Insurance - Royal College of Art

Transcription

Annual
Review
2008/9
‘The objects of the College are to advance
learning, knowledge and professional
competence particularly in the field of fine
arts, in the principles and practice of art
and design in their relation to industrial
and commercial processes and social
developments and other subjects relating
thereto through teaching, research and
collaboration with industry and commerce.’
Charter of Incorporation of the
Royal College of Art, 28 July 1967
Visitor:
His Royal Highness The Prince Philip
Duke of Edinburgh
Provost:
Sir Terence Conran
Pro-Provost and Chairman of the Council:
Sir Neil Cossons
Rector and Vice-Provost:
Dr Paul Thompson
Editor:
Octavia Reeve
Design:
Happily Ever After
www.happily-ever-after.co.uk
Photography:
Marta Casellas, Anja Schaffner,
Dominic Tschudin
Printed by:
Calverts
Paper:
Cocoon Silk
50% recycled, FSC mixed sources
Website:
www.rca.ac.uk
Contents
Rector’s Review
Student Statistics
2008/9 Features
SHOW 2009
Battersea Campus
The Dyson Gift
Funded Research Case Studies:
EPSRC/AHRC
Exhibitions
Annual Fundraising
The RCA Experience
Research
Helen Hamlyn Centre
InnovationRCA
Olympic & Paralympic Games 2012
Design London
ReachOutRCA
Ceramics & Glass
Goldsmithing, Silversmithing,
Metalwork & Jewellery
Architecture
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Design Interactions
Design Products
Innovation Design Engineering
Vehicle Design
Animation
Communication Art & Design
Fashion Textiles
Painting
Photography
Printmaking
Sculpture
Drawing Studio
Conservation
Critical & Historical Studies
Curating Contemporary Art
History of Design
Post Experience Programmes
Financial Report & Summary Accounts
College Honours & Appointments
Donors & Sponsors
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Rector’s
Review
The three pillars of the Royal College of Art
are: postgraduate teaching; research; and
innovation and knowledge transfer. I am delighted
to report significant success in each of these
principal activities.
Firstly, teaching: In summer 2009, 405
students presented their work in our
graduate Shows, with over 40,000 visitors
flocking to the exhibitions. These are
attendance records that any museum or
gallery would truly be proud of, and it
is a real testament to the public’s sense
of excitement and fascination with our
MA work that so many industry leaders,
talent recruiters and members of the
general public chose to visit the College
that fortnight. I’d like to thank especially
the Conran Foundation for its continued
support of the graduate Shows. As
important, when the SHOW is dismantled
and life returns back to normal, we can
report that RCA graduates continue to fare
well in the workplace, with approximately
93% of our graduates gaining employment
at an appropriate professional level, within
a year of graduating. This is particularly
gratifying at a time of economic recession.
Secondly, research: The College’s
impressive results in the 2008 Research
Assessment Exercise, undertaken by
the Higher Education Funding Council
of England, confirmed our worldclass pre-eminence: 40% of the RCA’s
research output was rated ‘5’, or ‘world
leading’, with a further 25% scoring a
‘4’, as ‘internationally excellent’. This
is an extraordinary record and a solid
endorsement of our staff’s academic
distinction. This year also witnessed
the creation of a new chair, the Helen
Hamlyn Professor of Design, thanks to
the generosity of the Helen Hamlyn Trust.
Jeremy Myerson has been appointed as
the first Helen Hamlyn Professor of Design
and will continue to lead a world-class
research and advocacy programme in
design for an ageing population, universal
design and design in healthcare. This year
saw the Helen Hamlyn Centre celebrate its
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tenth anniversary at the heart of the RCA
with a major exhibition supported by the
European Commission.
Thirdly, innovation and knowledge
transfer: InnovationRCA, the College’s
innovation network for business, has
continued its vital role of assisting recent
or current graduates to take ingenious
design concepts to marketplace. Similarly,
Design London, our partnership with
Imperial College, nurtured six new
business ventures through incubation,
with two projects, ‘Plumis’ and ‘Artica’,
now poised for market commercialisation.
