show understanding of form, structure and scale

Three‑Dimensional Design – IGCSE 0400 (2026 Specification)

Objective

Demonstrate a comprehensive understanding of form, structure, scale, proportion, function, surface, texture, movement, audience, sustainability and cultural context in three‑dimensional design projects, and apply this knowledge through research, ideation, planning, construction, testing and critical evaluation.

1. Research & Recording

• Visual research – gather first‑hand observations (sketches, photographs, video clips) and secondary sources (books, websites, museum visits).
• Recording techniques – maintain a sketchbook or digital journal (e.g., tablet app) to capture ideas, measurements, colour swatches and short written notes.
• Mood‑board – collate colour palettes, textures, cultural references and functional inspirations on a single sheet (physical or digital).
• Annotated photographs – label scale, material, construction details and any cultural or social significance.
• Context checklist – for each project ask:
  • What cultural or social influences are relevant?
  • Who is the intended audience or user?
  • What function does the object serve (ergonomic, practical, symbolic)?

2. Ideation & Concept Development

• Generate at least three distinct design proposals – sketch, thumbnail, or quick 3‑D models.
• Explore variations in form, structure, scale and surface treatment.
• Use a selection matrix (criteria: function, stability, material suitability, sustainability, audience appeal) to choose the final concept.
• Document the decision‑making process in the research journal.

3. Key Design Concepts

Form

The external three‑dimensional shape produced by the interaction of volume, mass and surface. Light, shadow, colour and texture modify how form is perceived.

Structure

The internal framework that supports a form. It governs stability, durability and the way forces travel through the object.

Scale & Proportion

Scale is the ratio between a model (or prototype) and the intended final object. Proportion relates the sizes of the parts within the whole.

Scale conversion formula:

$$\text{Real size} = \text{Model size} \times \frac{\text{Real units}}{\text{Model units}}$$

Worked example (1 : 20 scale):

• Model chair height = 15 cm (model units = cm)
• Real‑world height = 15 cm × 20 = 300 cm = 3 m

Function & Ergonomics

• How the object works – load‑bearing, moving parts, user interaction.
• Ergonomic considerations – comfort, reach, safety, accessibility.
• Relationship between form and function – “form follows function” but aesthetic choices may also enhance or modify function.

Surface, Texture & Movement

• Surface finishes – polishing, sanding, painting, patination, embossing, glazing (ceramics), fabric‑covering.
• Texture – rough, smooth, patterned; created with tools, moulds, additive materials, or textile techniques.
• Movement – hinges, rotating parts, flexible elements; consider balance, centre of gravity and load paths.

Perspective & Visual Balance

• Communicate three‑dimensional ideas using 2‑point or 3‑point perspective drawings.
• Visual balance – distribute visual weight (colour, mass, detail) to achieve physical stability and aesthetic harmony.
• Colour relationships – use colour to highlight structure, indicate function or create contrast.

Sustainability & Social / Cultural Context

• Investigate the environmental impact of material choices (embodied energy, recyclability, end‑of‑life).
• Link material decisions to local cultural practices (e.g., using reclaimed timber from a community project).
• Consider the social value of the object – does it address a community need or reflect cultural identity?

4. Materials & Their Structural & Functional Properties

Material	Structural / Functional Properties	Typical Uses in 3‑D Design
Soft wood (pine, poplar)	Lightweight, easy to cut, moderate strength, good for joints.	Scale models, furniture prototypes, temporary structures.
Hard wood (oak, walnut)	High strength, durable, heavier, takes fine finishes.	Final furniture pieces, load‑bearing frames.
Metal sheet (steel, aluminium)	Very strong, rigid, can be cut, bent, welded; conducts heat.	Structural frames, industrial design prototypes, decorative panels.
Metal wire / rod	Flexible yet strong, good for armatures and tension structures.	Skeletons, movable joints, kinetic sculptures.
Plastic (acrylic, PET)	Transparent or coloured, lightweight, moderate strength.	Display models, surface panels, light‑diffusing elements.
Clay (air‑dry, polymer, ceramic)	Malleable, can be textured, hardens to a solid mass; ceramic can be glazed and fired.	Form studies, surface texture exploration, small maquettes, ceramic tiles.
Plaster	Hardens quickly, smooth finish, brittle under tension.	Surface casting, detail replication, architectural elements.
Cardboard / corrugated board	Very light, easy to fold, low strength, recyclable.	Concept models, quick studies, sustainable prototypes.
Fabric / textile	Flexible, can be tension‑stressed, offers colour and pattern; can be combined with stiffeners.	Fabric‑wrapped forms, soft‑structure seating, wearable sculpture.
String, twine, wire rope	Flexible, high tensile strength, suitable for tension structures.	Suspended elements, kinetic pieces, decorative weaving.
Tape (mask, duct, double‑sided)	Adhesive, lightweight, limited structural capacity.	Temporary joints, surface detailing, fast‑prototyping.
Recycled composites (cardboard‑fibreglass, plastic‑wood blends)	Varied strength, eco‑friendly, can be sanded and painted.	Sustainable prototypes, furniture components, outdoor installations.

5. Digital Design Tools & Specialist Equipment

• CAD software (SketchUp, Fusion 360, Rhino) – create accurate 3‑D models, generate scale drawings, render surface finishes, and run basic stress/ load simulations.
• Laser cutter – precise cutting of wood, acrylic, cardboard; always wear safety goggles and ensure adequate ventilation.
• 3‑D printer – rapid prototyping of complex geometries; choose material strength appropriate to the final object.
• Kiln (for clay & ceramics) – fire clay to a permanent state; follow temperature schedules and wear heat‑resistant gloves.
• Hand tools – saws, files, sanders, drills, hammers; use appropriate PPE (gloves, eye protection, ear defenders).
• Surface‑treatment equipment – spray booths, glazing kilns, fabric staplers.

