Equivalents

Projected Existing Faculty

Projected Existing Non-faculty

Yr. 1

Y1 49 49 Total

1 FT faculty (coordinator) (from existing program) 9 TCH per week

3.5 PTE (based on 452 TCHs total / 126 TCHs per contract)

1 FT Faculty (from existing program)

1 FT technologist (from existing program) Fulltime Support staff (Technologists)

Yr. 2

Y1 49 Y2 46 95 Total

2 FT faculty 9 TCH per week 12 additional TCH per week

8.8 PTE (based on 1,108 TCHs total / 126 TCHs per contract)


Yr. 3

Y1 49 Y2 46 Y3 38 133 Total

4 FT faculty 9 TCH per week 15 TCH per week, 12 additional TCH per week (x 2 hires)



Yr. 4

Y1 49 Y2 46 Y3 38 Y4 35 168 Total

4.5 FT faculty 9 TCH per week 15 TCH per week (x 3) 6 TCH per week (new half time hire)


0.5 FT Equivalent


Table 15 represents a forecast of both projected enrollment in the proposed Honours Bachelor of Experiential Design and the resulting staffing requirements. Core courses have been included in the calculation of the total contact hours (TCHs) for the program. By the fourth year of delivery, the program would be running all years of the curriculum in parallel. Based on the number of courses, full-time faculty by year four will deliver 60 percent of program courses, with part-time faculty teaching the remaining 40 percent.

The proposed degree will consider using a Course Leader model, which was approved in both the Honours Bachelor of Illustration and the Honours Bachelor of Photography degrees. To remain current, the program needs to offer specialized knowledge on an ongoing basis and the program draws on a broad cohort of part-time faculty. In cases where part-time faculty expertise is industry-based rather than academic, the course leader model supports the academic rigour across all areas of the program.

The Course Leader is the faculty member with the appropriate graduate qualification and content specific expertise. The course leader model supports continuity and consistency of delivery and assessment, while still allowing for individual delivery. The course leader collaborates with faculty to agree on:

• interpretation of the course outline• the mode of achievement of learning outcomes projects and briefings• timelines and due dates• grading processes• class materials and resources• field trips, guest speakers, etc.

The advantages of this model have included a more team-based approach, pooling of complementary areas of expertise, enhancement of the learning experience, and mentoring for new part-time faculty.


6.5 CV Release The college has on file and available for inspection, from all faculty and staff whose curriculum vitae (CVs) are included in this submission, signatures that attest to the truthfulness and completeness of the information contained in their CV and agreeing to the inclusion of their curriculum vitae in any documents/websites associated with the submission, review and final status of the program application.


6.6 Curriculum Vitae of Faculty Delivering Core Courses

This Section has been removed for web publication.


6.6.1 Curriculum Vitae of Faculty Delivering Non-Core Courses The CVs of faculty responsible for non-core courses on file with PEQAB are current.


Section 7: Credential Recognition Standard There is a wide range of graduate level academic options available for graduates of the proposed Honours Bachelor of Experiential Design degree. These are in addition to graduate program options in Architecture, Interior Design, Interaction Design, Graphic Design and Trans-disciplinary Design that also align with the proposed degree. We will explore potential relationships with these institutions for articulation agreements.

Table 16 includes a selection of graduate level programs in Canada, US and Europe that directly align with the proposed degree program and could provide graduates with the opportunity to build skills and knowledge within a specific area of design practice. Five have already provided letters of support for the proposed program.

Table 16: Graduate degree options related to Experiential Design Institution Program Credential University of Calgary Environmental Design Master of

Environmental Design

Carleton University* Design Master of Design Concordia University* Design (trans-disciplinary;

communication, interaction, built environments)

Master of Design

George Washington University, Corcoran College of Art and Design

Exhibition Design Master of Arts

FIT SUNY* Exhibition and Experience Design Master of Fine Arts Iowa State University Environmental Graphic Design Master of Arts Parsons the New School Design and Urban Ecologies Master of Science University of the Arts Museum Exhibition Master of Fine Arts AUT University Spatial Design Master of Design Glasgow School of Art* Design Innovation and Environmental

Design Master of Design

University of Lincoln UK Design for Exhibitions and Museums Master of Arts University of the Arts London, Central St. Martins UK

Narrative Environments Master of Arts

Royal College of Art Information Experience Design Master of Arts Konstfac University College of Arts, Crafts and Design

Spatial Design Master of Design

York University, Ryerson University*

Media and Culture, Politics and Policy, and Technology in Practice

Masters of Communication and Culture

University of Toronto* Urban Design Master of Urban Planning

* See Letters of Support in Section 7.1 and 7.2


In addition to the programs listed in Table 16, the Rhode Island School of Design (RISD) launched a new Master of Design program in Interior Studies (Exhibition and Narrative Environments) in the Summer of 2017. The University of Colorado Boulder has developed a Master of Fine Arts in Experience Design (based in the Theatre and Drama department) that started in the Fall of 2017.

The continued growth of graduate level programs related to experiential design is evidence of the diversity of options available for further education, as well as growing industry demand for designers with this specific type of education.

7.1 University Credential Recognition The proposed program has received the following Academic letters of support:

• Carleton University, Director, School of Industrial Design, Master of Design,Ottawa, ON

• Concordia University, Dean of Fine Arts, Master of Design, Montreal, PQ• Fashion Institute of Technology, Chair, Master of Exhibition and Experience

Design, New York, NY• Ryerson University & York University, Joint Graduate Program,

Communication & Culture, Toronto, ON• Society for Experiential Graphic Design, Director of Education, Washington,

DC• University of Toronto, Director, Master of Urban Design, Toronto, ON

AssociateDeanDonnaBragginsFacultyofAnimation,ArtandDesignSheridanCollegeInstituteofTechnologyandAdvancedLearningOakville,ONCANADAApril1,2017RE: LetterofSupportforBachelorofExperientialDesign(XD)

GraduatecandidacyforMasterofDesign(MDES)studyatCarletonUniversityDearAssociateDeanBraggins:IamwritinginsupportoftheproposedfouryearBachelorofExperientialDesign.Ihavereviewedthe‘ProgramOverview’andthe‘HonoursBachelorofExperientialDesignProgramMap’providedbyProfessorHeidiOverhill.Intheformeritwasnotablethattheprogramemphasizes“collaborativepracticethatsynthesizesmultipledesigndisciplines,technologiesandmedia”andthenthatthelearningoutcomesclearlyidentifyhowthatwillbeaccomplished.Thelatterprogrammapwasequallyclearinthewayitidentified,atthecourseandyearlevels,theflowthroughofpedagogythatconnectedcoreandelectivecourses,andtheoryandpractice/studioexperiences.Giventhecloseandimportantlinksbetweenyourprogram’slearningoutcomesandtheobjectivesofourMasterofDesign(MDES)atCarletonUniversityIcanconfirmthatinterestedgraduatesofyourBachelorofExperientialDesignwouldbeconsideredhighlydesirableapplicantstoourMDES.Inparticularourdesiretoexploreadvancedknowledgeindesignandinterdisciplinarydesigndevelopmentispertinent.IwouldgoastepfurthertosaythatourlocationhereinOttawawouldnotonlybeagoodplace,butanidealplace,foryourgraduatestoconsidermoreadvancedstudy.Carleton’slocationinOttawa,andtheexpandedNationalCapitalRegion,hasresultedinextensivenetworksinCanada’sgreatestconcentrationofnationalmuseums,archives,andculturalinstitutions.Thesenetworksprovideinvaluableteachingandresearchresources,abroadrangeofopportunitiesforpracticumplacements,andpotentialprofessionalopportunitiesintheareasofdesignpracticethatyourdegreeencompasses:wayfinding,exhibitiondesignandinterpretation,placemakingandidentity,publicinstallation,themedandbrandedenvironments,andeventdesign.Weareexcitedbythepotentialofyournewprogramandlookforwardtocontinuedcooperation.Bestregards.

ThomasGarvey,Ph.D.AssociateProfessor,DirectorSchoolofIndustrialDesignCarletonUniversity,Ottawa,CANADA

December 21, 2016

Donna Braggins, M.A., R.G.D. Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning Tel: 905 845 9430 Ext. 2198

Re: Proposed Honours Bachelor of Experiential Design Sheridan College Institute of Technology and Advanced Learning

Dear Professor Braggins,

I have reviewed the proposed Baccalaureate degree in Experiential Design from Sheridan College in Ontario and am sending this letter as a demonstration of support of the proposed program.

I have carefully examined the supporting materials and believe that the courses, learning outcomes, and standards in the subjects/courses in the program demonstrate how graduates will be prepared with the knowledge and skills appropriate to the degree-level standard for similar design degree programs in North America and other jurisdictions and that this program exceeds the requirements of the field of study/practice.

The courses as described will provide exposure to the increasingly complex theory at the degree level and in professional courses, the application of theory to practice and the demands of practice in the field. The time allotments assigned to the program as a whole and to components in the program appear appropriate to the stated learning outcomes.

The Bachelor of Experiential Design will support graduates who seek admission to the Master of Arts in Exhibition & Experience Design program at the Fashion Institute of Technology in New York City. Graduates of the baccalaureate program would undergo our standard admissions process for all potential incoming students for graduate programs.

The MA in Exhibition & Experience Design at the Fashion Institute of Technology is built upon field and studio work, critical research and thesis construction. The baccalaureate degree in Experiential Design from Sheridan College would provide a strong foundation for further study at the graduate level. Through coursework, first-hand engagement with industry and authentic project work, students would practice and apply the iterative design logic learned in the baccalaureate degree program. The MA at FIT would continue the practical ability to plan, generate a tangible construct for communication, and implement the technical design process with an original voice for real world projects. The MA at FIT contains three industry-sponsored projects in which students execute full-scale projects, working with professionals in actual venues. The foundation provided by the baccalaureate degree in Experiential Design would certainly prepare students to engage

in these real world projects and interact with the variety of key industry representatives. The MA at FIT culminates in an independent thesis project and capstone event. Students demonstrate their design, research, writing, and critical-thinking skills in a final exhibition design and academic paper, presented to program faculty and an international panel of experts. Students graduate prepared for a variety of careers with exhibition design and production firms, museums, corporations, and public venues.

The Baccalaureate degree in Experiential Design from Sheridan College is very exciting to our program and we look forward to future collaboration.

Sincerely,

Christina Lyons Assistant Professor & Chairperson FIT Graduate Exhibition & Experience Design 27th Street @ Seventh Avenue B231 New York, NY 10001 212 217 4316

15 June 2017

Donna Braggins, M.A., R.G.D.

Associate Dean

Faculty of Animation, Arts and Design

Sheridan College Institute of Technology and Advanced Learning

Tel: 905 845 9430 Ext. 2198 Re: Proposed Honours Bachelor of Experiential Design Sheridan College Institute of Technology and Advanced Learning Dear Professor Braggins, We have reviewed the proposed Bachelor’s degree in Experiential Design from Sheridan College, and are glad to confirm our esteem for the academic quality of the proposed program. We can confirm that the courses, learning outcomes, and standards in the program demonstrate that graduates will be prepared with the knowledge and skills appropriate to a BA degree standard in design, generally meeting the expectations and requirements of an undergraduate program in similar fields. The courses as described will provide exposure to an increasingly complex mix of theory-driven professional and creative practices, which orients training in this and related fields. The time allotments assigned to the program as a whole and to components in the program appear appropriate to the stated learning outcomes. The Bachelor of Experiential Design will provide its top graduates a clear opportunity to seek admission to Master’s programs, such as ours at York and Ryerson, in theory-driven creative practice. Combined with extra-curricular accomplishments and a vivid MA research plan, graduates of this Bachelor’s program would surely be competitive applicants to ours and similar graduate programs. We also note several of our own alumni among the instructors in the program, and we are especially hopeful to see further affinities developing once the program is underway. Sincerely,

Paul S. Moore Steven C. Bailey Ryerson Program Director York Program Director

31 December 2016


Associate Dean



Tel: 905 845 9430 Ext. 2198

Re: Proposed Honours Bachelor of Experiential Design



I have reviewed the proposed Baccalaureate degree in Experiential Design from Sheridan College in Ontario and am sending this letter as

a demonstration of support of the proposed program.

I have carefully examined the supporting materials and believe that the courses, learning outcomes, and standards in the subjects/courses

in the program demonstrate how graduates will be prepared with the knowledge and skills appropriate to the degree-level standard for

similar design degree programs in North America and other jurisdictions and that this program meets or exceeds the requirements of the

field of study/practice.

The courses as described will provide exposure to the increasingly complex theory at the degree level and in professional courses, the

application of theory to practice and the demands of practice in the field. The time allotments assigned to the program as a whole and to

components in the program appear appropriate to the stated learning outcomes.

SEGD works with many instititions to evolve their Experienitial Design curriculum at both the undergraduate and graduate levels. The

Bachelor in Experiential Design will support graduates who seek admission to the following Masters programs: University of Cincinnati

(M.Design), Illinois Instititue of Technology (M.Design), North Carolina State University (M. Graphic Design), Fashion Institute of

Technology (M.A. Exhibition/Experience Design), Corcoran/George Washington University (M.A. Exhibition Design), and Kent State

University (MFA Graphic Design), to name a few. Graduates of this baccalaureate program would undergo a standard admissions process

for all potential incoming students for graduate programs.

SEGD will continue to support and advocate for the development of your proposed Bachelor in Experiential Design degree. It will offer a

tremendous launchpoint for similarly relevant and convergent programs to evolve to the latest core competencies both in North America

and abroad and furthermore support a growing industry’s workforce.

Sincerely,

Justin Molloy

Director of Education and Creative Director

SEGD | Society for Experiential Graphic Design

26 December 2016

Professor Donna Braggins, M.A., R.G.D. Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning Tel: 905 845 9430 Ext. 2198 Email: [email protected]

Re: Proposed Honours Bachelor of Experiential Design Sheridan College Institute of Technology and Advanced Learning


I have reviewed the proposed Baccalaureate degree in Experiential Design from Sheridan College in Ontario and am sending this letter as a demonstration of support of the proposed program.

I have carefully examined the supporting materials for the degree. I am confident that the courses, learning outcomes, and standards in the subjects/courses in the program will result in graduates who will be prepared with the knowledge and skills appropriate to the degree-level standard for similar design degree programs in North America and other jurisdictions. I believe that this program will meet or exceed the requirements of the field of study/practice.

The proposed curriculum for the Bachelor of Experiential Design meets or exceeds that of such programs elsewhere in North America and abroad. It is a judicious mix of theory and practice that will not only foster the development of highly competent designers, but will also equip graduates with the motivation for continued learning to seek out diverse professional opportunities in a variety of design related fields.

The depth and breadth of course work evident in the curriculum will well prepare students for graduate studies in a wide range of programs including those leading to professional practice in fields such as Architecture, Landscape Architecture and Urban Design – fields with which I am familiar through my teaching assignments at the University of Toronto’s John H. Daniels Faculty of Architecture, Landscape and Design. Specifically, the program materials that I have reviewed suggest that graduates would be eligible for admission to the post-professional Master of Urban Design program that I direct, subject to submission of the requisite design portfolio and other application materials.

Sincerely,

Mark Sterling, BES, B.Arch, OAA, MRAIC, MCIP, RPP Director, Master of Urban Design Program [email protected]


7.2 Industry Credential Recognition The proposed program has received the following Industry letters of support:

• BaAM Productions, Oakville, ON• Cadillac Fairview, Toronto, ON• Entro Communications, Toronto, ON• Forge Media + Design, Toronto, ON• Leviathan, Chicago, IL• Lord Cultural Resources, Toronto, ON• Metrolinx, Toronto, ON• Ontario Science Centre, Toronto, ON• Reich + Petch, Toronto, ON• Shikitani + Lacroix, Toronto, ON• Society for Experiential Graphic Design, CEO, Washington, DC

55 FIELDWAY RD, TORONTO, ON, M8Z 3L4 www.baamproductions.com 416-703-5753 Page 1 of 2

December 30, 2016


Re: Employment positions for graduates of the Bachelor of Experiential Design Degree

Dear Donna Braggins,

Please accept this letter in support of the proposed Honours Bachelor of Experiential Design Degree at Sheridan College. Based on the documents I have had the opportunity to review, it is my belief that this degree will produce graduates that are uniquely well prepared for professional practice.

The 14-week work placement component of the proposed program will be an excellent opportunity for students to apply their knowledge and skills while acquiring real world experience. BaAM Productions employs experiential designers and we look forward to the possibility of students from this program interning with us and working with our project design teams.

My career has allowed me to work in various aspects of the entertainment, theme park, visitor attractions and events industries over a period of more than 30 years. The training of workers required for projects in these industries has evolved more slowly than the industry itself. In the past five years, we have seen programs emerge to meet the unique creative, technical, project management and operational needs of the industry.

The Themed Entertainment Association (TEA), an industry association representing the creators of compelling places and experiences around the world has been very successfully working with colleges and universities since 2011 through its Next Gen initiative. As past president of this association, I have observed the positive results of these collaborations – the ongoing connection of students with internships and jobs in the industry, along with many industry leaders and experts teaching in programs that have emerged around the world. The timing of the proposed Honours Bachelor of Experiential Design Degree is perfect and will service the growing demand for graduates who are global citizens with training specific to the industry. I am confident that graduates of the proposed program will be valuable additions to the international experiential and themed entertainment industry.

55 FIELDWAY RD, TORONTO, ON, M8Z 3L4 www.baamproductions.com 416-703-5753 Page 2 of 2

At BaAM, we have hired graduates from other Sheridan programs in the past and would definitely consider hiring candidates from this program for employment upon graduation, based on our past positive experience and the reputation of the college’s programs.

I fully support this Experiential Design program and look forward to its launch at Sheridan College.

Sincerely,

Christine Kerr Vice President, BaAM Productions (www.baamproductions.com) Past President, Themed Entertainment Association (www.teaconnect.org) [email protected]

January 22, 2017




Please accept this letter in support of the proposed Honours Bachelor of Experiential Design Degree at

Sheridan College. Based on the documents I have had the opportunity to review, it is my belief that this

degree will produce graduates that are uniquely well prepared for professional practice.

The 14 week work placement component of the proposed program will be an excellent opportunity for

students to apply their knowledge and skills while acquiring real world experience. Cadillac Fairview

Corp. relies on the expertise of experiential designers as consultants and if our development pipeline

warrants it we look forward to the students from this program interning with us and working with our

project design teams.

In the past we have brought in intern students for the summer in some of our departments in

Development. It has been a great experience for all parties and indeed some have been able to stay on

board. The Honours Bachelor of Experiential Design Degree promises to be a program that takes in a

diverse educated skill set and one that many of our Consultants would likely find interest in as well.

I am confident that graduates of the proposed program will be valuable additions to the industry. Our

industry is lacking in qualified talent and we have worked with graduates from other programs who we

have trained for this industry. We have hired graduates from other Sheridan programs in the past and

would definitely consider hiring candidates from this program based on the reputation of the college’s

programs.

We would consider candidates from the program for employment upon graduation, given market

conditions and our organizational needs at the time of hiring.


Sincerely,

Kim Heppler, M Arch

Director, Client Design + Delivery

The Cadillac Fairview Corporation Limited

1 of 1

January 18, 2017


Associate Dean



Tel: 905 845 9430 Ext. 2198



Creating curated experiences is a growing industry. It exists in both the physical and

digital realm and is only limited by imagination and talent.

As founding partner of the experiential design firm, Entro Communications Inc., we are

challenged finding the right people, our profession touches on a number of disciplines from

Architecture, Psychology, Graphic and Industrial Design. We look for talent with foundation

in design but more importantly for individuals that are eager to learn and adapt. It takes

years to nurture someone to become independent and work autonomously. For years we

have taken Sheridan Graduates and have nurtured them to become valuable employees.

Based on the documents I have had the opportunity to review, I believe that this degree will

produce graduates that will be well prepared for professional practice in the field of

Experiential Design. I strongly support the proposed Honours Bachelor of Experiential

Design Degree at Sheridan College.

The 14 week work placement component of the proposed program will be an excellent

opportunity for students to apply their knowledge and skills while acquiring real world

experience. Entro Communications Inc. employs experiential designers and we look forward

to the students from this program interning with us and working with our project design

teams.

I am confident that graduates of the proposed program will be valuable additions to the

industry. We would consider candidates from the program for employment upon graduation,

given market conditions and our organizational needs at the time of hiring. I fully support

this Experiential Design program and look forward to its launch at Sheridan College.

Sincerely,

Andrew Kuzyk BID, ACIDO, RGD // Partner

FORGE MEDIA + DESIGN

135 Liberty Street | Suite 300 | Toronto, ON M6K 1A7 | 416.533.3674 | www.forgemedia.ca

January 27th, 2017

Donna Braggins, M.A., R.G.D.Associate Dean

Faculty of Animation, Arts and DesignSheridan College Institute of Technology and Advanced Learning

Tel: 905 845 9430 Ext. 2198



Please accept this letter in support of the proposed Honours Bachelor of Experiential Design Degree at Sheridan College. Based on the documents I have had the opportunity to review, it is my belief that this degree will produce graduates uniquely prepared for professional practice.

The 14-week work placement component of the proposed program will be an excellent opportunity for students to apply their knowledge and skills while acquiring real world experience. Forge employs experiential designers, and we look forward to the students from this program interning with us and working with our project design teams.

Experiential Design is the future of the design industry. Therefore it’s critical that we fundamentally change how we educate designers and this program represents a significant step in that direction. We are very excited to see a major design school truly embrace the future.

There is currently a lack of designers coming out of school with even a basic understanding of how to craft fully formed multi-dimensional experiences driven by insight and awareness of how people interact and respond to the world around them. We are confident that graduates of the proposed program will fill this void and will be critical additions to the industry and will stand out far ahead of graduates from other more traditional design programs.

We have hired graduates from other Sheridan programs in the past and would consider hiring candidates from this program based on the reputation of the college’s programs. We would certainly consider candidates from the program for employment upon graduation, given market conditions and our organizational needs at the time of hiring.

We fully support this Experiential Design program and look forward to its launch at Sheridan College.

Sincerely,

Gregory NeelyFounding Principal

Forge Media + Design

chadh@ lvthn.com | 312.425.0949 x 6066 | 327 n. aberdeen, suite 201 chicago 60607 | http://lvthn.com

October 10, 2016

Dearest Soho House Membership Committee…

As a member who’s just enjoyed his first year at Soho House Chicago, this is my first time recommendingsomeone to join, though I can think of no one better to endorse than Tom Sanpakit. Having known him personally and professionally for nearly 15 years, I can say with certainty that he possesses the values you seek in a candidate and will not disappoint you as a member.

October 10, 2016

Dearest Soho House Membership Committee…

As a member who’s just enjoyed his first year at Soho House Chicago, this is my first time recommending someone to join, though I can think of no one better to endorse than Tom Sanpakit. Having known him personally and professionally for nearly 15 years, I can say with certainty that he possesses the values you seek in a candidate and will not disappoint you as a member.

December 13, 2016

Donna Braggins, M.A., R.G.D.Associate DeanFaculty of Animation, Arts and DesignSheridan College Institute of Technology and Advanced Learning Tel: 905 845 9430 Ext. 2198


Dear Donna:


The 14-week work placement component of the proposed program will be an excellent opportunity for students to apply their knowledge and skills while acquiring real world experience. Leviathan employs experiential designers that balance physical & digital design, and we look forward to the students from this program interning with us and working with our project design teams.

As an example, our company works in a variety of spaces that pertain to experiential design: with corporations on branded environments, with themed entertainment companies for attractions, with marketers for events/tradeshows, and with institutions for museums. Given the growth of our organization in our short 6 years, it is my strong opinion that this proposed degree could benefit just as many industries and is a worthwhile investment of resources.

We would absolutely consider candidates from the program for employment upon graduation, given market conditions and our organizational needs at the time of hiring.


Sincerely,

Chad HutsonPresident, Leviathan [email protected]

An Active Member of: SEGD, SoDA, TEA, ABPM

February 9, 2017





The 14- week work placement component of the proposed program will be an excellent opportunity for students to apply their knowledge and skills while acquiring real world experience. Lord Cultural Resources contracts experiential designers in addition to architects, graphic designers and industrial designers, and we look forward to the students from this program interning with us and working with our project design teams.

More and more, we are seeing that graphic design is more than wayfinding and signage, it is integral to the immersive experience of people in public spaces as such a program that focuses on Experiential Design is essential. There is greater integration than ever before between 2D, 3D and virtual environments. This is particularly true for cultural industry in which my firm practices. Museum exhibits and environments require more dynamic and creative design solutions.

I am confident that graduates of the proposed program will be valuable additions to the industry.

Our industry needs more qualified talent and we have worked with graduates from other programs who we have trained for this industry. We have contracted and/or interned graduates from other Sheridan programs in the past and would definitely consider hiring candidates from this program based on the reputation of the college’s programs. We would consider candidates from the program for employment upon graduation, given market conditions and our organizational needs at the time of hiring.


Sincerely,

Maria Piacente Vice President, Exhibitions Lord Cultural Resources

January 30, 2017



Dear Donna,

Please accept this letter in support of the proposed Honours Bachelor of Experiential Design Degree at Sheridan College. Based on the documents we have had the opportunity to review, it is our belief that this degree will produce graduates that are uniquely well prepared for professional practice.

The 14 week work placement component of the proposed program will be an excellent opportunity for students to apply their knowledge and skills while acquiring real world experience. Shikatani Lacroix Design employs experiential designers and we look forward to the students from this program interning with us and working with our project design teams.

As a multi-disciplinary firm we see the value in exposing students to a rich and varied curriculum. We are confident that graduates of the proposed program will be valuable additions to the industry.

We would consider candidates from the program for employment upon graduation, given market conditions and our organizational needs at the time of hiring.

We fully support this Experiential Design program and look forward to its launch at Sheridan College.