In partnership with the best minds in
business and engineering at Imperial
College London, we present a formidable
team: committed to a high-tech industrial
future and exploiting creative design
capital in pursuit of job and wealth creation.
The ethos of the Royal College places
a high value on people and intellectual
capital. 2009 marked the retirement of
Rector Professor Sir Christopher Frayling.
For thirty-five years, Christopher has
served the College, as Head of the
Humanities School, as Pro-Rector, and
since 1997, as Rector. Under his tenure,
the Helen Hamlyn Centre was born; it was
his vision that shaped Design London
and InnovationRCA; and of course the
Battersea campus will stand as his legacy.
He has driven academic excellence and
brought international prominence to
the RCA. All of the Royal College of Art
join me in wishing Sir Christopher and
Lady Frayling a happy retirement. One
of the most stimulating tasks I was asked
to undertake before formally assuming
the reins as Rector in September 2009,
was to assist in the selection of three
new Heads of Department: Innovation
Design Engineering, Design Products and
Sculpture. I am delighted to announce
that Professors Miles Pennington, Tord
Boontje, and Richard Wentworth join the
College for the 2009/10 academic year
to lead these respective departments.
Also in 2009, the RCA was honoured to
welcome John Studzinski CBE, financier
and philanthropist, as a member of
Council, chaired by Sir Neil Cossons.
In order to attract the best artists and
designers in the world to study, research
and teach at the Royal College, we need
to improve and enhance our workshops,
equipment, seminar rooms and studios.
This academic year witnessed the opening
of the new Sculpture building in Battersea,
and the continuing development of the
new Battersea campus, with the Painting
Department moving into the new Sackler
Building in Autumn 2009, thanks to
the generosity of the Dr Mortimer and
Theresa Sackler Foundation. Looking
ahead to the future, Phase 2 of the
Battersea development will commence in
January 2010, resulting in new incubator
units, a lecture theatre and gallery, and
new facilities for the Photography and
Printmaking Departments. We thank
Council member and RCA alumnus Sir
James Dyson and the James Dyson
Foundation for their extraordinary gift,
which has enabled us to realise this vision.
With this tremendous commitment,
Phase 2 advances onwards, ready for
occupancy in 2012.
Please join me in bidding farewell and
‘Thank you’ to departing staff, including
Professors Ron Arad (Head of Design
Products), Tom Barker (Head of IDE),
Sandra Kemp (Director of Research),
Glynn Williams (Head of Sculpture) and
William Lindsay (Head of Conservation).
We also note with sadness the loss of H
T Cadbury-Brown, Robert Heritage and
David Mellor.
I wish to thank all of the RCA community
for the terrifically warm welcome you’ve
given me, and I look forward to working
with you over the years ahead.
Dr Paul Thompson, Rector of the Royal College of Art
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STUDENT STATISTICS
A major survey of graduates who studied at
the RCA from 2002 to 2007 revealed that
prospects for RCA graduates are exceptionally
strong. The percentages below indicate the
proportion of graduates in directly related
employment/activity.