6. Design Process Checklist (Expanded)

1. Research & Recording – visual research, mood‑boards, annotated photographs, sketchbook/digital journal entries.
2. Define purpose, audience and function – develop a user‑persona (age, abilities, cultural background, needs).
3. Ideation – produce multiple design proposals, explore form, structure, scale and surface; evaluate with a selection matrix.
4. Planning – choose final concept, create scale drawings (hand‑drawn or CAD), calculate material quantities, and draft a structural armature plan.
5. Material selection – consider strength, durability, finish, sustainability and cultural relevance.
6. Scale & Proportion work – apply the scale conversion formula; produce a worked example and a full‑size measurement table.
7. Structural development – build armature (wire, wood, metal) ensuring load paths are understood; if possible, run a simple stress analysis in CAD.
8. Form construction – add bulk material, refine shape, apply surface treatments, texture and colour.
9. Movement & Mechanism testing – check hinges, rotating parts, balance and centre of gravity; adjust as needed.
10. Testing for stability & durability – load‑bearing tests, vibration checks, ergonomic trials with the user‑persona in mind.
11. Evaluation & Peer Review – complete a self‑assessment rubric (AO1‑AO5) and a peer‑review sheet; compare outcomes with the brief and research findings.
12. Documentation – compile sketches, CAD files, material list, scale calculations, photographs of each stage and a reflective commentary.

7. Audience & User‑Persona Development

Create a concise persona that informs design decisions:

• Name / Age: e.g., “Maya, 68 years, retired teacher”.
• Physical abilities: limited grip strength, prefers seated use.
• Cultural background: values natural materials and local craft traditions.
• Key requirements: safe, easy to clean, visually calming.

Use the persona to decide:

• Scale (e.g., reachable height 90 cm).
• Ergonomic dimensions (handle diameter, edge rounding).
• Surface finish (non‑slip, tactile texture, colour palette reflecting cultural preferences).

8. Evaluation & Reflection

Self‑assessment rubric (aligned with AO1‑AO5)

Assessment Objective	Descriptor	Self‑rating (1‑5)	Comments / Evidence
AO1 – Knowledge & Understanding	Explains form, structure, scale, proportion, function and sustainability with accurate terminology.
AO2 – Application	Applies research, material properties and digital tools appropriately to develop a functional object.
AO3 – Development	Generates and develops multiple ideas, selects a final solution and refines it through testing.
AO4 – Realisation	Constructs a well‑finished object that meets the brief, showing control of technique and structural integrity.
AO5 – Evaluation	Critically evaluates the final piece against the brief, audience needs and sustainability goals; proposes realistic improvements.

Peer‑review sheet – each classmate records observations on:

• Clarity of the brief fulfilment
• Stability and ergonomics
• Effectiveness of surface and colour
• Environmental considerations
• Suggested improvements

9. Assessment Criteria (Cambridge IGCSE 0400)

• Demonstrates clear understanding of form, structure, scale, proportion and function (AO1‑AO2).
• Applies appropriate structural techniques and material choices to ensure stability and durability (AO2‑AO4).
• Uses scale accurately in planning, calculations and model construction (AO2‑AO3).
• Explores surface, texture, colour and movement to enhance visual impact (AO3‑AO4).
• Shows awareness of cultural/social context, audience needs and sustainability (AO1‑AO5).
• Communicates ideas effectively through perspective sketches, CAD drawings, physical models and reflective commentary (AO5).

10. Cross‑Disciplinary Links

Three‑dimensional design often intersects with other IGCSE areas:

• Graphic communication – packaging design, branding panels.
• Textiles – fabric‑wrapped forms, soft‑structure seating.
• Digital media – animation of moving parts, virtual reality presentations.
• Science & Technology – basic stress analysis, material testing.

11. Suggested Classroom Activities

• Model a desk lamp at three different scales (1 : 10, 1 : 20, 1 : 40); record material quantities, calculate structural loads and compare stability.
• Construct a tension‑frame sculpture using string and metal wire; load‑test each arm and discuss centre of gravity.
• Analyse a common object (e.g., a wooden chair) – produce a labelled cross‑section diagram showing form, internal structure, scale ratio and surface finishes.
• Collaborative public‑art project:
  1. Create mood‑boards and user‑personas reflecting a local community theme.
  2. Develop CAD models, render surface finishes, and run a simple load simulation.
  3. Laser‑cut wooden components, assemble a scale maquette, and write a sustainability report.
• Digital‑hands‑on session: translate a hand sketch into a 3‑D CAD model, apply a realistic material render (e.g., brushed aluminium), and export a file for laser cutting a prototype.
• Peer‑review workshop – students exchange completed pieces, complete the peer‑review sheet, and discuss AO5‑level improvements.

12. Summary

Mastering the interplay of form, structure, scale, proportion, function, surface, texture, movement, audience, sustainability and cultural context enables students to move confidently from research through to a finished three‑dimensional object. By integrating systematic visual research, thorough ideation, accurate scale work, appropriate material and digital tool selection, and reflective evaluation, learners satisfy all expectations of the Cambridge IGCSE 0400 syllabus and develop skills transferable to a wide range of design disciplines.