Sincerely,

Sheryl Keller Ziesmann, Director, Wayfinding & Environmental Graphics

Beverley Wells, Director, Branded Environments

12/8/2016





The 14 week work placement component of the proposed program will be an excellent opportunity for students to apply their knowledge and skills while acquiring real world experience. One of the biggest complaints we hear from member firms is that they can never find potential employees who have experience in the field. This will place Sheridan Graduates at a distinct advantage versus other schools. As the professional association for Experiential Graphic Design, SEGD occasionally employs experiential designers and we look forward to the students from this program interning with us and working with our project design teams.

We see and hear from all member firms on a regular basis about how they are doing and receive requests for employee ideas, job postings and new memberships from them. The profession has been in a growth mode for the past 3-4 years and has reached quite critical levels as there are not nearly enough graduates entering this field to cope with the demand. This is a somewhat cyclical effect, as Experiential Graphic Design tends to follow the ups and downs of the property development market somewhat.

I am confident that graduates of the proposed program will be valuable additions to the industry.

We predict that with the growth of the use of digital technologies in Experiential Graphic Design that this employment growth trend will continue for a long time still as it is putting demands on existing firms to bring in new skills, such as will be taught in your course in order to cope with the changing and growing workload.

We would consider candidates from the program for employment upon graduation, given market conditions and our organizational needs at the time of hiring.


Sincerely,

Clive Roux CEO SEGD


Section 8: Regulation and Accreditation Standard Currently there is no professional accreditation requirement for experiential designers.

The Society for Experiential Graphic Design (SEGD) has expressed interest in exploring a regulatory process in concert with the proposed Honours Bachelor of Experiential Design degree program. These discussions will be ongoing as the degree development process progresses.


Section 9: Nomenclature Standard Experiential design has been an established area of practice and study for over 50 years, but the name has evolved in the last 10 years, from environmental design to experiential design. This is the result of research conducted by the Society for Experiential Graphic Designers. Their research was conducted with extensive industry and academic consultation to reflect the needs of both practitioners and academic institutions with programs in this area. This title has been adopted in industry use and searchability. It is now the standard name for the field as reflected by job advertisements, university programs and publications.

In line with the Nomenclature Standard, Sheridan’s proposed degree is named the Honours Bachelor of Experiential Design, specifying both the degree nature of the baccalaureate program and the subject of study.

This titling is in line with existing degree programs offered in the Faculty of Animation, Arts and Design including:

Honours Bachelor of Animation Honours Bachelor of Illustration Honours Bachelor of Interior Design Honours Bachelor of Interaction Design Honours Bachelor of Photography Honours Bachelor of Craft and Design


Section 10: Program Evaluation Standard See electronic policy file for Sheridan’s policy and procedure on program review.


Section 11: Academic Freedom and Integrity Standard See electronic policy file for Sheridan’s policy and procedure regarding academic integrity.


Section 12: Student Protection Standard

12.1 Student Protection Regarding Academic Calendar All printed and online communications regarding program information are verified with the relevant college areas before publication/going live. The Office of the Registrar is vigilant in ensuring all information regarding the program name (MAESD approved), duration, credential, campus, code, intake date and admission requirements is accurate. The academic Faculties vet the program information, learning outcomes and career opportunities to confirm they are accurate, up-to-date and do not misrepresent a course, outcome or program in any way.

12.2 Student Awareness of Policies and Procedures Every student who applies to Sheridan receives a Sheridan system and email account. A message will be displayed when students access their account requesting that they read Sheridan’s policies and acknowledge that they have read the message. The message will continue to appear in the student’s account until such time that they acknowledge reading the message.

Sheridan's Policies and Procedures are developed to guide decision making within the institution. Students are encouraged to familiarize themselves with these policies to ensure that they are aware of their rights and responsibilities for an optimal learning experience. Sheridan's policies and procedures can be found at: https://policy.sheridanc.on.ca/

Student privacy is a priority of Sheridan. In accordance with Section 39 (2) of the Freedom of Information and Protection of Privacy Act, 1990 (FIPPA) personal information collected by The Sheridan College Institute of Technology and Advanced Learning (Sheridan) under the legal authority of the Ontario Colleges of Applied Arts and Technology Act, 2002 may be used and/or disclosed for various administrative, information technology, law enforcement, statistical and/or research purposes of Sheridan and/or ministries and agencies of the Government of Ontario and the Government of Canada. For Sheridan's Notice of Collection and Use of Personal Information refer to: http://www.sheridancollege.ca/about/administration-and-governance/legal-counsel/fippa/notice.aspx

12.3 Resolution of Students’ Academic Appeals, Complaints, Grievances, and/or Other Disputes See electronic policy file for Sheridan’s policy and procedure regarding academic appeals and consideration.


12.4 Student Dismissal See electronic policy file for Sheridan’s policy and procedure regarding student code of conduct.

12.5 Current Academic Calendar https://www.sheridancollege.ca/academics/programs-and-courses.aspx


Section 13: Optional Material

Appendix 1: Environmental Scan & Academica Program Feasibility Study

Summary of Findings

Levels of Interest in Program In August 2015, Academica Group (a research and consulting firm for higher education), designed and administered an online survey for the purpose of gauging interest in Sheridan’s proposed program. The purpose of the survey was to measure respondents’ perceptions and potential interest in the program. Using Academica Group’s StudentVu panel, a purposive sampling of individuals who applied to art related programs at colleges and universities within Ontario over the last three years were specifically invited to participate.

Both Visual Arts and Design figured prominently as the program areas respondents would be enrolled in as of September 2015.

Key results of this survey reveal that of the total student respondents, 24% would have been ‘very’ to ‘extremely interested’ in taking the program had it been available when they first applied to postsecondary education; 30% of respondents indicated they would have been ‘moderately interested’ in doing so. In fact, these results are in line with other successful programs proposed by Sheridan. Among the respondents who were not interested, the primary reasons for this were: a lack of interest in the subject matter, and not having a specific career path in mind.

Two thirds of all respondents (83/125) strongly agreed that the program would be an interesting area of study while more than half felt that Sheridan would offer a strong program in the area (see Table 1).

Table 1: Selected Agreement Statements from Student Interest Survey

Response Category Strongly Agree/Agree

I think this program would be interesting 68%

Sheridan is known as one of the largest arts schools in Canada 66%

I am confident Sheridan would offer a strong program in this area 59%

Sheridan has a good reputation in the design field 58%

The program seems unique compared to other offerings in the college 54%

When asked about the most appealing aspects of the program, “skills and knowledge learned” was identified by more than half of all 125 respondents, while more than one third identified potential employment opportunities and the internship component as the most appealing. Although most of the respondents did not find anything about the program that would be ‘least appealing’, 30% did not like the program title. Respondents who provided comments felt that the title was vague and would not appeal to students or be recognized by employers. When all respondents were asked what the most appealing program title was, the majority preferred the


title of Bachelor of Spatial and Experiential Design while the Bachelor of Experiential Spatial Design was the least appealing.

Based on consultations with potential employers for the Feasibility Study plus discussions with the ad hoc PAC and the Society for Experiential Graphic Design, there is strong support to maintain the program title as “Experiential Design”. While recognition is not as high with current students, “experiential design” is becoming increasingly recognized professionally as a distinct area of design. As noted, jobs are listed using this term. Recruitment and promotion for the program will be developed strategically to build familiarity with potential applicants.

Competitive Environment Currently, there are no Experiential Design degrees offered within the Ontario or Canadian College and University systems. There are approximately seventy post-secondary programs in Canada that prepare students for related professions in Graphic Design (see Table 2). The majority of these programs within Ontario Colleges are at the advanced diploma level, while most of those offered by Universities are baccalaureate undergraduate degrees.

Table 2: Graphic Design Related Programs within the Ontario College System (by Credential)

Program Level Institution Credential No. of Programs

Undergraduate Ontario Colleges

Certificate 5

Diploma 6

Advanced Diploma 19

Bachelor’s Degree 2

4 Year Degree 3

3 Year Degree 0

Graduate Ontario Colleges Graduate Certificate 1

TOTAL 36

Table 3: Graphic Design Related Programs within the Ontario University System (by Credential)

Program Level Institution Credential No. of Programs

Undergraduate

Ontario Universities 4 Year Degree 3

3 Year Degree 0

Universities from other Provinces 4 Year Degree 15

3 Year Degree 4

Graduate Ontario Universities Masters or PhD 4

Universities from other Provinces Masters or PhD 11

TOTAL 37

The majority of Ontario college programs that prepare individuals for the Graphic Design profession are offered at the advanced diploma level.

Table 4: Ontario College Graphic Design Programs by MTCU Code

MTCU Code 41820 51820 61820 71820 71821 81820

MTCU Title Graphic Design

Fundamentals

Graphic

Design

Production

Graphic

Design

Graphic

Design and

Illustration

Design

Management

Bachelor of

Design

No. of Colleges

Offering Program

5 4 17 1 1 1


Canada

There are several undergraduate Graphic Design degrees in Canada that offer experiential design related courses (see Table 3). Of note, Vancouver Island University offers two courses in “signage” and “exhibition display” while Ontario College of Art and Design University (OCAD) offers courses in “wayfinding” across several programs. Interestingly, many of the Graphic Design programs that do not offer wayfinding courses nevertheless identify this skill as a competency upon graduating from the respective programs.

While the proposed Honours Bachelor of Experiential Design degree would be the first degree in Canada with a curriculum primarily focused on this area of practice, the existence of related courses in other programs supports the trend to integrate some aspects of experiential design in graphic design education.

The United States of America Information provided by the Society for Experiential Graphic Designers (SEGD) suggests that the presence of experiential design courses has been part of Graphic Design education for nearly twenty years in the United States. Justin Molloy, Director of Education at SEGD, notes that there are approximately 10–15 universities across the United States (as well as several institutions overseas) that integrate some aspect of experiential design into their undergraduate degree curriculum. This integration generally remains a secondary component of the programs, and is typically taught by adjunct professors for the purpose of exposing students to the fundamentals of such practices. Similarly, students at the graduate level of Master of Design and Master of Fine Art programs are exposed to the discipline through a handful of courses and if interested they can then explore further research in the field of experiential design.

How Many Experiential Design Degree Programs are there in Canada? A review of Canadian post-secondary offerings confirms that there are currently no Experiential Design programs being offered in Canada. Two comparable programs, a baccalaureate in Environmental Design offered at the University of British Columbia (UBC) as well as another at OCAD are rooted more in the traditions of architecture and urban planning rather than developing competencies in digital media, exhibition design and the integration of scale, space and communication in design practice. Further exploration of program offerings within the international landscape suggests that comparable programs to the proposed Experiential Design program tend to be found at the graduate degree level.

Labour Market Demand The design industries figure prominently in the local economy. The city of Toronto currently employs the largest design workforce in Canada (25,000); the third largest in North America. Toronto is therefore considered one of the top three cities for the employment of designers, trailing New York and Boston. The design workforce, employed across a broad range of sectors, is also highly educated, with 34% of designers possessing a university degree compared to 22% of the overall workforce (Vinodrai, 2009).

The Potential for Employers to Hire Graduates of Sheridan’s Proposed Program A review of current job postings reveals a substantial number of jobs for this field. As an example, in a single search across websites as diverse as Workopolis, Monster as well as industry sites, over 100 jobs were retrieved using the search terms of “Experiential Design” as well as “Environmental Graphic Design”. These results were yielded without digging deeper into niche postings or expanding beyond North American postings.


From the data provided by Industry Canada an estimate of the number of ‘potential’ employers that may hire graduates from this program can be obtained by adding together the number of small, medium and large establishments. Both ‘micro’ establishments (that employ between one and four people) and ‘non-employers’ (that have no paid employees) were excluded from this estimate since it is unlikely these establishments would have the stable resources to hire graduates.

Micro-employment

There are many opportunities for entrepreneurial activity associated with this industry. With a strong foundation in project management, collaborative practice and planning, graduates are well set up for success if they decide to pursue this type of career direction. Our graduates will work within micro-employment environments and equally important, will have the entrepreneurial ability to develop their own micro-employment opportunities.

The highest percentage of micro-industries is in professional, scientific and technical services (75.6 percent). Design micro-employment fits within categories that represent approximately 150,000 jobs in Canada. This does not touch on international opportunities (Statistics Canada, 2012).

Table 5: Size of Employer Establishments – Canada’s Graphic Design and Specialized Design

Services Industries

Industry Micro 1-4 Small 5-99 Medium 100-499 Large 500+

Graphic Design 793 233 1 0

Specialized

Design Services 1,694 461 5 0

Architectural

Services

598 347 6 0

Interior Design

Services 576 167 2 0

TOTAL 3661 1208 14 0

The estimated total of all design establishments within Ontario as of April 2016 is 14,880 (see Table 6). Sixty-seven percent (N = 9997) of these establishments were considered ‘non-employers’ and of the 4883 employers, the majority (N = 3661) were micro employers (see Table 5), excluding them from the estimate. Upon removing micro establishments and non-employers, it was found that 1,222 design employers were viable employers for graduates of the program.

Table 6: The No. of Employers and Non-Employers within Ontario’s Design Industry

Industry Employers Non-employers

Graphic Design 1,027 2,270

Specialized Design 2,160 4,901

Architectural Services 951 1242

Interior Design Services 745 1584

TOTAL 4883 9997

Note: Non-employers are in effect owner operated and the owners do not pay wages or salaries to themselves

as an employee of the company. Even though some establishments do not maintain employee payrolls, they

may have work forces, which may consist of contracted workers, part-time employees, family members or

business owners. (Source: Industry Canada)


Wages/Salary

The hourly wages of individuals employed in Toronto’s Specialized Design Services industry are

higher than the average for all industries (see Table 7). A range exists, however, from $17.50

CAD to $40.00 CAD per hour.

Table 7: Hourly Wages for People Employed in the Specialized Design Services Industry in Toronto Compared to the Average for all Industries (2004-2014)

2004 2007 2008 2009 2010 2011 2012 2013 2014

Specialized

Design Industry $22.10 $21.81 $24.74 $25.70 $24.42 $21.79 $29.90 $26.52 $29.95

All $19.69 $21.66 $22.58 $23.03 $23.50 $23.92 $24.47 $24.72 $25.20

Social Sciences and Humanities Research Council (SSHRC) Initiatives Since the completion of the Environmental scan and Feasibility study conducted for the Experiential Design program in 2015, there have been updates to the Social Sciences and Humanities Research Council (SSHRC) strategic objectives that show a close alignment between the program learning objectives in the proposed Experiential Design degree and the research questions in the Imagine Canada’s Future initiative that benchmark SSHRC funding.

“Canada’s success in the 21st century will depend on research preparedness. We need to think ahead, and collectively imagine all possible futures, so that we can anticipate and be prepared to address emerging economic, societal and knowledge needs, and to guide the best choices going forward” (Social Sciences and Humanities Research Council, 2017a).

The Government of Canada through the SSHRC funds over 8000 projects per year, and awards over $350 million in funding annually in the form of grants and fellowships (Social Sciences and Humanities Research Council, 2017b). The Imagining Canada’s Future Initiative has a focus on the following six “future challenge” areas:

1. What new ways of learning, particularly in higher education, will Canadians need to thrive in an

evolving society and labour market?

2. What effects will the quest for energy and natural resources have on our society and our position

on the world stage?

3. How are the experiences and aspirations of Aboriginal Peoples in Canada essential to building a

successful shared future?

4. What might the implications of global peak population be for Canada?

5. How can emerging technologies be leveraged to benefit Canadians?

6. What knowledge will Canada need to thrive in an interconnected, evolving global landscape?

(Social Sciences and Humanities Research Council, 2017a)

“The six challenge areas have been integrated within SSHRC’s Talent, Insight, and Connection programs, to encourage and promote research, talent development, and the mobilization of knowledge in focused challenge areas, complementing SSHRC’s support of these activities across all research areas” (Social Sciences and Humanities Research Council, 2017a).

http://www.sshrc-crsh.gc.ca/society-societe/community-communite/Future_Challenge_Areas-domaines_des_defis_de_demain-eng.aspx#1










The proposed Experiential Design program strives to tackle four of the six Future Challenge areas within the curriculum. In fact, several program learning outcomes speak directly to these initiatives including:

PLO2 - Apply qualitative and quantitative research where applicable to critically investigate experiential design hypotheses.

PLO4 - Develop an informed practice through integration of cultural history and theory of experiential design, with reference to art and other design disciplines.

PLO5 - Integrate principles of human-centred design and sustainability within design thinking methodologies in experiential design projects.

PLO6 - Apply principles of cultural awareness, social engagement and civic literacy towards the goal of building resilient and connected communities.

Several of the presented sub-questions identified within the Future Challenges report are explored within the curriculum including examining the integration of technology in communities and urban spaces in courses such as Fundamentals of Spatial Interactions as well as Multi-Sensory Environments (Q1). The activation of social and cultural spaces through design in courses such as Public Space and Placemaking (Q1). Examining the impacts of urbanization and the movement of population on our cities in the Experiential Studio Courses as well as Experiential Design History & Theory course (Q4). Data collection and analysis in order to create smart cities in the Smart Spaces course (Q5). Also, students examine the impact of global events, and migration on local spaces and experiences in the Public Space & Placemaking as well as the Experiential Design Theory Seminar course (Q6).

The proposed Honours Bachelor of Experiential Design is well positioned to contribute to the SSHRC Imagine Canada’s Future initiative. Not only will students address several of the themes within their coursework, but there is also a potential for students to contribute to the body of knowledge through Capstone and Thesis projects. Graduates from the proposed program will not only engage in these guiding questions within the program, but will likely continue to do so within their career


ENVIRONMENTAL SCAN

BACHELOR OF

EXPERIENTIAL GRAPHIC DESIGN

Prepared By: Petra Bennett MA, (Centre for Teaching and Learning)

Date: March 16, 2016


Table of Contents

Executive Summary ..................................................................................................................................... 3

Recommendations ..................................................................................................................................... 5

Background ................................................................................................................................................ 5

Purpose of the Research............................................................................................................................. 6

Viability Research Questions ..................................................................................................................... 6

Methodology ................................................................................................................................................. 7

Employer Interviews ................................................................................................................................... 7

Potential Applicants Survey ..................................................................................................................... 10

Respondent Profile ................................................................................................................................... 11

Secondary Research................................................................................................................................ 12

Results ........................................................................................................................................................ 12

Conclusion .................................................................................................................................................. 24

References .................................................................................................................................................. 25

Appendix 1: Employer Interviews ............................................................................................................ 26

Telephone Interview Questions ............................................................................................................... 26

Employer Interviews – Summary Analysis ............................................................................................... 27

Appendix 2: Design Degree Programs in Canada .................................................................................. 39

Appendix 3: Job Postings ......................................................................................................................... 44

Appendix 4: Student Interest Survey Results ......................................................................................... 49


Executive Summary

The purpose of this environmental scan is to gauge the viability of the Experiential Graphic Design

degree program idea recently proposed by Sheridan’s Faculty of Arts, Animation and Design (FAAD).

This report represents a summary of information gleaned using both primary and secondary research

methodologies in attempt to answer the following six guiding research questions:

1. What is the current employment landscape like for experiential design including indicators of

future growth?

2. To what extent is experiential design becoming integral to the scope of design capabilities of

graphic design agencies and how is this going to affect future demand?

3. Does the current supply of graphic designers have the requirements that employers seek to engage

in experiential design projects or are they lacking knowledge and skills that only an experiential

designer would have?

4. Can these requisite knowledge and skills be learned through a few courses or is a full standalone

degree program required?

5. What are the work placement prospects for students, and full time employment prospects for

graduates of this proposed program?

6. Who are the potential applicants and what is the student interest for this proposed program?


future growth?

To summarize, several indicators point to potential growth in this field. First, the design industries figure

prominently in the local economy. The city of Toronto for example, currently employs the largest design

workforce in Canada (25,000) which is the third largest in North America. Second, companies are

budgeting more for these types of services. Event and experiential budgets for example, are expected to

increase by over 6% this year (an increase from the 5.4% identified last year). Companies are also

finding more sources of investment outside of the overall marketing budget which is largely due to the

success of their event and experiential programs.


graphic design agencies?

Information generated from employer interviews reveals that experiential design projects are increasing in

both volume and scope. For one large design company the pricing of experiential design projects has

become part of their annual budget while another large company says that the experiential side of their

business has increased from 15% five years ago, to more than 50% currently. The focus of these project s

has also become more strategic and thus involves a great deal of problem solving capabilities.

3. Does the current supply of graphic designers have the requirements that employers seek to

engage in experiential design projects or are they lacking knowledge and skills that only an

experiential designer would have?

According to employers there are no experiential design degree programs in Canada, and they are

therefore having to hire people from other design disciplines (including graphic design), and trainin g

them or hiring people from the US where a select few experiential design programs reside. Although


employers feel that these people are capable to work on these types of projects, as graphic designers they

often require additional training. Employers felt as well that there was in many cases, a steep learning

curve. All nineteen employers felt that graduates from Sheridan’s program would be in high demand and

that they would definitely have an advantage over graduates from other design disciplines.



This question was answered three ways; by reviewing the scope of knowledge and skills identified by

employers (for experiential designers), by exploring existing post-secondary programs to see if there are

currently any standalone experiential design degree programs that Sheridan could possibly learn from,

and by reviewing existing graphic design degrees to see if they are incorporating elements of experiential

design into their curriculum as a separate stream.

Based on a list of requisite knowledge and skills identified by employers, it is clear that the experiential

designer role requires a broad range of expertise that goes beyond the scope of what a graphic designer

does. In particular ‘scale’ and ‘spatial understanding’, two of the most often citied skills, are essentially

what differentiate experiential designers from graphic designers. As a skill category within the context of

this research, it generated the most discussion.

A review of Canadian post-secondary institutions confirms that there currently are no Experiential Design

degree programs being offered in Canada. Within the US these types of programs are gen erally at the

graduate level. Looking at the curriculum of all 4 year graphic design degree programs in Canada reveals

that only a handful of institutions are offering courses specific to experiential design. Moreover, these

courses only represent a fraction of the program’s total curriculum.

5. What are the work placement prospects for students of this program?

All 5 of the employers that were interviewed indicated that they currently provide work placements for

postsecondary students. The maximum number of students they can take on varies from year to year

since it depends on the nature of the projects being undertaken as well as the size of the organization. The

length of the placement varies as well (e.g. 4 weeks to 4 months), and depends on the student and the

program they are affiliated with (e.g. employers respond to the placement needs of each program).

However, employers generally prefer a minimum of three months for each placement, and students are

typically paid minimum wage but in cases where they are not, students are provided with an honorarium

as well as travel and food expenses.


In August 2015 Academica Group designed and administered an online survey for the purpose of gauging

interest in Sheridan’s proposed program. More than half of the 125 respondents expressed an interest in

taking the program; 24% would have been ‘very’ to ‘extremely interested’ while 30% would have been

‘moderately interested’ in doing so. As well close to 70% felt that the program would be interesting

while 59% felt that Sheridan would offer a strong program in this field.


Recommendations

The purpose of this research was to determine the viability of Sheridan’s proposed program idea

including a work/coop placement (as required by PEQAB). Based on evidence gleaned from primary and

secondary research, it is clear that experiential design is more than a passing trend. Indicators of growth

are clear, as are the needs of employers that were interviewed, particularly since they have to train graphic

designers to meet the growing demand for more complex projects. The climate for taking on students for

work placement appears healthy but competitive, however given that there are few experiential design

students seeking placements from other programs, Sheridan students should fare well.

Background

Experiential Graphic Design (XGD), formerly known as “environmental graphic design,” is a multi -

disciplinary practice that seeks to shape experiences to orient, inform, and educate users to help them

interact with diverse environments.1

It includes areas of practice that include branded or themed

environments, exhibit design and wayfinding.2

In brief, branded environments are integral to both the

retail and events industries and use experiential design to drive and improve sales, increase brand

awareness and launch new products.3

Exhibit Design uses experiential design in the development of both

visual and spatial narratives to help promote public engagement and increase visitor holding time.4

Wayfinding generally refers to systems of information that guides individuals through an environment

while simultaneously enhancing their understanding and experience of the space. It can also help a

particular place develop its brand, increase tourism, attract investments, attract and retain residents and

encourage public transport.5

Experiential Design can be distinguished from graphic design in that it applies the competencies of the

latter beyond the surface of the page to encompass communication in the lived environment. Hence it

now includes the study of urban form and systems—and not just from a signage, but a more overarching

approach that considers all design elements that contribute to a legible environment.

1 Society for Experiential Graphic Designers (SEGD)

2Ibid.

3 Ibid.

4 Ibid.

5 Ibid.


Purpose of the Research

The goal of this research is to gauge the viability of Sheridan’s proposed Experiential Design degree and

to validate that there is:

A current and projected industry demand for experiential design projects

A lack of suitably qualified people to meet the demand for these projects

The need for a 4 year degree to prepare people for this field

A healthy applicant pool with an interest in pursuing this degree

A demonstrated capacity for design employers to provide work placement opportunities for

students from this program

The following research questions have been articulated as a means of exploring this further:

Viability Research Questions


future growth?


graphic design agencies and how is this going to affect future demand?

3. Does the current supply of graphic designers have the requirements that employers seek to engage

in experiential design projects or are they lacking knowledge and skills that only an experiential

designer would have?



5. What are the work placement prospects for students, and full time employment prospects for

graduates of this proposed program?



Methodology

Primary Research

Employer Interviews

Potential Applicants Survey

Secondary Research

Literature Review

Employer Interviews

The information that was compiled for this report uses both primary and secondary research

methodologies. The primary research consists of short (30 minute to 1 hour) telephone interviews

conducted with employers from the graphic and experiential design industry, in order to gauge the hiring

climate (current and projected) for graduates of Sheridan’s proposed program. A second set of interviews

was conducted with employers for the purpose of gauging the hiring climate for students’ wor k placement

opportunities.