School of Applied Art
Ceramics & Glass
99%
School of Architecture & Design
Architecture
Design Interactions
Design Products
95%
89%
93%
School of Communications
Animation
95%
90%
School of Design for Production
Vehicle Design
95%
95%
School of Fashion & Textiles
95%
School of Fine Art
Painting
Photography
Printmaking
Sculpture
93%
98%
91%
95%
School of Humanities
Conservation
History of Design
86%
95%
80%
4
98%
Student Numbers 2008/9
Applied Art
Ceramics & Glass
Goldsmithing Silversmithing,
School Total
48
40
88
Architecture & Design
Architecture
Design Interactions
Design Products
School Total
47
35
76
158
Communications
Animation
School Total
30
105
135
Design for Production
Vehicle Design
School Total
62
40
102
Fashion & Textiles
Fashion Menswear
Fashion Womenswear
Textiles
School Total
26
46
70
142
Fine Art
Painting
Photography
Printmaking
Sculpture
School Total
41
48
45
41
175
Humanities
Conservation
History of Design
School Total
12
6
37
46
101
Grand Totals
901
Applications
Student Nationalities
Applicants
2008/9
Admissions
2008/9
Applied Art
Ceramics & Glass
School Total
52
21
63
115
19
40
Architecture & Design
Architecture
Design Interactions
Design Products
School Total
185
65
155
405
21
16
41
78
Communications
Animation
School Total
65
297
362
16
47
63
Design for Production
Vehicle Design
School Total
74
50
124
31
21
52
Fashion & Textiles
Fashion Menswear
Fashion Womenswear
Textiles
School Total
37
133
95
265
12
23
31
66
Fine Art
Painting
Photography
Printmaking
Sculpture
School Total
393
159
105
212
869
19
22
20
21
82
Humanities
History of Design
School Total
3
78
50
131
2
15
21
38
2,271
419
Grand Totals
Argentine
Australian
Austrian
Belgian
Brazilian
British
Bulgarian
Canadian
Chilean
Chinese
Colombian
Croatian
Cypriot
Czech
Danish
Dutch
English
Finnish
French
German
Greek
Hungarian
Indian
Iranian
Irish
Israeli
Italian
Japanese
Lithuanian
Luxembourger
Mexican
New Zealander
Norwegian
Polish
Portuguese
Romanian
Russian
Singaporean
Slovenian
South Korean
Spanish
Swedish
Swiss
Taiwanese
Thai
Turkish
Ukrainian
US American
Venezuelan
Yugoslavian
Total
Number of Nationalities
2
5
3
4
5
486
3
9
1
8
3
1
5
2
22
17
1
8
40
42
17
1
9
1
19
5
16
15
4
1
1
1
1
9
8
2
1
3
1
40
9
19
5
9
4
2
1
28
1
1
901
50
5
3
5
1
4
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2008/9 Features
1: September 2008: Sponsored by Deutsche Bank, ReachOutRCA designed and delivered the
education programme for the Frieze Art Fair 2008,
presenting work by school students alongside high
end contemporary art.
2: October 2008: The National Trust Shop at
Waddesdon Manor, Buckinghamshire, commissioned Royal College of Art Ceramics & Glass students to create a range of limited-edition products.
3: November 2008: Inside Outside Inside, a solo exhibition of new works by Head of Painting
Professor David Rayson opened at Marlborough Gallery, London.
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4: December 2008: Fashion designer, artist, illustrator
and RCA Fashion tutor Julie Verhoeven designed the 2008 RCA Christmas card.
5: January 2009: The official re-opening of the Royal
College of Art’s Sculpture building marked the first
step in the College’s Battersea expansion programme.
6: February 2009: The James Dyson Foundation
generously donated £5 million to fund a major new
building in the expanding Battersea Campus.
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7: March 2009: Design London incubatee company
Artica won first prize in the nationwide Carbon
Connections Low Carbon Innovation Competition,
targetting ways to save greenhouse gas emissions.
Artica’s natural cooling, ventilation and heat recovery
system uses 90% less energy than conventional air
conditioning systems.
8: April 2009: ‘Smart Pods’, a joint Royal College of Art and Loughborough University-led research project to
facilitate the delivery of urgent healthcare, featured in
Healthcare on the Move – a unique exhibition
focusing on mobile treatment systems.
9: May 2009: A team of Research associates from the
Helen Hamlyn Research Centre redesigned six
everyday items of hospital equipment, as part of a
national challenge set by the Design Council under
their ‘Design Bugs Out’ initiative.
11: July 2009: The RCA launched its first College
wide online exhibition. Sustain, designed by alumni
Jannuzzi Smith, showcased environmentally aware
practice from nine disciplines across Design, Fashion,
Textiles and the Applied Arts.
10: June 2009: Outset Contemporary Art Fund made
a three-year commitment to an annual purchase
fund of £10,000 to be spent on works by graduating
students for the Royal College of Art Collection
Painter Lucy Moore was awarded the first Outset
Prize, worth £3,500.
12: August 2009: Dr Paul Thompson replaced Sir
Christopher Frayling as Rector and Vice-Provost of
the Royal College of Art.
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Show 2009
In May 2009 Richard Cork opened his Financial
Times degree show commentary, ‘Has there
ever been a worse time to leave art school?’
The RCA graduate exhibition – SHOW 2009
– came out dressed for the recession, with a lean,
monochrome identity and a strong environmental
message, as the College opened its doors to the
first generation of students to walk out into the
post-credit crunch world.
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SHOW 2009 was generously supported
by The Conran Foundation, for the
fourth consecutive year. The Foundation
also sponsor the Conran Foundation
Awards – a prize fund of £12,000 shared
equally between six winners – which aim
to reward good design that will have
a positive impact on the way people
feel, think and live, as well as on the
national and international economic
situation; the overall message being that
commercial success and cultural impact
are intertwined.
RCA graduates are thoughtfully innovative
– the kind of thinking that looks at a new
laptop and sees the whole user picture: a
super-light, elegant computer that travels
with the clunky BS 1363, three-pin plug (first
introduced in the UK in the 1940s). Inspired
by the Mac Book Air, the world’s thinnest
laptop at 10mm, Min-Kyu Choi designed a
slim, foldable plug that, at the same width,
eliminates the problems caused by the
standard UK plug when travelling.
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A variation of that vision prompted
jeweller and maker Jonathan Boyd to use
sprue structures created in CAD drawings
(structures so complex that they have
never been used in jewellery) to cast
intricate conglomerations of type.
three-dimensional model of an unborn
foetus using rapid-form modelling
technology.
The economic and environmental impacts
of the traditional toaster were laid bare
as Design Interactions graduate Thomas
Thwaites attempted to recreate one from
scratch, mining iron ore by hand and
smelting it in his back garden.
The College fosters a culture of
professionalism: Curating Contemporary Art’s
Friends of the Divided Mind attracted highprofile artists, including Lawrence Weiner,
to its commentary on the contemporary
art gallery. Painting graduates organised
two degree shows: Through the Wall at the
Rochelle School, Shoreditch followed the
exhibition in the College galleries.
Innovation Design Engineering’s Bibiana
Nelson developed a thermoplastic
degradable material containing plant
nutrients. Plant roots actively destroy the
plastic to extract the nutrients, serving
to help the plastic degrade more quickly,
while at the same time benefiting the
plant, the soil and the environment.
The atmosphere at SHOW 2009 was
buoyant. The industry-renowned Fashion
Show attracted its usual luminaries,
printmaker Hector de Gregorio sold his
entire show to a single private collector,
visitor numbers rose and overall sales
increased significantly, with some
departments reporting record figures.
And product designer Jorge Lopes saw
the medical potential for producing a
The Royal College of Art stakes its
reputation on fostering a rare combination
of innovation and excellence. The
graduate work in SHOW 2009 provides
ample evidence for that claim.
This page:
1: Thomas Thwaites, Toaster Project (Photography Nick Ballon)
2: Jorge Lopes, Rapid Prototyping Model of a Foetus from Ultrasound 3D Scan
3: Bibiana Nelson, Plant Attacking Plastic
Opposite page:
1: RCA SHOW 2009 identity
2: Min-Kyu Choi, Folding Plug
3: Jonathan Boyd: Untitled 1 & 2
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Battersea Campus
In January 2009 the long-awaited refurbishment
of the Sculpture Building, designed by architects
Wright & Wright, was finished. The 2,500sqm
building on Howie Street was officially opened
by sculptor Antony Gormley in January 2009,
at a special event involving key figures from
the art world as well as staff and students from
the department.
The Sculpture Department moved to a
disused factory in Battersea in 1991 and
the space remains factory-like – perfect
for the wide range of sculpture produced,
from large-scale installed work to mixedmedia installations. The building, which
can now accommodate 50 students, offers
unrivalled studio accommodation in what
is arguably the best sculpture teaching
facility in the country.