In order to engage employer participation an extensive list of approximately 50 potential contacts was

provided by Sheridan’s Faculty of Arts, Animation and Design (FAAD) which included representation

from the different disciplines involved in experiential design (e.g. architects, interior designers,

fabricators, interaction designers, industrial designers, exhibit designers, signage/wayfinding designers

and graphic designers). It should be noted that a random sampling strategy is not conducive to this type

of qualitative research since the goal is more about developing an in-depth exploration of a central

phenomenon as opposed to generalizing information to a larger population.

Cold call inquiries were initiated and an email with an attachment of the questions was sent out to

interested participants. A second request was made to the same employers, inviting them to participate in

a separate interview to gauge the work placement prospects for students of Sheridan’s proposed program.

A total of 19 employers agreed to participate in the first round of interviews yielding a response rate of

38% while 8 contacts agreed to participate in the second round of interviews yielding a response rate of

16%.

Table 1 profiles the employers that participated in this research including their geographical location, type

of firm and establishment size. This reflects a good cross section of the industry given the diversity

across these categories. Although most of the respondents are located in Toronto, this is simply a

reflection of where the design industry is concentrated in Ontario. Representation could be improved

however, if architectural firms, interaction designers and industrial designers had been part of the

interviews as well.


Respondent Profile – Employer Interviews

Table 1: Employers that Participated in the Telephone Interviews conducted by Sheridan

Employer Location Type of Firm Size Additional

Interview re

work placement

potential

M. Arthur Gensler Jr.

& Associates

(Gensler)

Toronto Integrated architecture, design, planning

and consulting firm

Large Yes

Cygnus Group Toronto A multi-disciplinary design practice

specializing in wayfinding, environmental

graphic design and signage.

Medium

Bruce Mau Design Toronto Multi-disciplinary design firm specializing in

brands and environments. They develop

brand systems, consumer packaging and

digital experiences.

Large Yes

BaAM Productions Oakville Events, Exhibits, Entertainment, Brand

Experiences

Small Yes

Forrec Toronto Planning and design firm that specializes in

the creation of entertainment and leisure

environments worldwide.

Medium

Lord Cultural

Resources

Toronto Offers a full range of integrated services for

new and established cultural institutions.

Medium Yes

Adams + Associates

Design Consultants

Inc.

Toronto A design communications firm that works

with clients from a broad range of industries

on projects that include brand identity,

wayfinding and exhibits, print

communications, packaging, promotions

and website design.

Small

Entro

Communications

Toronto Specializes in branding and identities,

signage, wayfinding and exhibits.

Brand strategy and identity, brand rollouts,

marketing communications, experiential

placemaking, wayfinding and research.

Small Yes

Blue Rhino Toronto An exhibit design firm offering services for

museums, children’s museums, art

galleries, and science centers.

Micro

Ontario Science

Centre – 2 People

interviewed

Toronto Exhibit Design Large

Forge Media Toronto Branding and Design, Interactive Media,

Wayfinding and Exhibits, Web Design and

Development

Small Yes

ESI Toronto Interdisciplinary problem solvers that

specialize in innovation strategy and

experience design.

Small Yes

Ralph Applebaum New

York

Museum exhibitions, visitor centres,

educational environments

Large

Leviathan Chicago,

IL

Concept development, creative strategy,

digital design and motion, experiential

design, brand development, physical

design, film production, software

Large Yes


Employer Location Type of Firm Size Additional

Interview re

work placement

potential

development and hardware integration. ROM Toronto Exhibit Design Large SEGD US Association for Experiential Designers Large Watt International Toronto An integrated retail agency across a broad

range of industries

Medium

City ID UK Develop information and wayfinding

solutions to integrate movement, people

and places.

Large

Plant Architect Inc. Toronto An interdisciplinary firm that that branches

into the domains of architecture, landscape,

ecology, furniture, art and graphic design.

Micro

Instrumentation – Employer Interviews

Table 2 profiles the list of questions that were sent out to employers prior to the telephone

interviews. They were designed to glean information that would help the research in answering 3

of the Viability Research questions (from page 6):

1. What is the current employment landscape like for experiential design including

indicators of future growth?

2. To what extent is experiential design becoming integral to the scope of design

capabilities of graphic design agencies and how is this going to affect future demand?




Table 2: Employer Interview Questions

First Round of Interviews:

1. Approximately what proportion of your business is dedicated to the experiential side of graphic

design?

2. When did your business first begin to pursue projects in experiential graphic design?

3. What types of companies were initially requesting your assistance with experiential design

projects? Has this changed at all?

4. Has the nature and/or scope of these projects changed over time? If so how?

5. How does the demand for this type of work compare with the demand for other design projects?

Do you see this changing over the next few years?


Table 3 profiles the 5 questions that were posed to the same employers as a means of gauging their

capacity to provide work placement opportunities for students of Sheridan’s proposed program.

Table 3: Telephone Interview Questions – Gauging Work Placement Potential for Students

Potential Applicants Survey

In order to gauge potential applicant interest for this program, an online survey was designed and

administered by an external consulting firm (Academica Group Inc.) Using their own StudentVu panel,

individuals who had applied to art related programs at colleges and universities within Ontario over the

last three years, were specifically invited to participate. From that population (which totaled 898), a total

of 125 people responded, yielding a response rate of 14%. The objective of the survey was to gauge

perceptions of and interest in the proposed program The panel member survey was in -field from August

12 until August 21. Note: A copy of the survey can be found in Appendix 4 – Student Interest Survey.

6. What other types of design projects does your business engage in?

7. How many people within your company have the requisite skills to work on experiential graphic

design projects?

8. Would someone with a general graphic design degree have the requisite skills to engage in this

type of project?

9. If you were to hire someone to work on an experiential graphic design project, what would be

some of the key skills and knowledge you would look for?

10. Are there any design trends emerging that require skills that go beyond the scope of a general

graphic design degree?

Second Round of Interviews:

1. Do you currently provide work placements for postsecondary students?

2. Approximately how many positions do you have available for postsecondary students each year?

3. How long are the work placements?

4. When in a calendar year do you normally provide work placements?

5. Are these work placements paid or unpaid?


Respondent Profile

The highest proportion of respondents were women (71%), aged 17-18 (37%), and born in Canada (83%)

(Table 4). The majority of respondents will be in college come September 2015 (79%) and have a high

school diploma as their highest credential (70%). Over two-thirds (68%) applied only to colleges, and just

over one-quarter applied to both colleges and universities (28%).

Among those who will be attending a postsecondary institution September 2015 (n=113), most have not

started their program (42%) or will start in 2015 (28%). Forty-six percent entered postsecondary directly

from high school. The majority are working towards a diploma (34%) or advanced diploma (30%),

followed by a bachelor’s degree (20%). The most common program areas among respondents were visual

arts (27%), design (23%) and digital media (16%).

Table 4: Respondent Demographics (All respondents, n=125)

All respondents, n size

Total 125

Gender

Male 26.4%

Female 71.2%

Other gender identity .8%

Prefer not to answer 1.6%

Age

17-18 36.8%

19-20 28.8%

21-25 21.6%

>25 12.8%

Born in Canada Yes 83.2%

No 16.8%

Education status as of

I will be in college 79.2%

I will be in university 11.2%

I will not be attending school 8.0%

Other 1.6%

Highest level of

education

High school diploma 70.4%

Certificate (1 year program) 13.6%

Diploma (2 year program) 4.0%

Advanced diploma (3 year program) 4.8%

Bachelor’s degree (4 year program) 4.0%

Graduate diploma .8%

Graduate degree .8%

Other 1.6%

Institution Type

Colleges only 68.0%

Universities only 4.0%

Both colleges and universities 28.0%

Respondents in PSE as of September 2015 113

Program Start

2015 28.3%

2014 21.2%

2013 5.3%

2012 or earlier 3.5%

Have not started yet 41.6%

Credential to be

obtained




Bachelor’s degree (4 year program) 19.5%


Other .9%


Program entry directly

from high school

Yes 46.0%

No 54.0%

Program area

Architecture .9%

Design 23.0%

Digital Media 15.9%

Interior Design 3.5%

Visual Arts 27.4%

Visual Merchandising 1.8%

Other 27.4%

Secondary Research

In addition to the employer interviews and potential applicant survey, a review of the existing literature

was undertaken in an effort to identify key trends in the field and extract relevant data. Given that

experiential design is a relatively new and emerging field, this review was limited.

Results

The results of the employer interviews, potential applicant survey and literature review are presented

together throughout the body of this report. To help navigate the reader this report has been organized

around the ‘Viability Research Questions’ articulated on page 6. Data from the employer interviews is

summarized throughout the report but more detailed information can be found in Appendix 1 (Employer

Interviews).

1. What is the employment landscape like for experiential design including indicators of future

growth?

Employment Landscape

The design industries figure prominently in the local economy. The city of Toronto for example,

currently employs the largest design workforce in Canada (25,000) which is the third largest in North

America.6

It is therefore considered one of the top three cities for the employment of designers (next to

New York and Boston).7

According to Statistics Canada the Specialized Design Services industry (an industry where one would

expect to find employers that engage in experiential design) experienced steady growth between 2009 and

2012 employing an average of 15,000 people across Canada. Initially wages and salaries accounted for

more than one third (approximately 33%) of total operating expenses and increased to 36% between 2011

and 2012.8

The hourly wages of people employed in Toronto’s Specialized Design Services industry are higher than

the average for all industries (table 5). However, according to the Canada Job Bank, the range of earnings

for Graphic Designers within Toronto is great, averaging for example between $17.50 and $40.00/ hour

(table 6).

6www1.toronto.ca/static_files/economic_development_and_culture/docs/Sectors_Reports/TOREcoDevDesign.pdf

7

Ibid. 8 Statistics Canada – note: 2012 is the most recent data available


Table 5: Hourly Wages for People Employed in the Specialized Design Services Industry in Toronto

Compared to the Average for all Industries (2004-2014)

2004 2007 2008 2009 2010 2011 2012 2013 2014

Specialized

Design

Industry

$22.10 $21.81 $24.74 $25.70 $24.42 $21.79 $29.90 $26.52 $29.95

All $19.69 $21.66 $22.58 $23.03 $23.50 $23.92 $24.47 $24.72 $25.20

(Source: Industry Profiles – City of Toronto)

Table 6: Range of Hourly Wages for Graphic Designers in Toronto, Ontario

Low Median High

$17.50 $26.25 $40.00

(Source: Canada Job Bank www.jobbank.gc.ca)

Indicators of Future Growth

a. Demand for graphic interface design

When it comes to the demand for services within Canada’s specialized design services industry,

corporate identity and communication continues to reflect the largest share in sales followed by

advertising graphic design. However, graphic interface and interaction design (aspects that are key to

experiential design) more than doubled its share in sales between 2010 and 2011 (table 7).

Table 7: Proportional Share of Sales by Service Type – Specialized Design Services Industry (Canada)

2010-2012

Service Type 2010 2011 2012

Corporate Identity and Communication 25.3 22.0 23.1

Advertising Graphic Design 16.9 19.3 20.5

Commercial Illustration 2.4 3.5 3.9

Graphic Interface and Interaction Design 2.2 4.7 4.3

Book, Magazine and Newspaper Graphic Design 7.4 7.9 7.9

Broadcast and Motion Graphic Design 1.9 2.4 1.9

Other Graphic Design 20.0 17.1 16.8

(Source: Industry Profiles – City of Toronto Economic Development)

b. Experiential design budgets are increasing

Some of the key points identified in the 2015 Event Track Survey bode well for growth in the experiential

design field. More specifically for example:

Event and experiential budgets are expected to increase by over 6% this year (an increase from

the 5.4% identified in the 2014 survey).

For 58% of these companies this budget is reportedly coming directly from corporate (as opposed

to other marketing budget buckets). This reflects an increase from 35% of the companies

identified in the 2014 Event Track Survey.

These companies are finding more sources of investment outside of the overall marketing budget

which is largely due to the success of their event and experiential programs).


79% of companies said that they will execute more event and experiential programs this year

compared to last year.

Compared to the 2014 survey a larger percentage of companies are correlating their experiential

marketing activities to sales (65% of companies vs. 59% last year).9

c. Increases in SEGD (Society for Experiential Graphic Designers) membership

At present no one who calls themselves an experiential designer is mandated to be a member of an

association in order to practice. The US based Society for Experiential Graphic Designers (SEGD) is an

organization that promotes the work and establishments of those interested in pursuing this profession.

Now in its 40th

year the SEGD has a membership of 1700 individuals from across the globe and in recent

years has been experiencing an annual growth rate of between twelve and fifteen percent.10

Clive Roux

(former CEO of SEGD) notes that since changing the name from environmental to experiential two years

ago, the backgrounds of its members have become more broad and varied.11

For example, while half of

its membership is comprised of graphic designers, the remaining fifty percent consists of architects,

industrial designers as well as people with digital backgrounds (user interface designers and digital film

makers).12

What this demonstrates is the broad reach that experiential design has across professions and the growing

interest of people wanting to practice in this area. Clive notes that Sheridan graduates would have the

edge when it comes to applying for experiential design positions since there are no other programs that

prepare people for this type of work in Canada.13

To his knowledge a Canadian university recently

attempted to develop such a program (degree level) but was unsuccessful due to their geographic location

(e.g. being far away from the hub of design activity in the city of Toronto).14


graphic design agencies?

Given the lack of secondary research in this field, the most appropriate way to glean this information is by

speaking directly with employers. Findings from Sheridan’s telephone interviews reveal that the

proportion of the employers’ business that is dedicated to experiential design ranges from a minimum of

50% of all their design projects to 100% (all of their design projects). Leviathan which is an example of a

large global design company that is engaged in a broad range of design projects, says that the experiential

side of their business has increased from 15% (five years ago) to more than 50% currently.

9http://www.eventmarketer.com/wp-‐content/uploads/2015/05/2015EventTrackExecSummary.pdf

10 Based on a recent telephone interview with Clive

11Ibid.

12 Ibid.

13Ibid.

14Ibid.

http://www.eventmarketer.com/wp-


All of the respondents see the demand for this type of project increasing. Consistent with the literature,

some employers are seeing this as a bigger part of their budget. One for example, has now start ed pricing

this type of work as an ongoing service while another employer indicates that some architectural firms are

building this type of practice in house. One employer that was interviewed from the public sector notes

that budgets for this type of work have been decreasing.

Respondents indicated that experiential design projects are becoming increasingly more complex and

broader in scope in response to advances in digital technology, an increasing diversity of user groups, as

well as an increasing demand for narratives. One employer noted as well that turnover times have

increased in response to the demand with a minimum of 3 months turnaround for a project as opposed to

2 years. As well, the types of companies seeking their assistance initially came fr om one industry, but

this continues to expand to include a broader range of industries.




Most of the employers that were interviewed felt challenged to find qualified people to work on projects

that required experiential design expertise and as a consequence, they are hiring graphic design ers to fill

these roles. Although capable to work on these types of projects, graphic designers often require

additional training (through both the workplace and elsewhere). In some cases they felt as well that the

learning curve was quite steep.

The following represents excerpts from conversations with employers:

I am really excited that Sheridan is doing this – we have been trying to look for people that are a

good fit and this takes time. Although we are looking for graphic designers this is largely

because there is no program that allows them to specialize in this area.

We seek people from a wide variety of backgrounds only because there is no one program that

meets our need – Sheridan’s program would. We have taken on Sheridan grads – from the

Graphic Design program but we have had to invest considerably in them since graphic design

does not prepare people for this specialization.

Given their lack of skills in experiential design, graphic designers are often limited to working on smaller

and less complex projects. Given that this industry is primarily comprised of micro to small

establishments (table 8), it would be beneficial for employers to hire someone with the full experiential

design capabilities so that they can take on bigger projects.


Table 8: Size of Employer Establishments – Canada’s Graphic Design and Specialized Design Services

Industries

Industry Micro

1-4

Small

5-99

Medium

100-499

Large

500+

Graphic Design 793 233 1 0

Specialized

Design Services 1,694 461 5 0

Architectural


Interior Design


TOTAL 3661 1208 14 0

(Source: Industry Canada)

4. Can the requisite knowledge and skills be learned through a few courses or is a full standalone


The approach to answering this question is complex and therefore requires information from direct

conversations with employers as well as secondary sources of data.

Employers were essentially asked to identify some of the knowledge and skills they would look for when

hiring people for experiential design projects if they had a qualified pool of candidates to choose from.

Figure 1 provides a graphical distribution of the categories of knowledge and skills identified. The

numbers represent how many times the skills associated with the categories were articulated by employers

during the interview. For a full list of these please go to Appendix 1. By far ‘scale and spatial

understanding’ examples were provided more frequently.

Figure 1: Knowledge and Skill Categories Based on Employer Feedback


The following represent some of the excerpts from employer interviews:

Graphic design graduates who may do the fabricating side, don’t understand strategy or scale

and it is difficult for them to make that transition from one scale to another. They may not be

able to understand the terminology – coming up with a set of terms. This is something that we

have to teach people who don’t come specifically from experiential graphic design. When

speaking with clients they have to be able to use the terminology.

A lot of graphic designers don’t understand scale and to integrate everything within that –

understand the materials, components of the experience – where to find images and how to use

them.

This is not just about composing a graphic design but understanding how it extends physical and

contextual space. It has to have a profound influence. If people can speak that language they

will have the edge over someone who does not. They will be in demand over the next five years.

From this information it is clear that scale and spatial understanding are the fundamental skills that

distinguish experiential designers from graphic designers however, the question remains as to whether

this should be a standalone degree program or a stream in an existing degree. Information that will help

to answer this question includes the following:

Whether there are any experiential design degrees in Canada and/or across the globe

The extent to which the current graphic design degrees include elements of experiential design

Experiential Design Degrees (Canada and/or Across the Globe)

A review of Canadian post-secondary offerings confirms that there currently are no Experiential Design

degree programs being offered in Canada. The Environmental Design programs offered by UBC and

OCADU would have the closest alignment to Experiential Design in Canada however, they are rooted

more in the tradition of urban planning and do not include key elements like digital signage and exhibit

design (Table 9). Further exploration of program offerings across the US and the globe suggests that

programs comparable to what Sheridan is proposing are at the graduate level (Table 10).

Table 9: Two Environmental Design Programs in Canada with the Closest Alignment to Experiential

Design in Canada

Institution Faculty/

School

Program Credential Description

Ontario Faculty of Environmental Bachelor of The program focuses on the design of

College of Art Design Design Environmental interior and architectural space.

and Design Design Projects are developed in an interior,

University architectural, environmental and

societal context. Graduates find

employment with interior design

studios, environmental, architecture or

landscape firms and product design

companies.


Institution Faculty/

School

Program Credential Description

University of School of Environmental Bachelor of A pre-professional program that

British Architecture Design Environmental encompasses courses in architecture,

Columbia and Design landscape architecture and urban

(UBC) Landscape design. The curriculum is anchored

Architecture by a core design studio sequence and

supplemented with courses in history

and theory, design media and

representation, and technical and

material systems. In each studio,

students focus on an area of

exploration based on a successive

graduation of scale: terrains,

constructions, institutions, and

settlements.

Table 10: Graduate Experiential or Environmental Design Degrees in Canada, the US and across the

Globe (as of 2015)

Institution Program Credential

University of Calgary Environmental Design Master of Environmental

Design

George Washington University Corcoran

College of Art and Design Exhibition Design MA

FIT SUNY Exhibition Design MFA

Iowa State University Environmental Graphic Design MA

Parsons the New School Design and Urban Ecologies MS

University of the Arts Museum Exhibition MFA

AUT University Spatial Design Master of Design

Glasgow School of Art Design Innovation and

Environmental Design Master of Design

University of Lincoln UK Design for Exhibitions and

Museums MA

Konstfac University College of Arts, Crafts

and Design Spatial Design MDes

Table 11 identifies all of the four year bachelor’s degree programs in Canada that prepare students to

work in graphic design. A review of each of the programs’ curriculum reveals that only a handful of

these institutions are offering courses specific to experiential design and these courses onl y represent a

fraction of the total curriculum (a more detailed profile is in Appendix 2- Graphic Design Degree

Programs in Canada).


Table 11: Graphic Design Programs in Canada and Courses Specific to Experiential Design

Institution Program Level: 4 Year

Undergraduate Or

Graduate Degree

Courses Specific To Experiential

Design

Alberta

University of Alberta Both Alberta College of Art and Design 4 Year Undergraduate Storytelling and Environments,

Public Design

University of Lethbridge 4 Year Undergraduate Medicine Hat College 4 Year Undergraduate Mount Royal University 4 Year Undergraduate British Columbia

Simon Fraser University Both Thompson Rivers University 4 Year Undergraduate Vancouver Island University 4 Year Undergraduate Two courses: Signage and

Exhibition Display

Emily Carr University of Art and Design Both Exhibit Design, Social Practice and

Community Engagement

Kwantlen Polytechnic University 4 Year Undergraduate Capilano University 4 Year Undergraduate University of the Fraser Valley 4 Year Undergraduate Manitoba

University of Manitoba School of Art 4 Year Undergraduate New Brunswick

New Brunswick College of Craft and

Design

4 Year Undergraduate

Nova Scotia

Nova Scotia College of Art and Design Both One or two courses in spatial

design.

Ontario

Ontario College of Art and Design

University

Both Interactive Spatial Design, Building

Responsive Visual Environments,

Experience Design, Social Space

and Diversity and Human Factors in

Design

York/Sheridan Design Degree 4 Year Undergraduate Communications in the Urban

Environment, Design for Public

Awareness, Information Design

(wayfinding is embedded)

Environmental Graphic Design

York University Graduate Degree Carleton University Graduate Program Conestoga College 4 Year Undergraduate Wilfred Laurier University Graduate Program Ryerson University Both


Graphic Design Programs and Courses Specific to Experiential Design (the US)

Within the US information provided by the Society for Experiential Graphic Designers (SEGD), suggests

that the presence of experiential design courses has become integral to graphic design education for

nearly twenty years.15

Justin Molloy who is the Director of Education at SEGD notes that there are

approximately 10-15 universities across the US (as well as a handful of institutions overseas) that

integrate some aspect of experiential design into their undergraduate graphic design degree curriculum.

This according to Justin, generally happens through elective courses only that are taught by adjunct

professors for the purpose of exposing students to the fundamentals (e.g. interaction, motion and

environmental design). Similarly students at the graduate level of M. Design and MFA programs are

exposed to the discipline through a handful of courses and if interested they can then explore further

research in the field.

5. What are the work placement prospects for students of this proposed program?

All 5 of the employers that were interviewed indicated that they currently provide work placements for

postsecondary students (table 12). The maximum number of students they can take on varies from year to

year since it depends on the nature of the projects being undertaken as well as the size of the organization.

The length of the placement varies as well (e.g. 4 weeks to 4 months), and depends on the student and the

program they are affiliated with (e.g. employers respond to the placement needs of each program).

However, employers generally prefer a minimum of three months for each placement, and students are

typically paid minimum wage but in cases where they are not, students are provided with an honorarium

as well as travel and food expenses.

It should be noted that the research for work placement opportunities is meant to provide a snapshot of the

current market with respect to employers’ capacity to take on interns for 2015 (and potentially in the

future), as well as the scope of student competition that Sheridan students will face. What the research

does not do is quantify or guarantee the number of actual placement opportunities available for Sheridan

students specifically. Further research to explore this in detail and secure positions is normally

undertaken by Sheridan’s coop office after the program has been developed.

Table 12: Summary of Questions 1-5/10 (Employer Telephone Interviews)

Employer

Do you

currently

provide work

placements for

postsecondary

students?

Approximately how

many positions do

you have available

for postsecondary

students each year?

How long are

the work

placements?

When in a

calendar year

do you

normally

provide work

placements?

Are these

work

placements

paid or

unpaid?

Entro Yes It varies from year

to year but this year

about 12

Four weeks

generally but

we can

accommodate

longer. If the

placement is

Generally end

of April but

whenever it

suits the

students

Unpaid but

we provide

$500 at the

end of the

placement.

15 Gleaned from both the SEGD website and an email communication with Justin Molloy


Employer

Do you

currently

provide work

placements for

postsecondary

students?

Approximately how

many positions do

you have available

for postsecondary

students each year?

How long are

the work

placements?

When in a

calendar year

do you

normally

provide work

placements?

Are these

work

placements

paid or

unpaid?

longer we

assess them

more critically

before taking

them on.

Leviathan Yes 1-2 3 months

normally and

6 months for

graduates

We’re flexible

– typically

they fall in line

with the

school

season; fall,

winter and

summer

Paid – At this

time we only

accept

applications

from seniors

or recent

graduates.

Watt

International

Yes Varies depending

on what is

happening at the

time – usually one

or two

environmental

design positions

Varies but

usually 12-14

weeks. We

could

accommodate

longer.

Usually during

the summer

months

Paid but this

varies –

ranging from

$12 to

$15/hour. The

latter is

usually for

students of

grad

programs.

Lord Cultural

Resources

Yes We don’t take on

students unless we

can meet their

learning goals. They

would be placed in

either the marketing

or

exhibition/consulting

departments.

Normally up

to one year –

the minimum

we accept is a

four month

placement

Anytime Both – if they

are filling in

for a real

position, they

will be paid.

Reich and

Petch

Yes Depends on our

workload – we like

to have at least one

student in the office

but that is not

consistent

throughout the year.

We currently have

three summer

students with us. It

also depends on

skillsets. We

sometimes also

veer to hiring recent

grads because they

will be here for

longer.

Depends, we

prefer longer

placements

than the

typical 4

month term.

Depends –

we don’t have

a regular busy

season. It

depends on

our workload.

Typically paid

although

sometimes

we have had

unpaid interns

through a

specific

school

program.

Sometimes

that has

transitioned to

work

placement.

We don’t go

searching for

unpaid

positions – it


Employer

Do you

currently

provide work

placements for

postsecondary

students?

Approximately how

many positions do

you have available

for postsecondary

students each year?

How long are

the work

placements?

When in a

calendar year

do you

normally

provide work

placements?

Are these

work

placements

paid or

unpaid?

is usually

because the

schools have

approached

us to ask us

to take people

on.


Potential applicants to Sheridan’s proposed program include recent graduates from high school and

graduates of the Arts Fundamentals program (Sheridan and other Colleges).

The survey that was administered by Academica Group was designed not only to gauge potential

applicant interest in the program but to also gauge their understanding of the program description

(particularly since experiential design is a new and emerging field) and to gauge the appeal of key

elements of the program (e.g. title, credential, work placement etc.).

a. Understanding of Sheridan’s Program Description

Results of the survey reveal that an understanding of the concept of experiential design was quite high

among respondents with 2/3 of the sample seeing it as ‘very clear’, while nearly 1/3 found it ‘somewhat

clear’, and only two percent did not understand at all after reading the description (figure 2).

Figure 2: Responses to the question of whether it was clear from the description what is meant by the

term ‘experiential design’.

No, not at all


b. Most and Least Appealing Aspects of Sheridan’s Proposed Program

When asked what was most appealing aspects of the program, the highest proportion (57%) of all

respondents said that the skills and knowledge learned were most appealing, followed by the potential

employment opportunities (39%), the co-op/internship component (35%), and the overview of the

curriculum (30%). Smaller proportions found the credential and program title to be most appealing (13%

and 11%, respectively) (table 13).

Table 13: Responses to the Question of what the most Appealing Aspects of the Program were:

Skills and Knowledge Learned 57%

Potential Employment Opportunities 39%

Coop/Internship 35%

Overview of Curriculum 30%

Credential 13%

Program Title 11%

Other 2%

None of the Above 4%

Asked what was least appealing about the proposed program, the highest proportion said “none of the

above” (38%). Thirty percent said that the program title was least appealing. About one in ten found the

credential, co-op piece, curriculum and skills learned to be least appealing. Seven percent found the

employment opportunities to be unappealing.

c. Interest in Sheridan’s Proposed Program

Twenty-four percent of respondents indicated they would have been very to extremely interested in the

program, and another 30% indicated they would have been moderately interested (figure 3). Among those

who indicated they would be interested in the proposed degree program, the key reasons included: the

wide range of design aspects being taught; co-op and internship opportunities; employment opportunities;

and the fact that the program is new and unique.

Figure 3: Percentage of Respondents by Level of Interest in Sheridan’s Proposed Program

Not at all Interested


Table 14 profiles some of the percentage of respondents that agreed with some of the positive statements

about Sheridan in relation to the proposed program.

Table 14: Selected Agreement Statements from Student Interest Survey

Response Category Strongly

Agree/Agree

I think this program would be interesting 68%

Sheridan College is known as one of the largest arts schools in

Canada

66%

I am confident Sheridan College would offer a strong program in

this area

59%

Sheridan College has a good reputation in the design field 58%

The program seems unique compared to other offerings in the

college

54%

Conclusion

Based on evidence gleaned from primary and secondary research, it is clear that experiential design is

more than a passing trend. Indicators of growth are clear, as are the needs of employers that were

interviewed, particularly since they have to train graphic designers to meet the growing demand for more

complex projects. The climate for taking on students for work placement appears healthy but

competitive, however given that there are few experiential design students seeking placements from other

programs, Sheridan students should fare well.


References

AECOM (2014) TEA Theme and Museum Index Report (Global Attractions Attendance Report

Allen and Gutwill (2004) Designing Science Museum Exhibits with Multiple Interactive Features: Five

Common Pitfalls, Curator 47 (2)

Artscape Builds Senior Management Team to Support Growth (January 2015)

www.torontoartscape.org/sites/default/files/Press%20Release_Artscape%20Executive%20Appointments_

January%2029%202015_FINAL.pdf

Butler, Don (2015) ‘Glowing Reviews: Creatures give Museum of Nature Attendance Bump’, Ottawa

Citizen

Canadian Occupation Projection System (COPS) www.occupations.esdc.gc.ca

Carnegie Mellon Design Framework, www.design.cmu.edu/content/program-framework

Event Marketing Institute (2015) Fourth Annual Event Track Forecast and Best Practices Study

(www.eventmarketer.com/wp-content/uploads/2015/05/2015EventTrackExecSummary.pdf

Friedman, Ken (2012) Models of Design: Envisioning a Future Design Education, Visible Language

Gheorghe, Samina and Hodges, Silvia ‘Banded Spaces: Understanding the Connection between the

Architecture/Design and Services Marketing’ Developments in Marketing Science: Proceedings of the

Academy of Marketing Science, 2015 65-69

Kristen-Zeit www.healthcaredesignmagazine.com/blogs/kristin-zeit/biggest-threat-successful-facility-

design ‘The Biggest Threat to Successful Facility Design’

Markusen and Gadwa (2010) Creative Placemaking – A Whitepaper for the Mayor’s Institute on City

Design, National Endowment for the Arts www.arts.gov/publications/creative-placemaking

Pallister, James (2015) How Design is Revolutionizing Health, Business, Cities and Government –

Design Council www.pieria.co.uk/articles

SEGD (Society for Experiential Graphic Designers), Core Competencies, www.segd.org/xgd-core-

competencies

US Bureau of Labor Statistics, Occupational Outlook Handbook (www.bls.gov/ooh/)

http://www.torontoartscape.org/sites/default/files/Press%20Release_Artscape%20Executive%20Appointments_

http://www.occupations.esdc.gc.ca/

http://www.design.cmu.edu/content/program-framework

http://www.eventmarketer.com/wp-content/uploads/2015/05/2015EventTrackExecSummary.pdf

http://www.healthcaredesignmagazine.com/blogs/kristin-zeit/biggest-threat-successful-facility-

http://www.arts.gov/publications/creative-placemaking

http://www.pieria.co.uk/articles

http://www.segd.org/xgd-core-

http://www.bls.gov/ooh/)


Environmental Scan Appendix 1: Employer Interviews

Telephone Interview Questions

The Viability of Sheridan’s Proposed Program Idea:

1. Approximately what proportion of your business is dedicated to the experiential side of

graphic design?

2. When did your business first begin to pursue projects in experiential graphic design?

3. What types of companies were initially requesting your assistance with experiential

design projects? Has this changed at all?

4. Has the nature and/or scope of these projects changed over time? If so how?

5. How does the demand for this type of work compare with the demand for other design

projects? Do you see this changing over the next few years?

6. What other types of design projects does your business engage in?

7. How many people within your company have the requisite skills to work on experiential

graphic design projects?

8. Would someone with a general graphic design degree have the requisite skills to engage

in this type of project?

9. If you were to hire someone to work on an experiential graphic design project, what

would be some of the key skills and knowledge you would look for?

10. Are there any design trends emerging that require skills that go beyond the scope of a

general graphic design degree?


Employer Interviews – Summary Analysis

Company Proportion

of Business

Dedicated to

Experiential

Design

When Business

First Began to

Pursue

Experiential

Design

Types of Companies

Initially Requesting

Assistance

Has the nature and scope of these

projects changed over time?

How does the demand for

this kind of work compare

with the demand for other

design projects?

M. Arthur

Gensler Jr. &

Associates

(Gensler)

90% 1980’s In 1980 it was retail

now most of it is

Fortune 500

companies.

Yes, now companies want to differentiate

themselves externally (in brand) but also

internally (to have good employee

retention rates). Re the latter: create a

working environment that induces

employee loyalty.

Demand ebbs and flows with

the demands of the

architecture industry (e.g.

investments in infrastructure).

Cygnus Group 100% Past 30 years (as

long as the

company has

been around)

Education – navigation.

Now it includes

Education as well as

retail, healthcare and

new elevators

(interfaces).

Projects are a lot more complex now.

Brand integration is now a big part of

everything since it reinforces

communication. Buildings are a lot more

complex – diverse user groups prompt the

need for ethnography.

Not applicable

BaAM

Productions

100% Early 2000’s Early projects were

immersive ‘themed’

parks.

Involve more technology and in a different

way. People can now better define their

experience because there is a storytelling

component.

The demand is increasing.

Although there are

experiential design degrees in

the US no other programs

train

Forrec 1/3 Last 12 years Initially worked on

theme parks

(Wonderland). Now we

have expanded to a

broad range of other

projects including

resorts, hospitality,

retail, museums and

science centres.

Some of these projects are based on

ongoing relationships.

Experiential Design is being recognized

now as a legitimate discipline. It is all

about more immersive experiences that

are holistic.

As a company we are now

pricing it as an ongoing

service.

Lord Cultural

Resources

All Since 1981 Exhibits – Museums.

Our clients are

museums or cities that

come to us when they

have project ideas.

We are in the realm of separating 2D from

3D both of which now require separate

skillsets.

On small projects that are less than 5000

square feet designers work on all three

aspects including: concept design graphic

design and detailed design. On larger

projects there is usually a lead designer,

two designers (one of whom is an

experiential designer) and one graphic

The demand is growing.


Company Proportion

of Business

Dedicated to

Experiential

Design

When Business

First Began to

Pursue

Experiential

Design

Types of Companies


Assistance






design projects?

designer. On these big projects the

experiential designer does not get involved

in the graphic design piece.

A-Plus-A Design 90% First 15 years: print and

some experiential

design. Last 13 years:

focus has shifted from

print to digital. A lot of

work is coming from

architectural firms and

cultural institutions.

The digital world has added a layer of

complexity

There is always a demand in

the museum world with

increasing demand for

corporate trade shows. The

corporate sector is using this

more and more.

Signage and wayfinding are

becoming more recognized

as a viable practice especially

in hospitals). There is also

increased writing on the

subject and increasing

awareness. Healthcare

continues to seek out

consultants to do this kind of

work. Healthcare and

Universities is where the

biggest need is.

Entro Currently

85%

experiential

and 15%

branding.

1990 – We

bought out our

competitor which

was doing all the

branding.

We are a design firm

therefore we focus very

deeply on strategy – all

of what we are doing is

rooted in ED research.

As the technology grows it opens up and

expands the marketplace.

The demand is increasing –

we are very busy and

expanding and getting

projects from the US right

now.

ESI Design 85% - all of

their projects

involve

experiential

design but

85% are all

about

experiential

design.

Early 70’s Traditionally our

projects have been with

museums but now we

are now getting more

into branding and

wayfinding projects.

Now these projects are

also being taken on

within the corporate

sector as they help with

They still have institutional clients – these

projects tend to be more longer term.

The nature and scope of the projects have

essentially remained the same but there is

a broader range of scope with some

projects that are small taking a few months

to complete and larger projects taking a

few years. What has changed is that there

is now a quicker turnaround time. The

range is a lot shorter now (e.g. from 3

months to 2 years).

The demand is increasing.


Company Proportion

of Business

Dedicated to

Experiential

Design

When Business

First Began to

Pursue

Experiential

Design

Types of Companies


Assistance






design projects?

the internal culture.

The idea behind it is

that if you have happy

employees they will

produce a better

product.

Blue Rhino 1/3 – N/A Currently working on a Started out with small budget projects but Definitely see the demand for

Design company is project in China – each now they are getting bigger. this type of work going up.

comprised of city within China wants

3 people and to build a cultural

only one of center due to a deficit

the three is in their creative capital.

working on They do not have the

these types of expertise to create so

projects. they are looking to us

for that. Other projects include the Science

Centre in SK, museums

and more recently, the

Children’s Discovery

Centre in Liberty

Village.

Ontario Science 1/3 space, We have been We are now engaging in projects all Demand is increasing but

Centre shops and engaged in around the world – everything from design funding is decreasing. The

design offices exhibit design consulting to design build. demand for large scale

Note: 2 people since 1969. Everyone is interested in these types of travelling models is

were interviewed projects (Red Bull and Rainforest Café). increasing. China has a plan

The pace and timing of these projects is to build 200 science centres. increasing.

It used to be that we built an exhibit and Our financial margins have

travelled with it, now the projects range shrunk however. We had

from small to large and are across the layoffs two years ago. We do

board. a lot of contracting in and out.

Ontario Science

Centre

More people are trying to communicate on

complex topics – looking for ways to

educate. Used to be specific museum field

now it includes a broader range of places


Company Proportion

of Business

Dedicated to

Experiential

Design

When Business

First Began to

Pursue

Experiential

Design

Types of Companies


Assistance






design projects?

such as universities – attracting students.

Forge Media ½ 2008/09 We started out doing

condo presentations

using some display

technology but mobile

devices have since

changed everything.

Mobile devices are now part of the ambient

environment which is accelerating. It will

now form the key interface which makes

things more changeable and with

increasing possibilities for engagement.

Projects now range from post-secondary

institutions to corporate hospitals, airports

and property developers.

The impetus for these

projects is twofold; one is that

companies want to create a

more engaging environment –

the end goal being to attract

HR talent

Ralph Applebaum

100% of our

projects are

ED and this

involves the

act of

planning,

designing and

of producing

deliverables.

We are slowly changing

our language – there

are a lot more

companies on the

corporate side (Fortune

20 companies) that are

looking to connect

brand into a

dimensional

experience.

There are now increasingly more complex

narratives that involve someone working

from the inside out – content based – we

work with knowledge providers to provide

the direction towards a solution. We like to

invent the best way to solve

communication goals.

Although specialist

companies will still be I

demand other companies are

now building practices in

house – architecture firms are

creating service areas for

branded environments.

Leviathan Five years

ago when our

company

started up

15% of our

business was

in experiential

design.

Today it is up

to 51% at

least.

Initially people

from the

entertainment

field, architects,

experiential

marketers, large

brands reaching

out to us.

Everyone from all walks

of industry reach out.

Even architects are

reaching out for advice.

Every project is different – we work with

the same tools but customize for each

project. The complexity of the projects is

increasing - in the beginning we were

doing a lot of digital signage which was

more for informative purposes – now it is

all about the user experience – intelligent

advertising.

Definitely there is a huge

need.

Watt International 50% 40+ Years Initial projects were

within the food industry,

now it is more

strategically focused on

brand position across a

range of industries.

More strategically based – how experience

supports the brand and we as designers

control the experience between entry and

exits. Managing the right story at the right

point in time.

Less packaging design and

more experiential design –

larger mass stores wanting to

tell their own brand story.


Company Proportion

of Business

Dedicated to

Experiential

Design

When Business

First Began to

Pursue

Experiential

Design

Types of Companies


Assistance






design projects?

City ID 100%

Wayfinding

1998 Most of our clients

come from the public

sector including city

administrators, tourism,

transportation,

destinations and

universities.

Our projects are quite large now – a lot of

signage for historical places. Many places

are doing this now since they are trying to

attract residents and investments, thus

projects are getting bigger. The

transportation industry needs this since

they want to enhance and improve

roadways. Sustainability is also a big

driver – encourage public transport.

Leviathan From 15%

five years ago

to at least

50% right

now.

Five years ago Initially it involved work

from the entertainment

field, marketing and

large brands reaching

out to us. Now

everyone from a broad

range of industries is

involved. Architects

reach out to us for

advice.

Every project is different – the complexity

is increasing. Digital signage originally

was more for informative purposes. Now it

is all about the user experience. Bluetooth

is being incorporated into the experience –

intelligent advertising.

Although specialist

companies will still be in

demand, other companies are

now building practices in

house – architecture firms are

creating service areas for

branded environments.

ROM 100% Originally it was less

about design and more

about content. Today it

is the other way

around.

The expectations around design are

increasing. There is more of a digital

component which changes the types of

disciplines involved. We now include more

of the audio visual, media, graphic design,

3D designer, project manager, technical

conservators etc.

Plant Architect

Inc.

100% Since 97’ Past and Present:

Projects are varied

(e.g. Nathan Phillip’s

Square to Pottery Road

Trail Crossing)

We are an architectural firm so every

project really has an experiential

component. There is certainly more

opportunity for us now to bring this into our

projects.

Not applicable since this is all

they do.


Company How many people have the

requisite skills to work on

experiential design

projects?

Would someone with

a general graphic

design degree have

the requisite skills to

engage in this type of

project?

Knowledge and Skills that

Employers are Seeking from

Graduates

Are there any design trends emerging

that require skills that go beyond the

scope of a general graphic design

degree?

M. Arthur Depends on the Being able to think and execute in 3D. Dan is a grad from the York/Sheridan

Gensler Jr. & person. A general An understanding of the built program and one of the things he likes

Associates graphic design helps environment (type, colour, form and about their curriculum is that typography

(Gensler) them to think visually shape). Cross collaboration with other is taught throughout the curriculum.

but not everyone can disciplines and an understanding of

think in 3D. They project work flow. His advice is for the program to include

should be able to take the design fundamentals and ensure that

a 2D drawing and add Typography the curriculum includes the typography

dimensional layers. Digital Integration – being able to theory, colour, design history and then

understand Brand, not just graphic during the latter half of the second year

design. Should have 3 or 4 courses in have specializations that include print,

branding – how to build a brand. digital motion graphics and experiential.

Architecture and the Interior Design Cautions:

Process – students should know the Dan feels that the industry is going from a

materials and how to use in certain lot of generalists to a lot of specialists and

applications and being able to read wonders how collaboration can happen

design drawings. when there is so much fragmentation.

Cygnus We have fabricators,

designers and project

managers – all of whom are

separate and distinct but

work on projects together.

A lot of training is need

since many do not

know how to draw to

scale. Or if they are

dealing with mounting

mechanisms, they

often don’t know

where to get

components for that.

Scale – a lot of graphic design grads

don’t understand this. Understanding

for example, what a 20’ ceiling means.

Knowing what cost effective means.

We stay away from trends and go more

with the classic, neutral. It is more about

function with us.

Bruce Mau Layout and Composition Skills

Colour, Typography

Narrative Building

Innovative Work in a spatial medium.

Understanding the standards of design

Design management

Flexibility of thinking and innovation

As far as design goes, Hunter liked the

York/Sheridan program the best. There is

a huge need for a graphic design

/communication design program. If you

could produce world/international quality

students, that would be great since there

is currently no one doing that. It would

make sense for Sheridan to look at the




experiential design

projects?

Would someone with

a general graphic

design degree have



project?



Graduates




degree?

leading BFA and MFA’s in the world and

build the program based on that model.

OCAD does not produce good designers.

We are having to hire from the states

since we can’t find good quality designers

here.

BaAM

Productions

Understand Scale – a lot of graphic

designers don’t understand this.

Should be able to investigate

everything within that – materials,

components of the experience – where

to find images, how to use images.

Understand sources of imagery or

create yourself. Create infographics.

Storytelling – integrate content into

graphics.

Human Behaviour

Retail projects now have an experiential

component – the field of experiential

marketing is growing – creating

experiences that will be talked about via

social media.

Most marketing agencies now have an

experiential design department that is

separate from but on par with branding

departments.

Forrec 7/120 All 7 have a graphic

design background

however, they can

never start right away

on these types of

projects – there is a bit

of a learning curve.

The program summary looks spot on. I

would be sure to include:

Analysis of Problems

Planning

Spatial Understanding – layers of

complexity

Working with clients

Psychology – how people communicate

Problem Solving

Navigation of Space

Culture

Adaptable and Flexible

Sheridan graduates would have an edge

for sure – more in depth knowledge.

Trends: Emphasis on digital technology

and how to integrate, cross or multi-

disciplinary thinking, being able to rely

and draw on others expertise, cross

multiple platforms.

Immersive Environments

Lord Cultural

Resources

Design Skills

Ability to coordinate large teams

Being able to speak about the vision

from a design lens – written plans and

documentation. Note: It is a challenge

to find people who can do that.

Fabrication – at least what the design




experiential design

projects?

Would someone with

a general graphic

design degree have



project?



Graduates




degree?

means within that context.

Team work. Time Management

Ensuring that the objective is

successful – legibility, accessibility,

flow, engaging, creates an individual

experience.

A-Plus-A On a big project we usually

have one project leader who

is the head designer and

who has 1-4 people working

under them.

Drafting

Typography

Composition and Colour

Exposure to the range of experiential

design and projects.

You can’t cover everything with this

program – students should specialize in

order to be more hireable.

Specializations can include: exhibit

design, signage and wayfinding,

media/interaction design, design for public

art.

Ensure that you have a core of design

courses.

ESI Of the 34 designers 4 have

the experiential design

expertise.

They need to understand the context –

what is informing the space.

An understanding of materials.

Colour Usage

Solid organization, attention to detail,

communication, team player – very

collaborative projects.

Logo Design

Architectural Drawings

Location Plans

Graphic schedules

An ability to walk through and analyze

space.

Typography

Trends include: pushing for more

environmentally friendly – clients are

willing to pay more for this.

Accessibility – the demand for this is

increasing – we are working more with

architects – there is a growing awareness

among them of this type of work.

Blue Rhino

Design

Company is currently

comprised of 3 people each

of whom works on a different

aspect of Experiential

Design.

Although a recent grad

would be able to do

this there would be a

learning curve.

Organizational Skills (e.g. China exhibit

involves 25 exhibits, each with 10

panels) – the person should be able to

track and proof them and be efficient

and decisive and confident.

Trends: Integrating to include digital

environments – a lot of museums are

increasing their internet presence

however authenticity is still important.




experiential design

projects?

Would someone with

a general graphic

design degree have



project?



Graduates




degree?

Communication and people skills as

well as technology (illustrator,

Photoshop, 3D modelling, navigate

excel, the ability to be creative and

work under pressure, understand what

the purpose of the project is, critical

thinking, awareness of cultural ways of

thinking and a global sensitivity.

Ontario

Science

Centre

We have full time staff of

220. Between 60 and 80 of

these people have the

experiential capabilities to

engage in these projects.

We do a lot of on the

job training. These

projects involve a lot of

custom work – grads

from graphic design

programs have the

requisite skills to start

working here but won’t

be able to engage in

these types of

projects.

Understanding how graphic design

extends into physical space.

Typography

Universal Design

Design should speak to kids as well as

cover a broad range of ethnicities.

Accessible Design – Universal Design.

If you know that language you will be in

demand five years from now.

Trends:

The Internet of Things

Understanding decision ques –

understanding where this information is

going

No one is teaching this.

Artistry

Esthetics

Ability to collaborate – if you expose

students to other disciplines this should

help with that.

This is important – for example there is

the original design choice but the goal

is to balance that with the receipt of it.

Some researchers will have a very

specific image of what they want – how

to defend design.

Have to have the vision and be able to

collaborate – shift the design to

accommodate the content. Being able

to appreciate the role of each team

Trends: Accessibility is something you

have to accommodate a lot. The

demand for this is broadening – every

industry is trying to engage the public –

Hydro for example is doing this to try to

create an identity within the public eye.




experiential design

projects?

Would someone with

a general graphic

design degree have



project?



Graduates




degree?

member – balancing client and team

mates’ interest.

Entro Graphic design graduates,

who may do the fabricating

side, don’t understand

strategy or scale and it is

difficult for them to make the

transition from one scale to

the other. We have to teach

terminology because many

people that come into this

cannot speak the language.

Communication

Anthropometrics and Ergonomics

Design Piece

Industrial Design

Architectural Integration

Logistics Systems

Technical Drawings

Project Management – being able to

show clients that you are on the right

track – how it relates to the original

proposal.

Ralph

Applebaum

Project Management Digital signage is replacing traditional

signage.

Internet of things – wearables –

particularly in the theme parks

Watt

International

10/50 staff are able to

engage in these types of

projects but we have had to

train them – you rarely get

anyone with the right skill

set.

Yes, it would get them

in the door but we

would have to train

them.

Interpret strategy

Story telling – what to tell at what point

of the journey

When to inform and when to inspire?

We don’t design things anymore, we

design behaviourbehaviour.

Forge Media Interactive team of 9 and, of

those, 5 work on the

experiential component.

Yes if they specialized

in industrial design or

had experience.

Scale, proportion, physical space and

the interaction that happens over a

varied timeline. The projects from the

York/Sheridan program were not

defined by output but rather, how to

solve a problem. There should be

workshops with stakeholders.

Ability to communicate

Ability to write

Ability to ideate and be creative

Presentation skills

Exposure to: architecture, landscape

Trends – Digital is dwarfing design.

The best designers are the most broadly

educated.




experiential design

projects?

Would someone with

a general graphic

design degree have



project?



Graduates




degree?

design, production design and lighting.

Understanding people, behaviour and

having an opportunity to experiment

with that. Drafting

Breadth of skills very important

(courses outside the scope of design).

How people interact with objects.

City ID All of our employees are

home grown – 80% have a

graphic design or

commercial design degree.

Wayfinding,

networking and brief

writing are learned. It

is hard to find one

person with all of that.

Ergonomics, analytical thinking,

evidence based work, research, writing

and strategy – this does not come from

a graphic design degree.

Include urban design modules.

Product design – having a basic

understanding

Brief writing

Project Management

Process Planning

User Experience – touch on awareness

of theories. Properties of material

Leviathan Physicality of environments

Familiarity with materials

Learn usability scenarios

Project Management

Convey needs to corporate clients

Trends: Digital signage is replacing

traditional signage.

The Internet of Things – wearables (e.g.

magic band at Disney). Providing

keepsakes for people

Rom The people that work

on these projects all

have graphic design

backgrounds but

learned on the job.

Understanding of scale, space, volume

in 3D, how people engage in a space,

how far people need to be when they

read something or if you want them to

come in closer. Human

behaviourbehaviour – how they access

information. How people use a space.

Understand materials and different

production methods – under certain

conditions, lighting

Trends: Creating more of an experience

which involves; emotional moments.

The finances within our part of the

industry are not always there.




experiential design

projects?

Would someone with

a general graphic

design degree have



project?



Graduates




degree?