Across the road, work continued on the
new Painting Building, to transform a
1950’s warehouse into flexible studio
space for up to 60 painters. This will be
named the Sackler Building in recognition
of a major gift from the Dr Mortimer and
Theresa Sackler Foundation.
Behind the building’s innovative design
are award-winning architects Haworth
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Tompkins, who worked in close conjunction
with Head of Painting Professor David
Rayson and his team. This collaborative
approach has ensured that the building
will house some of the finest new artists’
studios available in the UK today.
Plans for the next phase of development
– a building to house the departments of
Printmaking and Photography as well as
a large Gallery, state-of-the-art Lecture
Theatre and incubator units for young
designers and creative start-up businesses
– have also progressed over the last
twelve months.
A donation of £5 million from the James
Dyson Foundation, the largest single
donation the College has ever received,
will enable this phase of the development
to go ahead as planned. Construction
of what will become the Dyson Building
begins in January 2010.
By 2012 all the Fine Art departments will
be together in Battersea, located next
to each other for the first time in the
College’s history.
In August 2008, the Department of
Innovation, Universities and Skills (DIUS)
launched a matched-funding scheme. The
scheme, to be implemented by HEFCE,
aims to increase voluntary giving to higher
education providers. Donations received
by the RCA over the past year will unlock
almost £2 million of additional funding for
the College.
This page:
1: Sculpture Building at night
2: Sculpture studio
3: Steve Bishop (MA, 2008) exhibition,
Sculpture galleries
Opposite page:
1–5: Sackler Building, Painting Department
(Photography Philip Vile, Helene Binet and Katsuhisa Kida/Fototeca)
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The Dyson Gift
In February 2008, the James Dyson
Foundation – Sir James Dyson’s
educational charity – made a donation
of £5 million to the Royal College of
Art to help fund the College’s exciting
new expansion in Battersea. The gift
– its largest ever – will be used towards
providing a lecture theatre, gallery
space, studios and 40 business
incubator units.
The James Dyson Foundation has
been inspiring young people about
design and engineering since it was
first set up in 2002. In addition to a
global design award, the James Dyson
Foundation provides students and
teachers with exciting and relevant
resources, and organises interactive
workshops with Dyson engineers.
When announcing the donation, Sir
James said: “It’s vital that we give young
people the confidence to be inventive
and the support to take risks. It’s through
experimentation and failure that new ideas
are born. As a nation we’ve become too
scared to take risks, but for me, risk and
problem-solving go hand in hand.”
Sir James, recently tasked by the
Conservative Party with examining ways in
which the UK can be turned into Europe’s
capital for new technology, has long been
a supporter of the College. This year,
his Foundation gave its fifth donation of
£12,000 worth of bursaries to the Innovation
Design Engineering Department.
Sir James Dyson and Professor Sir Christopher Frayling
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Funded Research Case
Studies: EPSRC/AHRC
The Royal College of Art signalled its
ambitions in the field of funded research
with the completion of two major studies
during the year. ‘Welcoming Workplace’
was led by Helen Hamlyn Professor of
Design, Jeremy Myerson, and the ‘Smart
Pods’ project was a joint initiative by
the RCA’s Helen Hamlyn Centre and the
Department of Vehicle Design with other
academic partners in the UK.
The ‘Welcoming Workplace’ study explored
the future of the office environment in a
knowledge economy increasingly reliant
on an ageing workforce. It was jointly
funded by two research councils, the
EPSRC (Engineering and Physical Sciences
Research Council) and the AHRC (Arts
& Humanities Research Council). The
Helen Hamlyn Centre collaborated with
universities in Japan and Australia to give
the study an international dimension.
The ‘Welcoming Workplace’ report was
launched in the UK at the British Library,
in the USA at Build Boston and in Asia at
the Reinventing Retirement conference in
Singapore. The study attracted widespread
interest. Design guidance was produced
for RIBA and the BCO (British Council for
Offices) and evidence was submitted to
the Department of Work and Pensions.