Plant

Architects

Staff no. varies but including

some of the students we

have working on projects it is

about 12.

Not applicable since

we are mostly an

architectural firm.

Broad based set of knowledge and

skills Typography

Problem solving skills

Cultural Literacy

How to listen to clients and how to

listen to contractors and ask the right

questions.

Should have an understanding of all the

multiple disciplines involved in this type

of work

There is the trend towards the

consolidation of disciplines. Architecture

firms for example, are consolidating with

engineering and planning people and

forming very large interdisciplinary teams.

They would welcome grads from this

program since the architecture education

does not really teach people how to

integrate graphics into projects.


Environmental Scan Appendix 2: Design Degree Programs in Canada

Institution Program Title Credential Description

Proportion Of

Curriculum That

Is Dedicated To

Experiential

Graphic Design

Other

Specializations Industry Focus

University Visual and/or Bachelor of Students develop advanced No courses Students can Visual Communication

of Alberta Industrial Design conceptual and technical skills dedicated to concentrate in Designers may design products

Department Communication through studio courses in experiential either Industrial such as trademarks, logos,

of Art & Design photography, typography and new design. or Visual brand and corporate identity

Design media. They will move from Communications materials, packaging and image

designing specific instructor- design or both. design for products, posters,

directed projects to creating sign and way-finding systems,

complex visual communications websites, motion graphics,

using both traditional and digital diagrams, maps and graphs,

methods and media. Students will publication design for books,

also have the opportunity to apply magazines and brochures and their design skills to formats promotional materials.

including screen-based and media- rich technology.

Alberta Visual Bachelor of The Graphic Design Stream offers a No courses Students can The Advertising Stream creates

College of Communication Design studio-based learning experience in dedicated to major in either graduates who excel as

Art and Design (Note: which students study strategic experiential Photography, designers, art directors and

Design Originally a problem-solving methods and design. Advertising or creative directors in the vast

BFA) critical design thinking. With an Visual advertising industry. Students

appreciation of the ever-evolving Communications learn concept development,

design industry, students learn to Design writing and storytelling,

apply their skills to a wide variety of typography, history, and the

design projects, including fundamentals of marketing to interactive and motion graphics. create messages that penetrate

an increasingly savvy consumer

audience.

Mount Information Bachelor of It involves a multidisciplinary, inter-

disciplinary and often systematic

approach to communication,

combining skills from graphic

design, web design, 3D design,

psychology, cognitive science,

information theory and cultural

studies.

No courses Several courses Information Design graduates

Royal Design Communic dedicated to focused on digital can use their skills in a wide

University ation experiential media. range of professions including;

design. information design, information

architecture, graphic design,

technical writing, book

publishing, desktop publishing,

web design etc.



Proportion Of

Curriculum That

Is Dedicated To

Experiential

Graphic Design

Other


Vancouver Graphic Design Bachelor of The BA Major in Graphic Design is 2 courses in None Within the discipline of Graphic

Island Arts intended for students who wish to Environmental Design can be found a number

University pursue a professional career in the Design that is of areas for specialization. They

creative discipline of digital and specific to are typically advertising and

print Graphic Design. This degree ‘signage, marketing communications

program is hands-on and rich in exhibition and design, art and creative

applied elements and simulations of display’. direction, branding and

real employment-type learning to corporate identity, broadcast

prepare students for the evolving design, corporate

requirements of the Graphic Design communications, information

and Digital Visual Communication design, editorial design,

Industry education, environmental

design, new media and web

design and packaging design.

Emily Carr Design Bachelor of The Communication Design No courses Students can Communication Design offers a

University Design program allows students to explore dedicated to major in variety of study streams,

of Art and and research cultural, historical, experiential Communication, including print design,

Design technical, ecological and theoretical design. Industrial or interactivity, and motion

issues in which to develop an Interaction graphics. Within these areas of

engaging and relevant design Design specialization, students can

practice. further refine their interests by

focusing on illustration,

typography, wayfinding,

information design, and many

other opportunities.

Kwantlen Graphic Design Bachelor of Students in GDMA develop No courses None The GDMA program provides

Polytechnic for Marketing Design knowledge, skills and abilities dedicated to you with a well-balanced

University relating to graphic design, experiential education in graphic design, marketing, and business; media, design. marketing, business,

technology, and production; technology and liberal

conceptual development and image education.

development; and an understanding

of the social, cultural, and historical

contexts of graphic design. They

will be skilled in applying design

theory and processes, with an

emphasis on critical thinking and



Proportion Of

Curriculum That

Is Dedicated To

Experiential

Graphic Design

Other


creative problem solving, and will

be able to originate and produce

marketing and promotional

concepts for a wide range of

products and services, including the

promotion of corporate, institutional,

and social initiatives.

Capilanou Visual

Communications

Bachelor of

Design

The degree replaces, and builds

upon, the successful IDEA (design

and illustration) diploma program,

which has gained a reputation

throughout Canada for effective,

industry-ready graduates. New for

the degree are opportunities to

specialize in branding, illustration or

interactive design beginning in third

year, a three month practicum in

fourth year, and a variety of breadth

courses to enable students to build

connections between visual

communication and the contexts in

which it is practiced.

No courses

dedicated to

experiential

design.

The program has

three

concentrations;

Illustration,

Branding and

Interactive

Design.

GDMA degree graduates will

have been exposed to various

specialty areas within the

graphic design profession in

order to begin to develop a

specialist design career for

themselves. For example,

designers who choose to

specialize might focus their

professional practice on web

design, packaging design, or

the design of integrated media.

University

of the

Fraser

Valley

Graphic and

Digital Design

BFA Minor

or

Extended

Minor

The Graphic and Digital Design

extended minor may be paired with

the Visual Arts major as part of the

Bachelor of Fine Arts program, or

with any other BFA extended minor

as listed in the BFA section of the

calendar. This section specifies the

extended minor requirements only.

Please refer to the Bachelor of Fine

Arts section for information on

additional requirements.

No courses

dedicated to

experiential

design.

Stream options

in; Dynamic

Media, Interactive

Design or Visual

identity

Nothing on website

University

of Manitoba

School of

Art

Graphic Design

Bachelor of

Fine Art

Topics incorporated into the study

of graphic design may include

semiotics, Gestalt psychology,

digital technology, Web design,

No courses

dedicated to

experiential des

None Nothing on website



Proportion Of

Curriculum That

Is Dedicated To

Experiential

Graphic Design

Other


visual hierarchy, corporate design,

marketing, typography, illustration,

and structural explorations. Design

that is effective, ethical, and

appropriate to the context is a

general objective.

Nova

Scotia

College of

Art and

Design

Interdisciplinary

Design

Bachelor of

Design

Emphasizes design process and

problem-solving in a range of

design-related fields, such as

interactive design, product design,

and print media. The student who is

interested in design, but would also

like to have exposure to other areas

in the visual arts, should consider

this degree.

Students can

take courses

from visual

communication

design,

interaction

design, product

design and

spatial design.

Nothing on website

New

Brunswick

College of

Craft and

Design

Graphic Design Bachelor of

Applied

Arts

Very little on website Very little on

website

Very little on

website

Nothing on website

Ontario

College of

Art and

Design

University

Graphic Design Bachelor of

Design

The Graphic Design curriculum has

a strong focus on design process,

typography, image-making and

critical, strategic thinking. It

engages you in the creation of

principled, conceptually strong,

imaginative and formally sound

responses to many types of issues.

-

Related Courses

Include:

Interactive

Spatial Design:

Building

Responsive

Visual

Environments,

Wayfinding

Information

Systems 1

Students can

pursue studio

courses in; brand

strategy, editorial

and publication

design,

interactive

communication,

motion graphics,

package design,

typeface design

and wayfinding

and information

systems.

Graduates are qualified to work

in design studios, cultural

institutions and media

companies as junior to

intermediate graphic designers.

Ryerson

University

Graphic

Communications

Management

Bachelor of

Technology

The program stresses the

application of theory to practical

problems. Emphasis is placed on

No courses

dedicated to

experiential

There are

optional

concentrations in

Ryerson graduates in this

innovative field are professional

managers who have business



Proportion Of

Curriculum That

Is Dedicated To

Experiential

Graphic Design

Other


business and management design. Digital Graphic savvy, an eye for design and an

subjects, which account for about Output, understanding of graphic

half of the curriculum. The balance Leadership technology.

between technology and business Packaging or

management in the program makes Publishing.

graduates versatile.

Sheridan Joint Bachelor of Bachelor of A four-year university degree There is an Graduates are prepared to work

College Graphic Design Design offered jointly with York University elective course in in industries that include;

Degree (York Degree in Toronto. The program Environmental Branding, Corporate

University) (Honors) synthesizes the social, cognitive Graphic Design Identity/Communications, Web

and technological aspects of design and they have Design Multimedia, Product

practice. The curriculum focuses taught wayfinding Packaging, Book Jacket

on visual communication, projects for many Design, Magazine Design,

information design, interaction years in the Exhibit Design, Retail

design and design studies. Information Merchandising.

Design 3 course.


Appendix 1 Continued: Academica Student Survey Report

Bachelor of Experiential Design

Program Feasibility Study

Student Survey Report

August 2015

Academica Group Inc. London, ON


Executive Summary ....................................................................................................................................... 3

Introduction ................................................................................................................................................... 3

Methods ......................................................................................................................................................... 6

Notes to Reader ............................................................................................................................................. 6

Respondent Profile ........................................................................................................................................ 7

Research Findings ......................................................................................................................................... 9

Appendix B: Program Description ............................................................................................................... 20


Respondent Profile

• The survey was completed by 125 respondents. Seventy-one percent of the sample was female, and

the average age of respondents was 21 years old. Seventeen percent of respondents were born

outside of Canada.

• The majority of respondents will be in college come September 2015 (79%) and have a high school

diploma as their highest credential (70%). Over two-thirds (68%) applied only to colleges, and just

over one-quarter applied to both colleges and universities (28%).

• Among those who will be attending a postsecondary institution this September (n=113), most have

not started their program (42%) or will start in 2015 (28%). Forty-six percent entered postsecondary

directly from high. The majority are working towards a diploma (34%) or advanced diploma (30%),

followed by a bachelor’s degree (20%). The most common program areas among respondents were

visual arts (27%), design (23%) and digital media (16%).

Program Appeal and Suggested Improvements

• Respondents were asked if it was clear from the description what is meant by the term ‘experiential

design’. Understanding of the concept of experiential design was quite high among respondents.

Two-thirds found it to be very clear, while nearly one-third found it somewhat clear, and only two

percent did not understand at all after reading the description.

• When asked what was most appealing about the program, the highest proportion (57%) of all

respondents said that the skills and knowledge learned were most appealing, followed by the

potential employment opportunities (39%), the co-op/internship component (35%), and the

overview of the curriculum (30%). Smaller proportions found the credential and program title to be

most appealing (13% and 11%, respectively).

• Asked what was least appealing about the proposed program, the highest proportion said “none of

the above” (38%). Thirty percent said that the program title was least appealing. About one in ten

found the credential, co-op piece, curriculum and skills learned to be least appealing. Seven percent

found the employment opportunities to be unappealing.

• The majority of respondents did not have suggestions for program improvement. Among the 25

respondents who did provide suggestions, the most common two were to change the name of the

program and to add more straightforward language to the program description.

• Asked to choose the program title that was most appealing, the highest proportion selected Bachelor

of Spatial and Experiential Design, with 39% selecting this title. Twenty-nine selected Bachelor of

Experiential Design, 19% selected Bachelor of Experience Design, and 10% selected Bachelor of

Experiential and Spatial Design.


Interest in Proposed Program

• Twenty-four percent of respondents indicated they would have been very to extremely interested in

the program, and another 30% indicated they would have been moderately interested. Among those

who indicated they would be interested in the proposed degree program, the key reasons included:

the wide range of design aspects being taught; co-op and internship opportunities; employment

opportunities; and the fact that the program is new and unique.

• Main reasons for not being interested in the program when first applying to PSE were a lack of

interest in the subject matter and already having chosen a specific career path.

Awareness and Perceptions of Sheridan College

• Nearly half of all respondents had heard of Sheridan College but not applied or been a student prior

to the survey (49%), 29% had applied to Sheridan, 16% had been a student, and 6% were not

familiar with Sheridan.

• Among those familiar with Sheridan prior to the survey (n=117), the majority (57%) said that

knowing that Sheridan would be offering the program did not impact their level of interest in the

proposed program. Twenty-eight percent indicated it would make them more interested, and 15%

would be less interested.

• Those who indicated they would be more interested in pursuing the program based on the fact that

it would be offered by Sheridan were asked to elaborate (n=32). The key reason is Sheridan’s

strong reputation in the arts programs, its position as a leader in the field of design, and its

reputation for graduates having positive employment outcomes. Many respondents mentioned

word-of-mouth as a means of hearing about the high quality education delivered at Sheridan, and

others have had extremely positive experiences with Sheridan.

Implications

• The concept of the program was received quite positively; many respondents did not find any

element of the program to be unappealing. The most appealing component was the skills and

knowledge learned from the program, demonstrating that the concept itself is interesting to

prospective students. It seems the program has aspects that students are looking for: strong

preparation for employment, and co-op experience prior to entering the workforce.

• The key piece of feedback that stood out was the possibility of changing the title of the program.

Respondents expressed that the term experiential design did not accurately describe the program.

They were also concerned that prospective students and perhaps more importantly, employers,

would not understand what the program is and the skills that are being learned.

• Another takeaway is to clearly communicate to prospective students what the program is, jobs they

will be able to find after graduation, and places of employment. While respondents indicated a clear

understanding of what experiential design is, there was still some suggestions to further clarify the

practicality of the program.


This report presents the findings of a survey of prospective students. The survey is meant to test the appeal and perceptions of a proposed Bachelor of Experiential Design degree being put forward by Sheridan College.

To obtain student perspectives on the proposed program, an online survey was conducted using Academica Group’s StudentVu panel. The objective of the survey was to gauge perceptions of the proposed program as well as potential interest in the program among prospective students. Panelists invited to participate were those who had applied to art-related programs at colleges and universities in Ontario in the last three years. The panel member survey was in-field from August 12 until August 21, 2015. A total of 125 valid respondents completed the survey.

Statistically significant differences within subgroups (based on independent t-tests for mean scores and z-test for proportions where p<0.05) and are indicated by green and red highlighted boxes in tables and green and red arrows in charts. Sub-group analysis should be interpreted with caution due to small n-sizes. An asterisk (*) indicates subgroups with sample sizes less than twenty.


As shown in Table 1, the highest proportion of respondents were women (71%), aged 17-18 (37%), and born in Canada (83%). The majority of respondents will be in college come September 2015 (79%) and have a high school diploma as their highest credential (70%). Over two-thirds (68%) applied only to colleges, and just over one-quarter applied to both colleges and universities (28%). Among those who will be attending a postsecondary institution this September (n=113), most have not started their program (42%) or will start in 2015 (28%). Forty-six percent entered postsecondary directly from high school. The majority are working towards a diploma (34%) or advanced diploma (30%), followed by a bachelor’s degree (20%). The most common program areas among respondents were visual arts (27%), design (23%) and digital media (16%).

Table 1 - Respondent Demographics (All respondents, n=125)

Total

All respondents, n size 125

Gender

Male 26.4%

Female 71.2%

Other gender identity .8%

Prefer not to answer 1.6%

Age

17-18 36.8%

19-20 28.8%

21-25 21.6%

>25 12.8%

Born in Canada Yes 83.2%

No 16.8%

Education status as of

September 2015

I will be in college 79.2%

I will be in university 11.2%

I will not be attending school 8.0%

Other 1.6%

Highest level of

education

High school diploma 70.4%

Certificate (1-year program) 13.6%

Diploma (2-year program) 4.0%

Advanced diploma (3-year program) 4.8%

Bachelor's degree (4-year program) 4.0%


Graduate degree .8%

Other 1.6%

Institution Type

Applied

Colleges only 68.0%

Universities only 4.0%

Both colleges and universities 28.0%

Respondents in PSE as of September 2015 113

Program start

2015 28.3%

2014 21.2%

2013 5.3%

2012 or earlier 3.5%

Have not started yet 41.6%

Credential to be

obtained





Bachelor's degree (4 year program) 19.5%


Other .9%

Program entry directly

from high school

Yes 46.0%

No 54.0%

Program area

Architecture .9%

Design 23.0%

Digital Media 15.9%

Interior Design 3.5%

Visual Arts 27.4%

Visual Merchandising 1.8%

Other 27.4%


Respondents were shown the proposed program description and were asked to read it with the knowledge that a series of questions would follow. Respondents were then asked select elements of the proposed program that were most and least appealing, and were given the opportunity to offer suggestions for changing or improving the program. The program description could be referred back to as needed. First, respondents were asked if it was clear from the description what is meant by the term ‘experiential design’. Understanding of the concept of experiential design was quite high among respondents. Two-thirds found it to be very clear, while nearly one-third found it somewhat clear, and only two percent did not understand at all after reading the description (Figure 1).

Figure 1 – Is it clear from the description what 'experiential design' is? (All respondents, n=125)

Yes, very clear

Somewhat clear

No, not at all

When asked what was most appealing about the program, the highest proportion (57%) of all respondents said that the skills and knowledge learned were most appealing, followed by the potential employment opportunities (39%), the co-op/internship component (35%), and the overview of the curriculum (30%). Smaller proportions found the credential and program title to be most appealing (13% and 11%, respectively) (Figure 2).


Figure 2 – What is most appealing to you about the proposed program? (All respondents, n= 125)

Skills and knowledge learned 57%

Potential employment opportunities

39%

Coop/Internship 35%

Overview of curriculum 30%

Credential 13%

Program title 11%

Other

2%

None of the above 4%

Asked what was least appealing about the proposed program, the highest proportion said “none of the above” (38%). Thirty percent said that the program title was least appealing. About one in ten found the credential, co-op piece, curriculum and skills learned to be least appealing. Seven percent found the employment opportunities to be unappealing (Figure 3).

Figure 3 – What is least appealing to you about the proposed program? (All respondents, n= 125)


Program title

Credential

Coop/Internship

Overview of curriculum

Skills and knowledge learned


None of the above 38%

Figure 4 – Comparison of most and least appealing factors. (All respondents, n= 125)

Skills and knowledge learned


Coop/Internship

Overview of curriculum

Credential

57%

Most Appealing

Least appealing

Program title

Other

None of the above


The majority of respondents did not have suggestions for program improvement. Among the 25 respondents who did provide suggestions, the most common two were to change the name of the program and to add more straightforward language to the program description. Respondents felt the title of the program was vague and would not appeal to students or be recognized by employers. Others found there to be information missing from the program description, particularly around how this program is different from other design courses such as interior or interactive design. Below are quotes representative of the themes that emerged:

• A better summary of exactly what the program is.

• A more clear career path/paths would be good, as I have no idea how this would be as or more

useful than, say, an interactive design diploma.

• A clearer program title would probably draw more people towards looking into the program, since

it doesn't directly deal with visual and creative arts, but more of the technical aspects of art and

design. Like interior design, accessibility and architecture.

• A more interesting program title or more which you can guess what it entails.

• Actually, this seems pretty good. I can't think of any improvements currently. I assume that it will

teach students/give students the ability to fulfill any legal requirements Canada may need for

anyone working in a design or architectural capacity.

• Allowing a focus on interior design.

• Better explanation of what the program is and what you're getting into.

• Discussion of how it relates to other, more "traditional" design programs (like graphic design), and

how exactly it fits into the current workplace (are there specific marketplaces for "experiential

designers"?) Will employers recognize this title?

• Give an example of several already existing works that showcase, in layman's terms, exactly what

the program means. Interaction Design suffers from this.

• Give it a better title, experiential sounds more like a trial name.

• Give specific/physical examples of the work done in the course

• I don't really see how this is much different from interior design. I feel like there's a lot of overlap

and it would be better to cover this as part of an interior design program.

• I think in the “what experiential design is” area, should give more stuff instead of just point form

• I think the title should be as specific as possible, as it made me unsure about what the overall

connection between the programs components was/the big picture.

• I wouldn't change anything, seems like they have everything down and what they need.

• I'm not really sure what the end goals of the program are. The whole thing just seems really vague.

It's not really clear to me what is supposed to be "designed".

• I'm not sure what a better title might be, but the current title doesn't make it obvious what the

program is for. It'd be annoying to have to spend your student life always having to explain what

you're studying when someone asks the title of your program. I think it's the word "Experiential"

that is unclear and makes the program sound too flaky.

• Is the co-op portion a paid position? If not, that could interfere with earning money to support

myself.

• It sounds mostly like theory. Add more practical outcomes.

• Just a different name that possibly describes the program more.

• Less wordy description.

• More graphic design courses.


• Perhaps give a breakdown of each year and what the courses will touch on.

• Rename it. The title looks nice, but isn't really clear, basically, everyone will have to look it up on

google and then try to figure out why it is relevant.

• Streamline the program, and cut useless assignments to maximize learning time

• To add some aspects of graphic design.

• When reading the description I automatically relate this to museum design. I know friends who

have taken similar courses at college so I'm wondering if the only difference is a degree vs the

diploma at the end of the day. What would be the reason to entice students to take this vs a college

program that is shorter and still offers coops or internships.

Asked to choose the program title that was most appealing, the highest proportion selected Bachelor of Spatial and Experiential Design, with 39% selecting this title. Twenty-nine selected Bachelor of Experiential Design, 19% selected Bachelor of Experience Design, and 10% selected Bachelor of Experiential and Spatial Design.

Figure 5 – What program title is most appealing to you? (All respondents, n=125)

Bachelor of Spatial and Experiential Design

Bachelor of Experiential Design

Bachelor of Experience Design

Bachelor of Experiential Spatial Design

Other suggestion

39%


To gauge interest in the proposed program, respondents were asked how interested they would have been in applying to the program had it been available when they were applying to postsecondary education. Twenty-four percent of respondents indicated they would have been very to extremely interested in the program, and another 30% indicated they would have been moderately interested (Figure 5).

Figure 6 – Interest in proposed program when applying to PSE, All respondents (n=125)

Extremely interested Very interested Moderately interested Slightly interested Not at all interested

Top 2 Mean

24% 2.6

Among those who indicated they would be interested in the proposed degree program (n=29), the key reasons included: the wide range of design aspects being taught; co-op and internship opportunities; employment opportunities; and the fact that the program is new and unique. Below are the verbatim quotes to demonstrate reasons respondents were particularly interested in the program:

• "Bachelor" sets a sophisticated tone about the program. I know it is also used mainly for 4 year

programs therefore I’d also be gaining more experience.

• Animation game design

• Being able to manipulate and show and tells things through the use of spaces and experiences is

pretty interesting.

• Creativity, space planning, co-op.

• Curriculum focuses on aspects of design I am interested in. Program offers co-op.

• I am interested in the strategy aspect of this program, and the fact that it combines graphic and

interior design with a purpose of order. I enjoy problem solving, and it would be interesting to

communicate practical information to people in a visually appealing way.

• I can gain some experience into anything with design in the working world.

• I find designing and creating new things very interesting since I was a really young kid. Design in

general will always appeal to me.

• I have has always had an interest in design, I am in a design program, it’s interesting to see this

area of design become so specific that people can earn a degree in it.

• I like how versatile the program seems, it deals with making spaces more practical than just

beautiful. Potentially it would create a more accessible and sustainable world, since more people

would educated in those areas. I think it would also draw in a lot of male attention since it doesn't

cater to aesthetics, whereas interior design or interior decorating does.

• It touches on elements of design that all relate to me. There are aspects of interior design, industrial

design and storytelling and more...all in a nice package.

• It'll give me a chance to explore the different varieties of design that I have yet to try. And I'm

always eager to explore new techniques that I could use to help others.

• It's my passion

• It's something I like to do.

• New technology, interactive media.

• Spatial design and organizing layouts of places.


• The digital media aspect of the program.

• The expanded learning that relates to museum management and design, which ties to my end goal

of curating a museum or gallery.

• The fact that it’s a brand new program that hasn’t been offered for the future of new jobs that don’t

exist yet.

• The job opportunities, as well as the wide skillset.

• The opportunities that are available in the program.

• The overall curriculum.

• The whole program seems very interesting.

• This is what I potentially see myself doing as a career. If this was offered my school I would have

definitely applied to this first before my current program.

• This program seems to offer a wide range of design and not just hands on training.

• Visual communication in the real world.

Main reasons for not being interested in the program when first applying to PSE (n=22) were a lack of interest in the subject matter and already having chosen a specific career path. Below are the verbatim quotes to demonstrate reasons respondents were not interested:

• Everyone has their own path, mine is in the Arts and that will never change.

• This program is basically combining all other Arts or Designs major discipline into this one major.

Let me ask you, what is the purpose and reason that Interior Designs or Architecture exist in the

first place? If a student can learn everything that an interior design or architecture or industrial

design and many more Arts and Designs major will learn, then what is the point of having all these

majors exist in the first place? You just putting more Arts or Designs graduate students get risk of

not getting job by creating yet another similar major.

• I am interested in performing arts.

• I am not interested in pursuing anything with design.

• I feel like it deals more with design aspects I don't enjoy as much.

• I had already made my mind up on what program I had wanted to do before applying to any

colleges in Ontario.

• I have always had a passion for Music.

• I would like to apply for interior design after my two years program.

• I'm not interested in experiential design. It's not my field of interest.

• It doesn't seem like a helpful degree to have. It doesn't have a specialty, and this is most of why I

chose not to go to university. All the programs seem pointless and without direction.

• It's just not a field of study that I am interested in.

• It's not something that I would personally pursue as a career choice

• It's not what I want to do.

• Just not interested.

• Not in my interests

• Not really my thing

• The program seems too specific in its field to the point where I'd question how many employment

opportunities there'd be at the end.

• Too similar to interior design.

• Too vague.

• When I was applying to college, I already had a good idea of what program I wanted to get into.

• Would not be my area of interest.


Nearly half of all respondents had heard of Sheridan College but not applied or been a student prior to the survey (49%), 29% had applied to Sheridan, 16% had been a student, and 6% were not familiar with Sheridan (Figure 7).

Figure 7 – Familiarity with Sheridan College (All respondents, n=125)

I am/have been a student at Sheridan

College.

I have applied to Sheridan College.

I have heard of Sheridan College but have

not applied or attended. 49%

I had not heard of Sheridan College

before this survey.

Among those familiar with Sheridan prior to the survey (n=117), the majority (57%) said that knowing that Sheridan would be offering the program did not impact their level of interest in the proposed program. Twenty-eight percent indicated it would make them more interested, and 15% would be less interested (Figure 8).

Figure 8 – Does knowing that the program would be offered by Sheridan make you more or less interested in the program?

(Respondents who were familiar with Sheridan College, n=117)

Those who indicated they would be more interested in pursuing the program based on the fact that it would be offered by Sheridan were asked to elaborate (n=32). The key reason is Sheridan’s strong reputation in the arts programs, its position as a leader in the field of design, and its reputation for

15% More

28%

Equally

57%


graduates having positive employment outcomes. Many respondents mentioned word-of-mouth as a means of hearing about the high quality education delivered at Sheridan, and others have had extremely positive experiences with Sheridan. Below are the verbatim quotes from this question:

• As I am already a student at Sheridan College, finding out that this program is going to be offered

there appeals to me more because I already know that it is a great school and provides amazing

opportunities to students.

• Attending Sheridan was the best experience I have had in my life. The teachers, the city (Oakville)

the learning commons and the proximity to actual Toronto without having to be in it.

• Because originally I had very much wanted to attend Sheridan.

• Because Sheridan has a good reputation and is known to help students get jobs right out of college

• Because I never knew they had a program like that and want to know more.

• From word of mouth, I've heard they offer very good programs.

• I know it is a prestigious school in the area of the arts.

• I know many friends who attend and I the opinions that they tell me make me interested. They think

it’s an amazing school. My friend goes for illustration and loves it.

• I know people attending Sheridan College and that it has a reliable reputation.

• I like attending Sheridan.

• In my mind, Sheridan is a very good arts college. Knowing that this program is offered at Sheridan

makes it have more credentials.

• It is an art school.

• It is my dream to go to Sheridan College.

• It sounds really interesting and challenging.

• Leaders in media and design.

• One of the top colleges known for art. I would like to hear a little more and maybe see the program

in action.

• Reputation, particularly with things like the Creative Campus.

• School reputation.

• Sheridan College has a good reputation.

• Sheridan College is a fantastic school for arts programs. Any program they offer would be

extremely worthwhile.

• Sheridan College is a renowned art college, and this sort of program is right up their alley. This sort

of cutting edge program is indicative of their pedigree as a leader in applied art and media studies.

• Sheridan College is known for their art programs and to me, design is just another form of art. So I

believe that Sheridan could nurture this program and bring in art and design students.

• Sheridan has an excellent reputation in the field of design.

• Sheridan is a good arts/design college.

• Sheridan is a great school and very welcoming. Also the school atmosphere is great too.

• Sheridan is a very good art school, and considering they made "interactive design" a viable

program, perhaps this one could be made viable as well. It would be taken more seriously than it

being offered at, say, Humber.

• Sheridan is well known for their art programs and other areas related to the arts.

Those who indicated they would be less interested in pursuing the program based on the fact that it

would be offered by Sheridan were also asked to elaborate (n=18). One of the most frequently mentioned

reasons was Sheridan’s location. Below are the verbatim quotes from this question:


• Because it is not a college that I want to attend.

• College degree is typically seen as inferior to university degree, making for tougher competition

in the job market.

• Distance is an issue due to disability. If it was available at Durham College I’d be more

interested.

• I am less interested because the program would be, like their other art programs, drawn out over

more years than what a student would need to gain the knowledge and experience.

• I have already applied and have been accepted to Fanshawe for my chosen program.

• I have never had a good experience when dealing with the people who work at Sheridan college

• I have never heard of Sheridan College in association with design/architectural programs. Their

lack of reputation in the field as opposed to other post-secondary institutions would incline me to

believe they have little experience in it.

• I will be more interested if this design degree was affiliated with the University of Toronto

Mississauga.

• I'm not sure I like the direction this school is going.

• It is too far from my location, wish it could be offered in a Toronto school, not located in

Oakville.

• Location

• Reputation

• Since Sheridan is out of the way for me.

• Their administration communication with students is extremely poor.

• They seems quite strict with their requirements, I feel I wouldn't even be considered.

Two-thirds of respondents agreed or strongly agreed that the program would be an interesting area of study (68%) and that Sheridan College is known as one of the largest arts schools in Canada (66%). Over half agreed or strongly agreed that Sheridan would offer a strong program in the area (59%), that Sheridan has a good reputation in the design field (58%), and that the program seems unique (54%).


Academica Student Survey Report

PROGRAM TITLE: Bachelor of Experiential Design

WHAT EXPERIENTIAL DESIGN IS:

• A multi-disciplinary approach to the design of experiences within physical space with emphasis on

visual communication and storytelling. It includes, for example:

• Wayfinding – A design scheme that includes signage to help people navigate

• Exhibition design

• Public installation and interpretation

• Placemaking and identity (Design of clearly defined and memorable spaces)

• Strategy, research, planning, writing

SKILLS AND KNOWLEDGE LEARNED:

• Spatial design (architecture, landscape, urban and interior design)

• Visual communication

• Interaction design (Design of digital media and interfaces for a variety of platforms)

• Industrial Design (Design of custom and mass produced objects/products)

• Research

• Critical thinking

• Design theory

Sustainable design principles and human-centered design methods are emphasized throughout the four years of the program.

OVERVIEW OF CURRICULUM: In the first two years, the curriculum provides a foundation of skills and knowledge in spatial design, materials, visual communication, interaction design, research and design history. These areas are expanded on in the third year with opportunities to explore advanced studio work in exhibition design, public space and wayfinding. In the final year, students will have collaborative and individual year-long studios in addition to courses focused on professional practice and additional elective options.

CO-OP/INTERNSHIP: The program includes a co-op term of 14-weeks between third and fourth years where students can gain professional experience with local, national and/or international design firms and organizations.

POTENTIAL EMPLOYMENT OPPORTUNITIES: The Bachelor of Experiential Design will prepare you to work as a designer in these key areas:

• Wayfinding for transportation, hospitals, cultural and urban spaces

• Exhibition design for museums, cultural institutions, and other contexts

• Civic, public and landscape installations and interventions

• Festivals and events

• Retail, themed and branded environments


Appendix 2: Proposed Program Map


Appendix 3: Admission Requirements Comparison Honours Bachelor of Experiential Design Comparison of Admission Requirements for competitive programs

University Programs Institution Admission Requirements Portfolio Writing Sample/

Other notes OCAD University Environmental Design (and other design programs)

Studio-Based Degree Program Admission Requirements

All offers of admission to OCAD U's studio-based degree programs, the Bachelor of Design (BDes) and the Bachelor of Fine Arts (BFA) are based on the strength of the applicant’s portfolio and are conditional upon meeting the minimum academic requirements and supplying all required documentation as outlined below.

For Ontario Secondary School applicants: • Successful completion of the OntarioSecondary School Diploma (OSSD)

• Grade 12 U English (ENG4U or EAE4U)with a minimum final grade of 70%

• A total of at least six Grade 12 U or Mlevel courses (including ENG4U orEAE4U) with a minimum overall academicaverage of 70%

For high school applicants from outside Ontario: • Graduated high school• Equivalent of 70% minimum average inuniversity preparatory courses• Senior level academic English courseminimum final grade of 70% and/orequivalent test

Portfolio (required for all studio BFA, BDes programs)

Include a maximum of 10 pieces of your original work in art, design or media, including a creative journal/sketchbook to demonstrate your creative process.

Demonstrate your ability to work with a wide range of techniques, materials and subject matter

Include works in 2D, 3D, time-based, lens-based, digital or traditional media

Creative Profile (required for all OCADU BFA and Design programs)

Ryerson University – Interior Design

Ontario Secondary School Diploma (OSSD) or equivalent with a minimum of six Grade 12 U or M courses including the following program specific requirements.

Typically, a minimum overall average of 70% establishes eligibility for admission consideration; subject to competition individual programs may require higher pre-requisite grades and/or higher overall averages:

• English/Anglais (ENG4U/EAE4Upreferred)• Grade 11 U or M or Grade 12 UMathematics (one of: MCF3M, MCR3U,

Portfolio required

http://www.ryerson.ca/conten t/dam/admissions/Assets/pro grams/InteriorDesign_Submi ssion.pdf

Practicum or internship option available

Enrollment - 103


Institution Admission Requirements Portfolio Writing Sample/ Other notes

MHF4U, MCV4U, MDM4U) • One additional Grade 12 U or M coursefrom: Visual Arts (AVI4M),Economics: Analyzing Current EconomicIssues (CIA4U), Canadian and WorldIssues: A Geographic Analysis (CGW4U),Canada: History, Identity, and Culture(CHI4U), Physics (SPH4U),Communications Technology (TGJ4M) orTechnological Design (TDJ4M)• Other Grade 12 U or M courses inCanadian and World Issues may beconsidered on an individual basis• Students should take Physics (Grade 11or higher) and the Art option in Grades11/12 if available. Preference may begiven to applicants with Grade 12 Ucourses in History or Visual Arts/ArtHistory• The minimum grade(s) required in thesubject prerequisites (normally in the 65-70% range) will be determined subject tocompetition.Grade Range - 75%+

Students requesting advanced standing must submit academic transcripts of their secondary school as well as all post-secondary school studies (excluding Ryerson), to Undergraduate Admissions and Recruitment. Current students attending another institution must remember to include a list of courses currently in progress, and to submit another academic transcript (including all final grades) as soon as possible following course completion. Detailed course outlines may be required by the School of Interior Design. Contact the Academic Coordinator for further information.

Ryerson University – Architectural Science

Ontario Secondary School Students: 2016 Grade Range for Admission / Wait List Consideration: 80%+*

Ontario Secondary School Diploma (OSSD) or equivalent with a minimum of six Grade 12 U or M courses including the following program specific requirements. Typically, a minimum overall average of 70% establishes eligibility for admission consideration; subject to competition individual programs may require higher pre-requisite grades and/or higher overall averages: • English/Anglais (ENG4U/EAE4Upreferred)• Physics (SPH4U)

Architectural Science - Evaluation Session Registration and Portfolio Instructions

Architectural Science Statement of Authorship



• Mathematics [one of: Calculus andVectors (MCV4U) or Advanced Functions(MHF4U)]• The minimum grade(s) required in thesubject prerequisites (normally in the 65-70% range) will be determined subject tocompetition.

Ryerson University – Creative Industries

Ontario Secondary School Diploma (OSSD) or equivalent with a minimum of six Grade 12 U or M courses including the following program specific requirements (a minimum overall average of 70% establishes eligibility for admission consideration; subject to competition individual programs may require higher pre-requisite grades and/or higher overall averages)

Grade Range - 81%-88%

Candidates are encouraged to include one Grade 12 U/M Arts course and/or one Grade 11 U/M or Grade 12 M Business course in their Grades 11/12 course selection.

None required A minimum grade of 70% or higher will be required in Grade 12U English (ENG4U/EAE4U).

Practicum or internship option available

Enrollment – 176

Ryerson University – Graphic Communications Management

Ontario Secondary School Diploma (OSSD) or equivalent with a minimum of six Grade 12 U or M courses including the following program specific requirements. Typically, a minimum overall average of 70% establishes eligibility for admission consideration; subject to competition individual programs may require higher pre-requisite grades and/or higher overall averages:

• English/Anglais (ENG4U/EAE4Upreferred)• Grade 11 U or M or Grade 12 UMathematics (one of: MCF3M, MCR3U,MHF4U, MCV4U, MDM4U)• Recommended: Grade 12 M Principles ofFinancial Accounting (BAT4M)• The minimum grade(s) required in thesubject prerequisites (normally in the 65-70% range) will be determined subject tocompetition

Grade Range 73-80%

None required Practicum or internship option available

Enrollment - 180

University of Toronto – Architectural Studies

Four streams offered:

Comprehensive Stream (Specialist)

To be considered for admission to the Daniels Faculty, applicants must:

1. Be eligible to receive, or have alreadyreceived, the Ontario Secondary SchoolDiploma (OSSD) or its equivalent.2. Present six senior high school credits(Grade 12 U or M courses)

None required Complete the online One Idea supplementary application.



Design of Architecture, Landscape, and Urbanism Stream (Specialist)

History and Theory of Architecture, Landscape, and Urbanism (Specialist)

Technology of Architecture, Landscape, and Urbanism Stream (Specialist)

a. One of these credits must be English(ENG4U) b. The "out of school"component of Grade 12U/M co-op courseswill not be accepted for admissionpurposes.

Grade Range - Mid- to high 80s

Carleton University – Architectural Studies, Design

• English• Physics• Advanced Functions*Calculus and Vectors recommendedGrade Range - 74-76% (regular and coop)

Additional Requirement: Portfolio

Co-op option available with this program Enrollment - 90 (all majors)

Carleton University – Industrial Design

Students applying to the Bachelor of Industrial Design program are required to have completed the following courses (4U level courses unless otherwise indicated): • Advanced Functions• Physics• 4 additional credits

In addition to the above, Calculus and Vectors, Design Technology, and Visual Arts are strongly recommended.

Grade Range - 70-73% (regular and co-op)

General requirements: • OSSD with six Grade 12 courses at the4U or 4M level• Prerequisite courses must be at the 4Ulevel with no individual grade below 60%• Grade 12 English 4U is recommendedfor all degrees• Grade 12 4U/4M credits for co-op workexperience will not be considered as partof the six courses• Students are expected to present aminimum percentage grade andprerequisite average depending on theprogram for which they apply. Please seethe chart below for minimum cut-offranges. Grade ranges apply to the overalland prerequisite average.• The overall average required foradmission is determined each year on aprogram by program basis. All programshave limited enrolment. Admission is notguaranteed and all requirements aresubject to change.

Additional Requirement: Portfolio

Co-op option available with this program

Enrollment - 50



University of Waterloo – Architectural Studies

http://www.ecuad.ca/ad missions/applicationinfo/ undergraduateapplications/ first-yearacademic- requirements

Applicants to the School of Architecture will be initially screened on the basis of academics. This process will further consider 450-500 students for admissions to the School of Architecture. These students are required to participate in an interview as part of the admissions process. A portfolio of creative work must also be presented at the time of the interview. In addition, a test in the form of an English précis will be required of applicants on the day of their scheduled interview. Admission to the School depends equally on success in the results of the interview, the portfolio and the précis test. An Admissions Information Form (AIF) is also required.

With the high number of applications, students will normally need an overall average low – mid 80’s and at least a grade of 75%(usually 80%) in English and at least high 70’s in Physics and the two required mathematics courses to be considered for an interview. If offered admission, a final mark of at least 70% in the required course, 75 in English is needed to maintain an offer of admission. It is also recommended that students take visual arts, history and other cultural studies courses.

Admission average: Individual selection from the mid-80s

Required courses: • English 4U (ENG4U) -- A minimum gradeof 75 is required• Advanced Functions 4U -- A minimumgrade of 70 is required• Calculus and Vectors 4U -- A minimumgrade of 70 is required• Physics 4U -- A minimum grade of 70 isrequired

Recommended courses: • Grade 11 or 12 M Art courses• independent art studies• creative and cultural studies such asvisual arts and history

Portfolio required Selected students will be invited to complete an interview, English precis-writing exercise, and portfolio, which are required for admission.

York University – Digital Media (BA), AMPD (Also offer Digital Media in Lassonde School of Engineering)

Admission to the Digital Media program is based solely on academic performance. • Math 4U (minimum 75%)• ENG 4U• Four additional 4U or 4M courses –

recommended 4M arts or similar.Grade Range - Mid-70s to low 80s

None required Co-op or internship option available with this program



York University / Sheridan College Program in Design Bachelor of Design

Admission to the York/Sheridan Program in Design is based on combined academic GPA and portfolio evaluation (50/50).

Minimum of six Grade 12, 4U or 4M courses, including ENG4U.

Minimum overall average - low 80s

Portfolio required

10-12 pieces of work plus asketch book or concept bookdocumenting process

Supplementary application with questionnaire required

Laurentian University – Architectural Studies

Admission requirements based on grade 12 4U/M courses:

• 1 English or 1 Français• 2 maths or mathématiques• 3 other courses• minimum average of 75 %• Admission selection is based uponoverall submission criteria, and not solelyon grade averages.• Design Studio instruction and reviews,electives and co-op work term placementswill be available in French. Assignmentscan be submitted in either English orFrench.

Ontario High School Applicants Applicants require the successful completion of at least six grade 12 4U/M courses with a minimum overall average of 70% and must qualify to obtain their OSSD. Architectural Studies is a limited enrolment program and requires a minimum of 75% on the best six grade 12 4U/M courses.

Specific Grade 12 courses are as follows: • Grade 12 4U English or Français• 2 Grade 12 4U mathematics ormathématiques• 3 Grade 12 4U/M courses.

Grade Range - 75%

Portfolio (portfolio webinar and portfolio guidelines) (Must demonstrate creative work, either in digital or hard-copy format)

1 to 2 page statement of interest (Students will elaborate on their interest in architecture as well as their choice of Laurentian University) 2 letters of reference

(Where possible, at least one from a current teacher) Co-op program

Enrollment - 70 Limited

Wilfred Laurier University/Conestoga College – Bachelor of Design (User Experience Design) and a graduate certificate in Interactive Media Management — User Experience from Conestoga College https://wlu.ca/programs/li beralarts/ undergraduate/userexperience- designbdes/index.html

Admission range of mid 70s.

English at 70%.

We consider your top six 4U or 4M level courses for admission. For Business Administration (BBA) and BBA double-degree programs, all Faculty of Science programs, the BASc Public Health and the BSc in Geography, all 4U prerequisite courses are calculated in your admission average, regardless of whether or not they are part of your top six courses. The two exceptions to this are the Bachelor of Arts in Psychology and Bachelor of Kinesiology programs, which do not include the

None required No writing sample required.



required math course when calculating the admission average. For all other programs, we will look at your top six marks, regardless of whether or not your prerequisites are included in that average.

NSCAD – Bachelor of Design https://my.nscad.ca/appl yfndn/foundationapplicati onrequirements.ezc

Grade 12 with an average of 70% or higher including a minimum grade of 70% in Grade 12 English for University preparation.

Dalhousie University – Bachelor of Environmental Design Studies https://www.dal.ca/admis sions/undergraduate/dire ct_from_highschool.html

Completion of Grade 12 with a minimum overall average of 70% in five academic Grade 12 courses. A final grade of at least 70% in Grade 12 English and any other required subject.

Ontario Students: 4U or 4M courses.

College Programs Institution Admission Requirements Portfolio Writing Sample/

Other notes Conestoga – Advanced Diploma Graphic Design

• An academic strength is calculated byaveraging the submitted marks of requiredsubjects. If more than one mark isreceived for a required subject, the highestmark will be used in the calculation.• Ten (10) additional marks are added toeach Advanced level, OAC, U, U/C, andpost-secondary course used in thecalculation of academic strength.• Applicants meeting minimum academicrequirements (70% in 2016) are invited tobegin the selection process whichrequires them to:• Attend a program information meeting;present a portfolio of their design-relatedwork.

Presentation The portfolio presentation provides the applicant with an opportunity to show and explain their work. Through the presentation, the program faculty assess the applicant's attitudes, communication skills, and aptitude for the program.

Portfolio A portfolio consists of samples of the applicant's work. These may include up to 15 pieces of the individual's art and design-related work such as: symbols, lettering, paintings, sculptures, sketch books, drawings and sketches, finished illustrations, graphic design and web design, and/or other applied graphics.

Final selection is made using a formula that combines academic strength with the portfolio creative, technical, survey and presentation scores.

A sound English background is important for success in this program and is considered during the admission selection process. Minimum cutoffs apply.



Conestoga College – Interior Design (Honours degree)

Admission Requirements • Ontario Secondary School Diploma(OSSD), or equivalent, OR 19 years of ageor older• A minimum of six (6) required Grade 12courses with a minimum cumulativeaverage of 65%, including two (2) specifiedU level courses and four additional U or Mlevel courses (Higher averages are oftenrequired for admission due to competitionfor available spaces in the program.)

The following Grade 12 U courses are required: - English (ENG4U)- One Grade 12 Mathematics course fromthe following:Mathematics of Data Management(MDM4U) OR Advanced Functions(MHF4U) OR Calculus and Vectors(MCV4U)Four (4) other Grade 12 U or M courses

Note re: Admission Requirements • Applicants not meeting the admissionrequirements may pursue a variety ofdifferent pathways into the Bachelor ofInterior Design degree including DesignFoundations, Technology Foundations andInterior Decorating.• Applicants must have basic computerliteracy. Courses in art, CAD/drafting, andhistory are recommended. Grade 11 or12 Physics is highly recommended.

Admission Procedures Academic strength is calculated by averaging all submitted Grade 12 marks (or equivalent) of the required subjects and two additional OAC, U, or M courses. If more than two additional courses are submitted, the courses with the highest marks will be used.

Humber College – Interior Design (Honours degree)

To be eligible for admission, you must possess the following: • Ontario Secondary School Diploma(OSSD) or equivalent including theserequired courses:• Grade 12 English (ENG4U or equivalent)minimum 65 per cent• Grade 11 or 12 Mathematics (MCR3U,MCF3M, MDM4U, MCB4U, MGA4U,MCV4U or MHF4U or equivalent) minimum60 per cent• Four Grade 12 U or M courses in additionto those listed above• Overall minimum GPA 65 per cent

Applicants are required to submit a portfolio and a writing sample. i. Portfolio Applicants mustsubmit a portfolio thatincludes four creative pieces.The requirements for thesesubmissions are as follows:Compulsory PortfolioSubmissions (three requiredsubmissions)

Submission #1 – Perspective line drawing of a chair (two-

Writing Sample Applicants will complete a 350-word writing sample describing their knowledge and interest in interior design. We strongly recommend you research and refer to current issues in the interior design profession and include any projects,



point perspective). You may use your choice of medium for this piece, however, you are encouraged to work in black line for the chair and to use construction lines to show proper perspective methods.

Submission #2 – Perspective line drawing of an interior space or building façade. This should be from an actual space or building and not from your imagination or an abstract method. You may use your own choice of medium.

Submission #3 – Colour still life study that demonstrates your use of colour and composition. You are encouraged to group everyday objects such as fruit, small appliances, pottery or shoes.

Compulsory Submission of Your Choice (one required submission)

Submission #4 – Submit work of your choice. You may include a photograph of a three- dimensional object you have designed or created, work related to interior design or a subject or type of work that is not included in the list above. You should not include an abstract composition or piece of photography as it may not indicate the strength of your drawing abilities. Be sure to title each submission and briefly describe it (maximum 50 words).

periods or styles, architectural influences, designers or artists whom you feel have influenced either your artistic endeavours or your decision to pursue a career in the design discipline.

Be sure to emphasize your understanding of interior design versus decorating and your desire to attend Humber’s program.


Appendix 4: Selected Employment Opportunities The following is a selection of junior experiential design positions from a range of employers in Canada and the US. This sample provides a window into the types of professional opportunities available for graduates of the Honours Bachelor of Experiential Design program.

Jr. Exhibit DesignerLocation: Elgin, IL Posted: Mar 27

Job Description

Star Incorporated is an exhibit house located in Elgin, Illinois. We’re just minutes

from I-90 and Randall Road. Star has over fifty years of experience designing

and manufacturing custom exhibits for trade shows, museums, showrooms, and

other commercial environments. Star's award winning designs are

complemented by a commitment to high quality manufacturing with its team

centered project management philosophy. Please visit us at

www.starincorporated.com to learn more about our company.

We are looking for a full-time Jr. Designer to join our team of creative

professionals. This is an excellent opportunity for someone looking for job

growth and advancement. We are in search of a designer seeking long-term

employment that will mature and develop with our business.

Position Requirements -

• Bachelor’s degree (B. A.) and/or certificate in Industrial Design, Exhibit Design,

or 3D Design, with one to three years related experience and/or training; or

equivalent combination of education and experience.

• Application experience in Autodesk 3DS Max

• Application experience in Adobe Photoshop, Illustrator, and InDesign

• Application experience in Autodesk AutoCAD, preferred but not required

• Knowledge of exhibit design principles

• Knowledge of graphic design principles

• Knowledge of marketing and marketing communications principles

Qualifications –

• Ability to clearly and professionally communicate concepts and ideas visually

as well as verbally to clients and internal team members during design meetings

Star Incorporated

More Jobs Like This

» Exhibit Design

» Event Design

» Industrial Design

» Junior Staff

» Elgin, IL

http://www.coroflot.com/jobs/76913/Jr-Exhibit-Designer

via face-to-face, phone, and email.

• Comfortable working in demanding, fast paced environment with deadlines

• Able to work with minimal supervision, both alone and in teams.

Responsibilities –

• Design all phases of exhibit from concept line drawing to color rendering, all

within budget.

• Assist on existing client programs, as well as develop creative concepts for

prospective accounts as needed.

Company Benefits -

Star Incorporated offers a comprehensive benefits package, including:

• Health, dental, life, and short term disability insurances

• 401K plan

• Paid vacations

• Paid holidays

• Paid sick leave

• Paid bereavement leave

• Educational Assistance benefits

How To Apply

NOTE: International candidates must hold a valid US working permit.

http://www.coroflot.com/jobs/76913/Jr-Exhibit-Designer

Exhibition DesignerLocation: New York, NY Posted: Feb 3

Job Description

General Description:

The Exhibition Designer will support the development of the exhibition scope

including concept design and presentation materials, spatial planning, millwork

design and all drawings and renderings. This position will collaborate with other

exhibition designers and curators, bringing best practices, and new creative

strategies to the table.

The Exhibition Designer must have the capacity to support the design team in all

phases of an exhibition and be able to effectively communicate with external

consultants from case manufacturers to architects, designers, media consultants

and other types of expertise in order to realize needs of display and exhibition

experience. They should have experience creating design documents, familiarity

with construction bid packages, custom millwork detailing and possess the

technical and rendering skills (Photoshop, AutoCAD, etc.) to develop, present

and test design ideas visually. This person will collaborate with Design

Managers to bring alternative or enhanced design potential to shows at all three

locations, support designers by creating presentation models, making scale

maquettes, and research visual / fabrication materials. This person should also

be available to support institutional projects that require rendering, three-

dimensional thinking or visitor experience design.

Primary Responsibilities and Duties:

• Support exhibition design team for all three locations

• Design from research and concept through execution/production supervision

• Possess a high level of organization and file management

• Prepare design document drawings, floor plans, detail drawings, case lists or

Metropolitan Museum of Art

The Met presents over 5,000 years of art

from around the world for everyone to

experience and enjoy. The Museum lives

in three iconic sites in New York

City—The Met Fifth Avenue, The Met

Breuer, and The Met Cloisters. Millions of

people also take part in The Met

experience online. Since it was founded

in 1870, The Met has always aspired to

be more than a treasury of rare and

beautiful objects. Every day, art comes

alive in the Museum's galleries and

through its exhibitions and events,

revealing both new ideas and

unexpected connections across time and

across cultures.

show less »

More Jobs Like This

» Exhibit Design

» Junior Staff

» New York, NY

http://www.coroflot.com/jobs/76108/Exhibition-Designer

schedules for internal museum reviews and construction bid documents

• Collaborate with exhibition design team to enhance design and realize

exhibitions

• Construct models or mock ups for design and presentation purposes

• Coordinate fabrication with in-house production team or outside vendors when

needed

• Help facilitate communication with Design Managers during the final installation

process of all major projects, installations, or exhibitions as assigned

•Other related duties

Requirements and Qualifications:

Experience and Skills:

• At least three to five years experience in exhibition design or industrial design

are required

• Full knowledge of construction techniques, fabrication skills, materials, and

project management

• Knowledge of AutoCAD, Vectorworks, Rhino, 3ds Max, is required

• Strong organizational and design presentation skills

• Experience and knowledge of proper art handling procedures and art or object

installation and display experience preferred

• Good communication skills and ability to function as part of a team

• Ability to handle multiple projects simultaneously and meet deadlines

Knowledge and Education:

• B.A. degree in exhibition design, industrial design or equivalent field of work is

required. MFA or MArch preferred.

• Modelmaking, good handcraft skills, and knowledge of construction techniques

are required

• Museum exhibition design experience required

• Portfolio submission required

Application Details

http://www.coroflot.com/jobs/76108/Exhibition-Designer

RE: JUNIOR ENVIRONMENTAL GRAPHIC DESIGNER POSITION

Reich+Petch Design International is seeking a junior level environmental graphic designer for a full-time position at our Toronto Office. The selected candidate will work on Environmental Graphic Design projects such as museum and visitor centre exhibits, and wayfinding as a key member of the design team, contributing to the design approach and design development. He/She will report to senior designers and project managers. Under senior staff direction, the selected candidate will help prepare documents such as design drawings, presentations, documentation, message schedules, and location plans.

The Candidate should: • Be interested in the environmental graphic design field• Be a quick learner and a strong problem solver• Be a creative, energetic, forward-thinking designer• Have high attention to detail and strong organization skills• Be a flexible, strong team player who is also able to work independently• Be self-motivated and have the ability to be self-directed

Required Skills: • Strong graphic design and information design skills• Fluent Mac OS X platform• Highly proficient in Adobe Creative Suite (CS6 and up)• Experience in Microsoft Office• Ability to juggle multiple jobs and changes, keep all jobs on track, meet deadlines, work

within a tight schedule and fast-paced environment• Strong typographic skills• Strong written and verbal language skills

Assets: • Have wayfinding, signage, and environmental graphics experience and show an

aptitude in developing informational graphics• CADtools experience• Ability to read architectural drawings and work in scale• Exhibit and Interpretive Environmental Graphics Experience a strong asset• Ability to do hand-sketching a plus• Experience with 3D Programs (ie. Sketchup, Rhino, etc.) is an asset• RGD Members (or Provisional Members) preferred

Please send a resume and portfolio to [email protected] in a PDF format (5MB limit) With subject: Junior Environmental Graphic Designer

We appreciate the interest of all applicants, however only those under consideration will be contacted. No telephone calls or walk-ins please.

12/30/2016 2D Graphic and 3D Exhibit Designers - Howard+Revis Design, US - Washington, District of Columbia | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/75037/2D-Graphic-and-3D-Exhibit-Designers#specialties=61,17,56&from=search

2D Graphic and 3D Exhibit DesignersLocation: Washington, DC Posted: Nov 16

Job Description

orial

Howard+Revis Design Services, a leading exhibition design firm

located in Washington, DC, is looking for designers to join our small,

but growing team of dedicated professionals. Our project portfolio is

diverse, but expect to work on a variety of small and largescale

exhibits for museums, visitor centers and outdoor venues, as well as

on environmental signage projects. Our client base includes the

Smithsonian, National Park Service, the U.S. Holocaust Memorial

Museum, National Civil Rights Museum, National September 11

Memorial Museum, and Texas Historical Commission.

We are hiring for both junior and senior positions.

Application Details

Please send resume and portfolio to [email protected]

How To Apply

Howard+Revis Design

More Jobs Like This

» Exhibit Design

» Graphic Design

» Environmental Graphics

» Senior Staff

» Washington, DC

http://www.coroflot.com/jobs#zip=20036

http://www.coroflot.com/jobs#specialties=13



http://www.coroflot.com/jobs#job_levels=4

2D/3D DesignerLocation: Morton Grove, IL Posted: Dec 5

Job Description

When you join CDW Merchants, you join a dynamic group of entrepreneurial

people working towards a common goal. Our core values include using each

person’s best talents to their fullest, a ‘together, yes we can’ attitude and having

fun!

That said, there are some things we count on you to do consistently and well.

Here’s the list, but remember, on any given day, it could change!

Duties and Responsibilities:

(Day to Day):

2D/3D Designer- Assist with graphic design, technical drawings, and 3D

renderings to help bring our customer’s vision to life. You'll create production

ready mechanicals for our sales team. If you think dimensionally, love production

work, and meticulous when it comes to the details, you’re just who we are

looking for.

Responsibilities:

• Work directly with the Sales and Project Managers to create 2D graphic design

for displays, large format printing, and packaging. Create 3D graphic design

concepts for fixtures and props

• Create, flight-check and release production files

• Ensure mechanical files adhere to the brand or vendor specifications

• Troubleshoot technical problems as arise

Requirements:

• 2+ Years industry experience in design, retail, and packaging

CDW Merchants

CDW Merchants is a pioneering,

innovative, and a visionary company that

specializes in visual props and

ecommerce specialty packaging to truly

bring our customers’ vision to life. We are

a hard-working, fun loving, laugh out loud

bunch that bring our A game to every

project we attack for our...

show more »

More Jobs Like This

» 3D Modeling

» Industrial Design

» Graphic Design

» Junior Staff

» Morton Grove, IL

http://www.coroflot.com/jobs/75283/2D3D-Designer

• Proficient in a 3D program, Rhino preferred

• Create line drawings, shop drawings and 3D renderings

• Able to juggle multiple projects, highly organized, detail oriented, high quality

standards, adaptable and resourceful, able to successfully deal with change and

ambiguity

• Meticulous with design details such as logos, sizes, checking-color, bleeds, etc

• Photographing and editing product samples and packaging for presentations

• Report all activity daily in a project management system

• Log each project you are assigned onto company shared drive and keep up to

date statuses about each of the projects.

• Communicate effectively with CDW Business Development team and company

customers to identify customer’s needs and vision.

• Look for ways to best assist and create bridge between design & sales.

Skills and Characteristics That Will Make You Successful:

• Excellent interpersonal skills to interact with all parties involved with our

business

• Positive attitude; willingness and ability to contribute to a positive work

environment

• At least 2 years of work experience as Graphic Designer, Industrial Designer,

or other design position

• Bachelor’s Degree in Graphic Design, Industrial Design, or other related

design discipline

• 3D programs such as Rhino required

• Adobe Illustrator CC, InDesign CC, Photoshop CC

• Word, Excel, PowerPoint

• Project management system such as Producteev is a huge plus

• Photography experience a plus

• Attention to detail

• Ability to multi-task and prioritize

• Ability to work independently and be held accountable for business results

• High degree of self-motivation

• Strong team player-Ability to work in an atmosphere where going the extra mile

is the norm, and company culture

• Keen sense of urgency


• An enthusiastic and fun personality!

• Occasional travel attend trade shows or local suppliers.

How To Apply



12/30/2016 3D Brand Environment Designer | Landor

http://landor.com/opportunity/472474

3d brand environment designer

LondonCreative

Immerse. Evoke. Reframe. Create. At Landor, that’s how we approach design.

We are currently seeking a 3D Brand Environment Designer to join our London office.

What we're looking for...

We are in search of a truly creative individual, a person who is imaginative, inventive, and asks lots ofquestions. You’ll provide intelligent and refreshingly different design solutions for clients and pitches,swinging effortlessly from project to project. You’ll love learning and discovering new sources of stimulithat you can bring back for the team to draw inspiration from. With the support of our Design Directorsand Senior Designers, you‘ll have the opportunity to assist in conceiving and crafting brilliant designsolutions for our clients.

The role...

Understanding /awareness of the local aesthetic and culture when creating local and global brands,e.g. type, colour issues, symbols etc. for regions.Partners effectively with all departments to ensure delivery of on-time, high-quality deliverables thataddress all relevant prospective clients requirements.Communicates findings and recommendations in a clear and compelling manner in all written andoral presentation forms.Sharing and importing best practices and resources with peers within broader Landor network.Interacts in a positive, professional and motivating manner.

With team members, explores and conceptualizes 3D design solutions, including drawing, sketching,research and highlights and refines design concepts informed by continuous curiosity of designtrends.Learns to develop point of view.

Develops understanding of brand strategy, developing breakthrough design strategies and plans andconducting design research.

Required experience

Design experience in branding/ design agency.Experience across a range of brand experience platforms; this can include experiential, retail, office

12/30/2016 Junior Designer/Designer, Brand Environments | Landor

file:///Users/angela/Desktop/Selected%20Postings/Junior%20Designer_Designer,%20Brand%20Environments%20_%20Landor.html

Junior designer/designer, brand environments

ShanghaiCreative

About Landor

As a global leader in brand consulting and design, Landor helps clients create agile brands that thrive in today’s

dynamic, disruptive marketplace. Our work enables top brands—from Barclays to BMW and Tide to Taj—to

stand for something while never standing still.

Landor’s branding services include strategy and positioning, identity and design, brand architecture,

prototyping, innovation, naming and verbal identity, research and analytics, environments and experiences,

engagement and activation, and interactive and media design.

Founded by Walter Landor in 1941, Landor pioneered many of the research, design, and consulting methods that

are now standard in the branding industry. Today, Landor has 27 offices in 21 countries, working with a broad

spectrum of worldfamous brands. Clients include BMW, BP, Cathay Pacific Airways, Diageo, FedEx, GS Caltex,

Haier, HSBC, Jin Jiang Group, LG Group, Microsoft, Midea, PepsiCo, and UniPresident.

Landor is a member of the Young & Rubicam Group within WPP, the world's largest marketing and

communications firm. For more information, please visit Landor.com and follow Landor on Facebook and

Twitter.

Position Purpose

Under the direction of a Senior Designer and Creative Director, the Junior Designer/Designer will help develop

and understand design strategy to deliver the best possible creative solution with consideration of budget for the

client and Landor. Ensures all projects are delivered according to Landor’s brand promise of developing and

creating “Agile” brands.

Supporting and driving Landor’s creative vision and beliefs – ‘great ideas expertly and beautifully crafted and

delivered with rigor and flair’.

What makes us special?

We’re driven to do the best for our clients.

We love being part of a team and nurturing others.

We’ve got a proactive attitude to new business.

We’re ideasorientated and we know how to translate big ideas into business success.

Supporting our team we:

12/30/2016 Junior Designer/Designer, Brand Environments | Landor

file:///Users/angela/Desktop/Selected%20Postings/Junior%20Designer_Designer,%20Brand%20Environments%20_%20Landor.html

Form a strong link between Designers and Senior Designer

Develop supportive relationships with colleagues and other teams eg Client Services, Strategy

Act as a role model for Landor’s internal brand values.

Ensuring highest creative standards in accordance with the design brief, in collaboration with Senior

Designer and creative director

Assisting Client Managers and Directors with direct client liaison, when required

Duties and Responsibilities

Landor Fundamentals

Partners effectively with all departments to ensure delivery of ontime, highquality deliverables that

address all relevant prospective clients’ requirements.

Coordinates projects with outside resources to facilitate production of deliverables.

Communicates findings and recommendations in a clear and compelling manner in written, oral and

presentation forms.

Sharing and importing best practices and resources with peers within broader Landor network.

Interacts in a positive, professional and motivating manner.

Creative Excellence

Conducts conceptual exploration, including drawing, sketching, research, ideation and design

Works with Senior Designers to establish directions and design solutions; ensures implementation of

directions from concept through to delivery of BE.

Able to put forward a point of view not just on their own work but the work of others.

Proven ability to be handle multiple projects/tasks at one time.

Professional and technical Experience:

Degree in industrial design, interior design, or architecture

Minimum 1 year of environments design experience preferably in the Asia region

Proven track record in creative idea generation and development

Excellent verbal and written communication and interpersonal skills

Mandarin language skills, verbal and written heavily preferred but not mandatory, Basic English Language

skills mandatory.

Must be prepared to travel when required

handson and self motivated

Solid technical knowledge of architectural practice and construction including software proficiency

(AutoCAD);

Developed skills in layout, elevation, section and detail drawings;

Familiar with production and project management;

Ability to create 3D model by using Sketchup, 3D Max. Skills in rendering: lighting effects and

postproduction, on largescale interiors and ideally but not mandatory on smaller scale products.

A good understanding of the capabilities of the Adobe Creative Suite (Photoshop, Illustrator, InDesign,

12/30/2016 3D Brand Environment Designer | Landor

http://landor.com/opportunity/472474

interiors, museums, theatre, exhibitions and events.Experience working within a larger integrated team (graphics, architectural and possibly digital).Excellent technical skills, including Cinema 4D, Vectorworks, Sketch Up, Illustrator, Photoshop andInDesign.Knowledge of manufacturing processes, fabrication techniques and construction technology andexperience of working and liaising with contractors.

Apply now

First name *

Last name *

Email *

Phone *

Upload

Resume/cv *

12/30/2016 Gensler — Career Opportunities

http://chk.tbe.taleo.net/chk06/ats/careers/requisition.jsp?org=GENSLER&cws=1&rid=9787

Close Window

Environmental Graphic Designer

Careers Site Location: New York, NY, US

Description

Environmental Graphic Designer

New York, NY

Studio Profile:

Gensler’s Brand Design studio is a collaborative team of designers, strategists, and storytellers thatengages with a wide variety of clients on projects of all sizes—from product packaging and websites tocampus signage systems and international brand positioning. As Gensler brand designers, we help ourclients tell their unique stories effectively via every channel available in today’s diverse media landscape.Our approach combines design and architectural expertise with a unique point of view and strongcommunication skills. We believe that this approach results in brands that build trust, inspire confidence,and forge lasting relationships.

Your Role:

The Environmental Graphic Designer will be responsible for the design of a wide variety of graphics,branded environment, signage, and wayfinding projects. The designer will work as a key partner on fast-paced interdisciplinary teams of architects, interior designers, graphic designers, illustrators,photographers, and more that deliver projects ranging from strategic planning to corporate and retailinteriors. The Environmental Graphic Designer will deliver creative solutions in a diverse range of marketsincluding aviation, education, entertainment, hospitality, retail, sports, and workplace.

Your Qualifications:

- Minimum 6 years of experience in Environmental Graphic Design, Signage, and Wayfinding with aprofessional degree in Graphic Design or a related field

- Exceptional design sense with the ability to integrate messaging, color, imagery, and typography intothree-dimensional built environments

- Strong wayfinding planning experience including conducting research, building user-profiles, developingwayfinding strategies, and documenting design solutions

http://www.gensler.com/

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12/30/2016 Gensler — Career Opportunities

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- Proficiency drawing in scale and familiarity with architectural construction documents, elevations, plans,and shop drawings

- Excellent communication skills and experience as the main point of contact for clients, vendors,consultants, and project teams

- Ability to multitask while remaining efficient, poised, and organized

- Flexibility to work both collaboratively and independently on projects of all scales and types

- Proficiency in the latest design software including Adobe Creative Suite and CADTools

Gensler is an Equal Opportunity Employer and participant in the U.S. Federal E-Verify program. Women,minorities, individuals with disabilities and protected veterans are encouraged to apply.

Apply for this Position

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12/30/2016 Designer - San Francisco Museum of Modern Art, US - San Francisco, California | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/74704/Designer#keyword=museum&from=search

DesignerLocation: San Francisco, CA Posted: Oct 25

Job Description

eam isThe San Francisco Museum of Modern Art’s awardwinning design

seeking an inspired and versatile designer to engage our

audiences through visually rich and compelling visual graphics for

the 3D environment, digital platforms, and print. This position is a

member of a design team that plays an instrumental role in

translating the vision of our expanded institution into a vibrant and

cohesive brand. From concept to implementation, your approach is

holistic and inspiring. You love a challenge, have an eye for detail,

work well in a team, and pride yourself on your ability to balance

aesthetics, innovation, and versatility.

Conceptualize and design communications that support museum initiatives and increase audience engagement through a range of media, including print communications, environmental graphics, outdoor media, mobile and online media, print and digital publications, e-communications, and in-gallery digital resources.

Develop creative design solutions, applying a finely tuned sense of typography to all projects. Demonstrate an ability to carry concepts through a series of related projects and/or subsequent iterations, and the capacity to design materials and experiences that contribute to a cohesive and vibrant brand.

• Meet with client departments to plan the scope and schedule for individual projects; communicate deadlines, schedules, and production information to all necessary museum departments; attend project meetings as a representative of the SFMOMA Design Studio.

San Francisco Museum of ModernArt

The San Francisco museum of Modern

Art is dedicated to making the art for our

time a vital and meaningful part of public

life. For that reason we assemble

unparalleled collections, create

exhilarating exhibitions, and develop

engaging public programs. In all of these

endeavors, we are guided by our

enduring...

show more »

More Jobs Like This


» Graphic Design

» Web Design

» MidLevel Staff

» San Francisco, CA





https://www.sfmoma.org/

https://www.sfmoma.org/


12/30/2016 Experiential Graphic Designer - fd2s, inc., US - Austin, Texas | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/75237/Experiential-Graphic-Designer#specialties=61,17,56&from=search

About fd2s

With over 25 years of experience delivering awardwinning work, fd2s

is recognized as a leader in the design and implementation of

experiential graphics programs and wayfinding strategies for clients

across the U.S. and around the world. Come join us in shaping a next

generation design practice, founded on innovation through research.

How To Apply

12/30/2016 Experiential Graphic Designer - fd2s, inc., US - Austin, Texas | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/75237/Experiential-Graphic-Designer#specialties=61,17,56&from=search

Experiential Graphic DesignerLocation: Austin, TX Posted: Nov 30

Job Description

fd2s is searching for a talented designer with 35 years working in

the field of experiential graphic design, with exposure to wayfinding

projects a plus. We’re based in Austin,Texas (ranked consistently

high on everyone’s “Best Places to Live” list) and have clients and

projects located all across the U.S. We operate at the intersection of

research, design, and technology to deliver innovative solutions that

shape the way people experience the world around them.

Candidate must be able to contribute highlevel thinking and strong

graphic design skills to a variety of project expressions, including

signage design, branding and identity, information design, user

interface design, and related offerings. You will also need a firm

understanding of architectural conventions in order to “read” design

and construction drawings that will facilitate our efforts from

programming through design intent documentation, specifically for

projects with threedimensional components.

The ideal addition to our intimate studio is selfmotivated, eager to

learn, willing to work on any and all phases of design and

production, and excels as part of a team. Furthermore, the candidate

must be able to communicate effectively, manage projects including

client interaction, and commit to doing the job right and on time with

personal accountability. This role also requires good presentation

skills and the ability to organize and prioritize competing demands.

Portfolios should reflect a solid understanding of typography and

color theory, proficiency in the Adobe Creative Suite, with working

experience in FileMaker Pro, CadTools, Sketchup, and AutoCAD a

definite advantage. A bachelor’s degree in graphic design, visual

communications, architecture, or an allied field

of study with the aforementioned minimum of years of professional

experience in experiential graphic design is preferred.

fd2s, inc.

fd2s is an awardwinning, internationally

recognized design firm. We are

designers, wayfinding strategists, project

managers, and production experts, all

specializing in the planning and design of

solutions that enhance the way people

experience the physical environment. We

work for developers, architects,

corporations, institutions, and

governments, on projects ranging from

hospitals and...

show more »

More Jobs Like This

» Graphic Design


» Typography

» MidLevel Staff

» Austin, TX






http://fd2s.com/

http://fd2s.com/

12/30/2016 Designer - San Francisco Museum of Modern Art, US - San Francisco, California | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/74704/Designer#keyword=museum&from=search

• Schedule, bid, produce and deliver projects within established budgets, ontime, while maintaining museum quality standards. Ability to manage time appropriately, prioritizing projects within a moderate to heavy workload.

Qualifications

• Undergraduate degree in design or related field, or equivalent work experience.

• Minimum of one to five years experience in a design office or equivalent.

• Expertise in Adobe Creative Suite.

• Demonstrated experience designing for responsive web and print.

• Working knowledge of handcoded HTML, HTML 5, CSS3, JQuery, and Javascript.

For the full job description go to:

https://sfmoma.snaphire.com/jobdetails/ajid/X4xp8/Designer,21699.html

Application Details

You will need an online portfolio and a cover letter.

How To Apply


12/30/2016 Jr. Exhibit Designer - Orbus Exhibit & Display Group, US - Woodridge, Illinois | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/75554/Jr-Exhibit-Designer#specialties=61,17,56&from=search

Jr. Exhibit DesignerLocation: Woodridge, IL Posted: Dec 30

Job Description

Orbus, a leading and highly successful tradeshow builder and

designer of hardware and graphics to the exhibit and display

industry, is seeking a Jr. Exhibit Designer to join our dynamic

Design team. We are an aggressively growing company looking

for candidates seeking longterm employment that will mature and

develop with our business and who wants to be rewarded for their

positive contribution. This is an excellent opportunity for someone

looking for job growth and advancement, while also having

security and the ability to work in a creative environment. We have

grown every year over the past 8 years, and will continue our

growth and success with employees like you.

Job Summary:

The Junior Exhibit Designer functions as an integral member of

the design staff, providing quality and creative custom exhibit/

trade show booth designs for our customers.

RESPONSIBILITIES (includes other duties as necessary):

• Designing creative eyecatching tradeshow exhibits.

• Solid 3D and 2D software experience in the latest CAD and rendering packages.

• Clearly and professionally present ideas and designs to partners and client during design meetings via facetoface, phone, and email.

• Take design direction from the partners, client, sales representatives, and Department Manager.

• Operate effectively under time constraints and meet deadlines.

• Display ability to design to budget and estimate the project.

• Ability to creativity present concepts and ideas to sales and clients.

• Excellent communication skills, both written and verbal.

Orbus Exhibit & Display Group

Orbus Exhibit & Display Group® is a

collection of market leading brands, each

uniquely positioned to target a specific

market sector of the signage, events,

tradeshow exhibit and display industry.

Companies and brands within the group

include Orbus365®, SignPro Systems®,

Origin®, and Nimlok®. Specializing in the

design, production and wholesale...

show more »

More Jobs Like This

» Exhibit Design

» Junior Staff

» Woodridge, IL



http://www.orbuscompany.com/

http://www.orbuscompany.com/


12/30/2016 Jr. Exhibit Designer - Orbus Exhibit & Display Group, US - Woodridge, Illinois | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/75554/Jr-Exhibit-Designer#specialties=61,17,56&from=search

• Able to work with minimal supervision, both alone and in teams.

be able

below are

to perform

QUALIFICATIONS To perform this job successfully, an individual

must to perform each essential duty satisfactorily. The requirements

listed representative of the knowledge, skill, and/or ability required.

Reasonable accommodations may be made to enable individuals

with disabilities the essential functions.

EDUCATION and/or EXPERIENCE

BA/BS 3D Design or equivalent from fouryear College or technical

school.

Other Key Requirements:• Ability to design in 2D & 3D

• Must be detail oriented, able to prioritize tasks and able to work under

pressurewith multiple deadlines

• Exceptional communication and interpersonal skills

• Exposure or experience in tradeshow exhibit design, industrial design,

orarchitectural design a must.

• Possess an understanding of exhibits as a marketing and communication

cation tool

Please apply online through this job posting.

How To Apply

12/30/2016 Junior Experiential Designer - Overland Entertainment, US - New York, New York | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/75521/Junior-Experiential-Designer#specialties=61,17,56&from=search

Junior Experiential DesignerLocation: New York, NY Posted: Dec 22

Job Description

Production

possibility

for over 15

events

Clicquot

others.

of

Adobe

with

on

and

Overland Entertainment, a leading Experiential Marketing and

Event Agency is looking for a freelance junior designer. This

position has the of becoming permanent.

Overland has been one of NYC’s leading event production

agencies years. A small agency with big capabilities, Overland is

responsible for like The New Yorker Festival, Women in the World

Summit, the Veuve Polo Classic and Glamour’s Women of the Year

Awards among many

The candidate should have 1 – 3 years of experience and an

understanding the experiential industry. You will need to be

proficient in Vectorworks, Creative Suite and Sketchup.

The junior designer will report directly to the Creative Director and

work diverse project teams.

Job responsibilities will include creating floorplans, environmental

graphics, event design and décor concepts, renderings and

presentation decks.

We are looking for a very motivated person who is comfortable

working multiple projects and a creative thinker who will come up

with inventive fresh solutions to design problems.

Application Details

DESIGNSend a cover letter, resume and portfolio sample with subject line

JR POSITION

Overland Entertainment

Overland Entertainment is a leading

Experiential Marketing and Event

Production Agency. Overland has been

one of NYC’s leading event production

agencies for over 15 years. A small

agency with big capabilities, Overland is

responsible for events like The New

Yorker Festival, Women in the World

Summit, the Veuve Clicquot Polo...

show more »

More Jobs Like This

» Event Design

» Exhibit Design


» Junior Staff

» New York, NY

http://overlandentertainment.com/



http://overlandentertainment.com/




12/30/2016 Junior level Architect/Graphic Designer - C&G Partners, US - New York, New York | Job Postings from Coroflot.com

http://www.coroflot.com/jobs/75128/Junior-level-ArchitectGraphic-Designer#specialties=61,17,56&from=search

Junior level Architect/Graphic DesignerLocation: New York, NY Posted: Nov 22

Job Description

Junior level Architect/Graphic Designer needed to assist on high

profile wayfinding, placemaking and exhibit projects at congenial

multidisciplinary design firm located in lower Manhattan.

Ideal candidate should possess the following:

Excellent skills in Adobe Suite, Revit, CADD, 3D rendering, sketch

up, modelmaking.

Well organized and detail oriented with a cando attitude

Be comfortable working as part of a team.

Articulate and poised with excellent communication and inter

personal skills. An interest in signage, way finding, exhibit design and

infographics.

Please email resumes to [email protected], with cover letter

with work samples detailing your current employment situation and

why you are interested in this position. Correspondence should note

"Architectural Graphics" in the subject line.

Application Details

Please email resumes to [email protected] with cover letter

with work samples detailing your current employment situation and

why you are interested in this position. Correspondence should note

"Architectural Graphics" in the subject line.

How To Apply

C&G Partners

C&G Partners is a multispecialty

creative studio, dedicated to design for

culture.

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http://www.cgpartnersllc.com/


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Experience Designer

Location: Seattle

Job Code: 651

Description

NBBJ – Sea)le is looking for an Experience Designer for our Graphic Design Studio (07).

We are on the hunt for a well-‐versed experience designer who is also able to flex into various areas of design including environmental graphics and wayfinding, moFon graphics, andinteracFon design.

Working within a global architecture firm, Studio 07 partners with teams to create an added level of experience to the built environment. From digital integraFon, to signage andwayfinding, to sound design, our studio works to produce stellar design elements and create the ulFmate sense of place for the end user.

We’re always looking for designers who know a thing or two about a thing or two, and while we know you won’t meet every requirement, that’s okay – we’d love connect if thissounds at all like you.

About YOU: Not only do you keep up on design trends, you’re constantly taking risks and creaFng beauFful work. Maybe you’re savvy in areas such as video ediFng and interacFondesign, and you definitely have an understanding of EGD fundamentals and designing for architecture. You have working knowledge of various plaSorms like Revit, Studio Max,Sketch UP, and Rhino. You take ownership of tradiFonal and untradiFonal design work, and are comfortable leading project teams from concepts through development for projectssmall and large. You’re a storyteller, a communicator, a team player, an outside-‐the-‐box thinker, a well-‐rounded designer.

Desired Skills & Qualifica;ons:

Evidence of thoughtful and creative design experienceMinimum of 2 years of design experienceAbility to design at an architectural scaleAbility to take iniFaFve and complete tasks efficiently, while managing mulFple compeFng deadlinesProficiency in brainstorming and conceptualizing original story linesThorough knowledge of producFon processesStrong a[enFon to detail, layout and typographyUnderstanding and appreciaFon of architectural pracFceExperience using Revit, Studio Max, Sketch Up, RhinoSecondary experience in Photography, Film and Photo DirecFon, Video EdiFng, AR, VR, MoFon Graphics or InteracFon Design (may include working knowledge of tools, suchas A^er Effects, CSS, JS, HTML5, MaxMSP, Grasshopper, Ableton, Processing)

NBBJ is an Equal Opportunity Employer.

M/F Disabled and Vet EEO/AA Employer

http://chj.tbe.taleo.net/chj04/ats/careers/requisition.jsp?org=NBBJ&cws=1&rid=651&mode=job&iis=Indeed&iisn=Indeed.com


Appendix 5: Professional Behaviours Framework

The program curriculum provides an environment that fosters self-reflection. Experiential Design is a highly dynamic field that requires a commitment to life-long learning. Contexts, projects and possibilities afforded by cultural, social and technological change are always in flux, graduates will need to be adaptive, open and responsive within their practice.

The Professional Behaviours program and course learning outcomes have been developed in parallel to the core thematic areas of the curriculum and are integrated in studio, theory and professional practice courses. Learning within this program has been structured to help students develop communication, ideation and facilitation skills through group work and critique processes.

The scaffolding of the professional behaviours builds from a foundational awareness of individual strengths which inform the individual’s ability to participate effectively in team-based environments. In the senior years within the program, the knowledge of effective collaboration, project management and reflective practice culminate in an understanding of leadership capabilities, roles and skills.

Figure 1 - Professional Behaviours Model

Critique and reflective practice

In order to provide a detailed analysis and assessment of a piece of work, students must exercise their ability to communicate processes, articulate examples, as well as interpret the parameters of the work in process. As a result this category engages communication, reflection and critical thinking skills.

Foundation level - Describe personal strengths and weaknesses through articulation and

documentation of process.- Describe own work and that of others using appropriate terminology.- Document personal process using tools such as journals and sketchbooks.- Interpret project parameters and expected deliverables.- Explain context of design process and work through appropriate research.

Leadership

Critique&ReflectivePractice

ProjectManagement

Collaboration&Team-work


Intermediate level - Apply reflective practice for critical thinking employing the tools of critiques,

writing journals, active listening and observation.- Employ the tools of reflective practice to develop an informed argument to defend

ideas and concepts.- Engage in activities that reflect personal capabilities and strengths achieved

through reflective practice.- Evaluate process in relation to the project goals.- Develop breadth and depth of research and diversity of perspectives.

Summative level - Adapt design process in response to feedback and self-reflection.- Compose response to the work of others informed by appropriate research and

analysis.- Formulate feedback and responses employing clear verbal, visual and written

communication that support project goals.- Situate personal practice within broader context informed by awareness of self

and research.

Collaboration and Group Work

Engage collaboratively as a team by working together to determining end product and milestones; soliciting and integrating unique perspectives to enrich ideas; sharing equally in the leadership and support of peers; all in an effort to achieve team and project objectives.

Foundation level - Define importance of project deadlines, milestones, resources and individual

responsibilities in achieving project goals.- Describe individual contribution to project through visual, verbal and written

documentation.- Leverage tools and strategies to navigate conflicts.

Intermediate level - Assess strengths and limitations to determine individual roles and

responsibilities.- Communicate to internal and external stakeholders to establish accountability for

defined tasks.- Establish awareness of the value of conflicts and differences in perspective

through group discussion and written reflection.- Evaluate constructive and effective individual and group contributions to achieve

project goals through peer assessment.


Summative level - Negotiate appropriate roles and responsibilities based on assessment of

individual skills and knowledge within the group.- Analyze gaps in group skills and knowledge to identify required expertise.- Seek different and unique perspectives to enrich ideas and to generate

innovation.- Share in the responsibility and accountability to self and others for identified

tasks.

Project Management An iterative project management approach, employs a process where student cycle through the project stages where they must analyze, design, develop, evaluate and refine the deliverables in a purposeful and ongoing manner. Students reflect and evaluate each stage of the process against the stated goals of the project.

Foundation level - Apply management tools and strategies to identify timeline to meet assigned

deadlines.- Create basic planning documents to organize and break down project scope and

resources.- Communicate status of individual responsibilities to faculty and team.

Intermediate level - Anticipate project milestones and potential barriers that impact project delivery.- Create basic planning documents for a larger scope project.- Analyze relevant stakeholders to identify their role and agency within the scope

of the project.- Create a communication strategy to inform stakeholders and team about project

status.

Summative level - Create timeline that identifies project milestones and deadlines based on

intended project objectives.- Assemble a team that meets project requirements and objectives.- Create detailed planning documents for larger scope project including resources,

budgets and contingencies.- Establish strategy for engaging stakeholders in the outcomes of the project.- Communicate regularly and appropriately to all stakeholders to resolve issues

before they become barriers.


Leadership (NOTE: These behaviours are to be engaged once students have gained at minimum an intermediate level of skill in critique, collaboration and project management)

In line with design thinking and experiential methodologies, students develop an awareness of the values required for effective leadership in the collaborative team-based environments in Experiential design. Though a participative leadership approach, students will begin to use collaborative strategies that engage teams and synthesize knowledge of individual strengths and align them to project objectives.

Foundation level - Identify stakeholders and organizational needs as related to the project.- Explore a variety of tools for facilitation and consensus building.- Define roles and responsibilities of team members to meet needs of the project.- Communicate feedback to team members based on agreed upon criteria.- Acknowledge the importance of diverse perspectives to generate innovative

solutions.

Intermediate level - Assess and test priorities to establish stakeholder and organizational goals.- Engage team members in ways that facilitate individual contributions that

constructively build upon or synthesize the ideas of others.- Select team members with skills, knowledge and abilities to meet requirements

of defined roles.- Employ appropriate levels of guidance of team members in relation to their

individual needs within the context of the group.- Develop strategies to incorporate diverse perspectives and new ideas to

generate innovative solutions.

Summative level - Communicate a unified vision of stakeholders and organizational goals as

related to the project.- Collaborate and mediate through strong facilitation skills and consensus

building.- Mentor team members through appropriate support and motivation in order to

achieve individual and project goals.- Support innovation and strategic foresight through a growth mindset including

openness to change and learning opportunities and flexibility in perspective.

12017 Professional Development/Skills Survey

segd.org

2017Professional Development/Skills Survey

March 2017 Prof

. Dev

./Ski

lls S

urve

y

Appendix 6: SEGD Professional Development/Skills Survey


OverviewIn order to best serve the SEGD community and to develop a next-generation best-in-class program for professional training and skills based learning, we surveyed members to gain insights of what skills they need their staff to develop, as well as where they are going to get this training. We also looked at the impact of digital, and what competencies are required to expand a firm’s digital offerings, as well as what skills would help them become more profitable.


What are the top skills you need your team to develop?

Business + ProjectManagement + People skills/collaboration+ Leadership w/clients/partners+ Managing contracts/scope+ Managing profitability/fee+ Budgets/estimates+ Time efficiency/quality control

25

50

75

100

Visualization +Documentation + Drawing/documentation+ 3D rendering/modeling+ Detailing/materials+ Specification+ Fabrication/building

5552

Concept Design +Development + Strategy/planning+ Ideation/sketching+ Dimensional systems+ Systems thinking

40

Digital Design + Trends/specification+ UI/UX design+ Content design+ Interface design+ Other software

34

Communication + Writing for proposals+ Writing for content+ Presentation

29

Problem Solving

19

Marketing +BusinessDevelopment

15

Accessibility +Building Codes

10

Other Topics + Design Thinking+ Typography+ Global Trends+ Generational Impact + Information Design + Storytelling+ Marketing/Biz.Dev. + Virtual Reality + Sustainability + Design Foundations

22

0


What are the top skills you need your junior staff ( < 3 years) to develop?


25

50

75

100


5449


40


27

Problem Solving + Analysis/logic+ Holistic approach

19


19

Typography + Graphic Design Foundations

7

Accessibility + Building Codes

5

Other + Design Thinking+ Global Trends+ Generational Impact + Information Design + Storytelling+ Marketing/Biz.Dev.

13

0


How will your junior staff ( < 3 years) gain these skills?

On-the-job

25

50

75

100

Self-taught

70

46

Online resources

40

Webinars(SEGD)

32

Workshops andconferences(other groups)

24

Webinars (other groups)

21

Workshops andconferences(SEGD)

20

External expert

19

None of above

20


What are the top skills you need your mid range staff (3-7 years) to develop?

25

50

75

100


68

40


30

26

Marketing + Business Development + Relationships+ Opportunities

15


15


9

Accessibility + Building Codes

5

Other + Design Thinking+ Typography + Global Trends + Storytelling + Design Foundations

5



0


How will your mid range staff (3-7 years) staff gain these skills?

On-the-job

25

50

75

100

Self-taught

57

36

Webinars(SEGD)

31


28


26

Onlineresources

25


21

External expert

20

None of above

20


What are the top skills you need your senior staff (7+ years) to develop?

25

50

75

100


73

35


25 23


18


14


7 8

Other + Design Thinking+ Typography + Accessibility/Codes + Storytelling



0


How will your senior staff (7+ years) staff gain these skills?

On-the-job

25

50

75

100

Self-taught

60

41


35


29

External expert

28

Webinars(SEGD)

26

Onlineresources

20


17

None of above

20


What top skills will help you and your firm become more profitable?

25

50

75

100


75

36


17


13



9 8

Accessibility +Building Codes



17

23

Design Thinking0


What digital competencies are critical for your staff to develop?

25

50

75

100

Sensors +beacons

35 32

SystemsIntegration

29

ContentManagement

17

Development(coding/programming)for web + mobile

Virtual Reality

1613

AugmentedReality

Content(animation + motion graphics)

Specification + Consulting

24

11

Development(coding/programming )for apps

0

9

Other

8


How much do you allocate annually per employee for training and development (do not include membership fees)?

25

50

75

100

14 17 20

4

< $300

13

$300-600 $600-1000 $1000-2500 $2500-5000 $5000+

40


How important is it for you to train your staff and/or know that your staff has been trained in a set of core competencies for Experiential Graphic Design? (1 least and 10 most)

2

4

6

88.16

0

10


Rank SEGD as an education provider (1 worst and 10 best)

2

4

6

8

6.18

0

10


Appendix 7: Non-Duplication of Programs The proposed Honours Bachelor of Experiential Design degree would be the first undergraduate program of its kind in Canada thus giving Sheridan a leading edge in developing curriculum within this rapidly expanding field of design practice.

A review of Canadian post-secondary offerings confirms that there currently are no Experiential Design degree programs being offered in Canada. The Environmental Design programs offered by UBC and OCADU would have the closest alignment to experiential design in Canada however, they are rooted more in the tradition of architecture and do not include key areas of experiential design practice such as wayfinding, exhibit design and installation. Further exploration of program offerings across the US and internationally suggests that programs comparable to what Sheridan is proposing are at the graduate level. As well, consultations with industry stakeholders and the ad hoc PAC have confirmed that professional demand for graduates in Experiential Design is increasing.

Summary of Similar Ontario College Degree Programs Currently there are no direct competitive programs at any Ontario or Canadian colleges for the Honours Bachelor of Experiential Design. The programs listed below have aspects of curriculum that may be related but do not represent a significant overlap.

Bachelor of Interior Design programs 1. Institution: Algonquin CollegeProgram Name & Credential: Bachelor of Interior Design (Honours) Program Description: The curriculum is focused primarily on interior design practice and spatial design as applied to different built environments. There are required courses in Human Factors, Research Methods and Sustainable Practices. The program has CIDA accreditation. Analysis of Similarities & Differences: The curriculum does not include Communication focused courses relating to narrative, graphic and information design or interactive, time-based and digital media. The Bachelor of Experiential Design core studios cover areas such as Wayfinding, Exhibition Design and Public Space that not generally included in Interior Design programs.

There are four Ontario colleges that offer four year, accredited, Honours Bachelor of Interior Design degrees: Conestoga, Georgian, Humber and Sheridan. These programs have similar curriculum to each other due to accreditation requirements and focus primarily on interior built environments. There may be some courses that overlap with the proposed degree but they do not represent a significant duplication.


Bachelor of Design programs 2. Institution: Humber CollegeProgram Name & Credential: Honours Bachelor of Design Program Description: Humber’s proposed Honours Bachelor of Design program offers students a truly innovative program of interdisciplinary, collaborative, project-based learning to prepare them to join the challenging and exciting world of design for the experience economy. The course of study is carefully designed to develop advanced capabilities in design tools and methods, communications, visual literacy, digital technology, qualitative research, creativity and innovation, interaction and service design. Analysis of Similarities & Differences: The Humber Graphic Design program focuses on producing design generalists, with an emphasis on design for media communications and user experience (UX) Design. There is no mention of experiential design, spatial design in the built environment, or Multi-Sensory Communications in the curriculum. These are the areas of focus in the Honours Bachelor of Experiential Design Program which provides specialized education that addresses this growing industry need.

The proposed Honours Bachelor of Experiential Design degree will be professionally aligned with the Society for Experiential Graphic Design (SEGD) whereas the Interior Design programs are accredited by the Council for Interior Design Accreditation (CIDA) in Canada.

Other Related Programs - Graphic Design (Advanced Diploma, 3 year) 1. Institution: George BrownProgram Name & Credential: Graphic Design, Ontario College Advanced Diploma Program Description: 3 year program (6 semesters) The program provides a strong overall understanding of design with majors in either Communication Design or Advertising Design. Studio electives include illustration, interactive media, editorial and package design. Analysis of Similarities & Differences: In Ontario, George Brown and Conestoga offer three year, Advanced Diplomas in Graphic Design. While there may be some similar courses in relation to visual communication, typography, interactive, digital and time-based media these programs do not have spatial and human-centred design streams that are core within the Honours Bachelor of Experiential Design curriculum.


The tables below identify the institutions in Ontario with certificate, diploma, undergraduate or graduate programs in Graphic Design (a more detailed profile is in Appendix 1: Environmental Scan).

1. Institution: Fleming CollegeProgram Name & Credential: Integrated Design (Diploma and Certificate); equivalent of two years of study at the college level (3 semesters) Program Description: The program emphasizes design principles, theory, history, research and methodologies, in combination with intensive studio time spent experimenting with different materials and sustainable processes. The program prepares graduates to be critical thinkers and problem solvers with emphasis on artistic practice, supported by design thinking. The aim is to provide students with hands-on material experience, and the skills and knowledge required to start a small independent practice/business or to pursue further education. Analysis of Similarities & Differences: This program could potentially be a source of applicants for the Experiential Design program given that there is emphasis on design and critical thinking, hands-on experience with materials and a strong foundation in design principles. Since it is the equivalent of a two-year college diploma, this program is not considered a direct competitor.

2. Institution: Fleming CollegeProgram Name & Credential: Museum Management and Curatorship, Ontario College Graduate Certificate (3 semesters) Program Description: The program provides applied skills-based training for careers in the museum/gallery or heritage sectors. The courses have been developed in consultation and co-operation with museums and heritage organizations in order to offer a real work experience. The curriculum reflects best practices rooted in ethical applications. The program combines independent study, in-class lectures, discussion, group work and applied projects. There is also a 600-hour internship. Analysis of Similarities & Differences: Graduates of this program can work in museums and cultural institutions in curation, collections management, outreach and education. There are two courses in Exhibition Design which is a key area of practice within Experiential Design but the program does not have a significant design focus and is therefore not a direct competitor with the proposed degree. This program could be a source for applicants.


Similar or Related University Programs As mentioned in the Feasibility Study, many individuals who currently work in experiential design have an education in Graphic Design, Industrial Design or Architecture. A careful review of four-year undergraduate design degrees in Canada found only a few that offered courses specific to experiential design. Further, it is noted that these courses only represent a small fraction of the overall curriculum.

The Ontario university programs listed are affiliated with experiential design and may have some areas of overlap but none can be considered direct competitors. A summary of the five programs offered at Ontario Universities that are most similar or related to the proposed Honours Bachelor of Experiential Design:

1. Institution: OCAD University, Toronto, ONProgram Name & Credential: Bachelor of Environmental Design (Honours) Program Description: The program focuses on the design of interior and architectural spaces. Projects are developed in an interior, architectural, environmental and societal context. Graduates find employment with interior design studios, environmental, architecture or landscape architecture firms and product design companies. Analysis of Similarities & Differences: Focus is primarily on interior design practice and spatial design as applied to various physical environments. The curriculum does not include Communication Design courses relating to narrative, multi-sensory communication, interactive and digital media. The Honours Bachelor of Experiential Design also has strong emphasis on design thinking and human-centred research methods.

2. Institution: University of Toronto, Toronto, ONProgram Name & Credential: Bachelor of Arts, Architectural Studies (Honours) Program Description: Four Specialist streams in architectural studies are offered by the John H. Daniels Faculty of Architecture, Landscape, and Design in collaboration with the Faculty of Arts and Science: Comprehensive; Design of Architecture, Landscape, and Urbanism; History and Theory of Architecture, Landscape, and Urbanism; or Technology of Architecture, Landscape, and Urbanism.

The architectural studies programs provide degree options for students wishing to study architecture as part of a liberal arts education. The programs serve as an introduction to the discipline of architecture, focusing on the state of the art, current issues and emerging practices, all considered from critical, theoretical and historical perspectives. Studio courses in design and visual communications provide opportunities to learn practical, formal and analytical skills, and are augmented by advanced courses in allied design arts, such as landscape, furniture, graphic, and stage design.


Analysis of Similarities & Differences: The curriculum for Architectural Studies consists of courses focused on architecture, urban design and landscape architecture and offers a lot of breadth in these areas with three specialist streams: Design, History and Technology. The curriculum does not include Communication Design courses relating to narrative, multi-sensory communication, interactive and digital media. The Honours Bachelor of Experiential Design also has strong emphasis on design thinking and human-centred research methods.

3. Institution: Ryerson University, Toronto, ONProgram Name & Credential: Bachelor of Interior Design (Honours) Program Description: This program prepares graduates for a career as a professional Interior Designer. The program is grounded in a commitment to experiential and hands-on learning. An internship requirement, completed before graduation, is an integral part of the preparation for entering the profession. Field trips and opportunities for international exchange enrich the educational experiences possible at the school. Analysis of Similarities & Differences: Focus is primarily on interior design practice and spatial design as applied to different built environments. There are courses in Human Factors, Research Methods and Sustainable Practices but the curriculum does not include Communication focused courses relating to narrative, graphic and information design or interactive, time-based and digital media. The Honours Bachelor of Experiential Design core studios cover areas such as Wayfinding, Exhibition Design and Public Space that are not as common in Interior Design programs in general.

4. Institution: Carleton UniversityProgram Name & Credential: Bachelor of Industrial Design (Honours) Program Description: The School of Industrial Design prepares graduates to work professionally in the design and development of products, systems and services. The curriculum includes courses in psychology, sociology, human centred design, materials and manufacturing along with design studios. There are also co-operative work opportunities for students with qualifying grades. Students can also minor in other areas of concentration such as Business, Psychology, and Technology, Society, Environment Studies. Analysis of Similarities & Differences: Human-centred research and design, ergonomics, materials and fabrication are areas of similarity with the Experiential Design program. The Industrial Design degree does not offer concentrations in spatial design, multi-sensory communication and digital and interactive media.


5. Institution: Wilfred Laurier University/Conestoga College, Brantford, ONProgram Name & Credential: Bachelor of Design, User Experience Design; Ontario College Graduate Certificate in Interactive Media Management Program Description: Students graduate with both an Honours Bachelor of Design (BDes) in User Experience Design from Wilfred Laurier and a graduate certificate in Interactive Media Management - User Experience from Conestoga College. User experience (UX) is a specializationwithin interaction design and focuses on designing digital interfaces for products,services and environments. UX designers have expertise in usability and human-centred research methods as applied to the design process.Analysis of Similarities & Differences: The program is more of a direct competitor with the Bachelor of Interaction Design at Sheridan rather than the Experiential Design program because there are no aspects of spatial design or the full range of multi-sensory communication. There is some overlap with the digital and interactive media components and research methods in the XD program. An experiential designer is likely to collaborate with a UX designer on project teams but they have complementary areas of expertise.


Section 14: Policies The Sheridan policies on file with PEQAB are current.


References Brown, Tim (2008, June) Design Thinking. Harvard Business Review, 86, 88

Retrieved from https://hbr.org/2008/06/design-thinking

Brown, Tim (2017, October) Design Thinking. IDEOU Retrieved from https://www.ideou.com/pages/design-thinking

Government of Canada. (2015) Government of Canada Survey of Heritage Institutions: 2015 (ISSN 2368-500X). Quebec, Canada: Government of Canada, p. 3, 5

Hill, D., Doody, L., Watts, M., Buscher, V., & McClure, B. (2011) Arup UrbanLife: The smart solution for cities Retrieved from

http://www.smartcitiesappg.com/wp-content/uploads/2015/07/UrbanLife_SmartSolutionForCities_July11.pdf

Kolb, D.A. (1984) Experiential learning: experience as the source of learning and development. Englewood Cliffs, NJ: Prentice Hall

Kuh, G.D. (2008) High-Impact Educational Practices: What They Are, Who Has Access to Them, and Why They Matter. Washington, DC: Association of American Colleges and Universities

Toronto Artscape. (2015, December) Canadian Arts, Culture and Creative Sector: Compendium of Key Statistics, Volume II: Economic Impact, p.8

Unesco (2012, May) Culture: a driver and enabler of sustainable development, p.3 Retrieved from:

http://www.un.org/millenniumgoals/pdf/Think%20Pieces/2_culture.pdf

honours bachelor of experiential design

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