An exhibition toured the regions. A book
based on the project and co-authored
by the research team will be published in
spring 2010, entitled New Demographics
New Workplace.
The ‘Smart Pods’ project, funded by the
EPSRC, involved a fundamental rethink
of urgent and emergency healthcare. It
brought together research by designers,
clinicians, social scientists, ergonomists
and operation management analysts,
and resulted in a range of innovative
propositions to take healthcare to the
community and reduce patient journeys
and hospital admissions.
Academic partners joined from
Loughborough University, the University
of Bath, the University of West of England
and the University of Plymouth. RCA
Vehicle Design students participated with
creative concepts for future ambulances.
The ‘Smart Pods’ project completed its
work with a publication and an exhibition
called Healthcare on the Move that toured
to several venues. The Royal College
of Art is now taking the project into a
development phase to redesign the current
A&E ambulance.
1–2: Concepts from the ‘Welcoming Workplace’ study including the use of natural inventions to create the effect of falling rainwater.
3: Concept from the ‘Smart Pods’ project.
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Exhibitions
2008/9 was notable for the range of UK
exhibitions involving RCA staff-practitioners and
students. Many of these are represented under
individual department profiles; presented here is a
small selection that demonstrates the remarkable
breadth of activities that staff and students from
the College community engage in, as well as the
opportunities to develop individual practice that
these displays offer to developing creatives.
Sunny Memories explored the potential of
a recently invented technology: dye solar
cells. Inspired by photosynthesis in plants,
the technology harnesses solar energy with
flexible, coloured and even see-through
surfaces. Alongside three other design
schools, students from the RCA’s Design
Products Department were asked to develop
their vision of the future of solar energy.
Projects considered the relationship
between the sun and memory, and
reflected on the fact that energy is not
simply necessary for our comfort: we
need it to record our history, heritage and
knowledge. The exhibition was shown in
the ECAL + EPFL laboratories, Lausanne,
at ENSCI and at the RCA for the London
Design Festival.
Future Fashion Now at the Victoria and
Albert Museum featured highlights
from RCA Fashion MAs’ 2008 graduate
collections, and marked the 60th
anniversary of the inauguration of the
RCA Fashion programme.
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The display featured 55 outfits as well
as accessories and sketchbooks from
27 young designers. Divided into four
sections – Concept, Form, Technique and
Detail – each explored the design stages
students go through to create their final
collection, from their inspiration to the
finished garment, and included preparatory
drawings, design boards and photographs.
Reflection brought together ten students
from the Royal College of Art’s acclaimed
Ceramics & Glass course, and offered a
rare opportunity to see the site-specific
responses of an emerging generation of
applied artists. For the exhibitors, it was an
amazing opportunity to engage with the
high-profile, public galleries of the Sir John
Soane’s Museum as both subject-matter
and display space.
Super Contemporary at the Design
Museum celebrated the diverse approaches
to design of London’s greatest creative
minds, past and present, across the
disciplines of architecture, industrial design,
graphics, fashion and communications
At the heart of the exhibition were fifteen
commissions from some of London’s most
dynamic creatives, variously answering the
question: ‘What is it about the capital that
brings so many designers to it – and what
can they give back?’
included Jurgen Bey’s Pixelated Chairs
(modelled on an over-enlarged digital
photograph of an elegant eighteenthcentury chair) and Tord Boontje’s Fig
Leaf Wardrobe (elegant, coppery doors
enfolded around a bronze clothes rack).
Goldsmith alumni Kelly McCallum’s Do
You Hear What I Hear – a taxidermied fox
embellished with gold-plated maggots
– drew attention simultaneously to life
and death. Anthony Dunne, Fiona Raby
and Michael Anastassiades produced
mushroom cloud ‘huggable cushions’, for
those who prefer to embrace their fears.
A remarkable number of the fifteen were
RCA staff and alumni, among them David
Adjaye, Ron Arad, Nigel Coates, Paul
Cocksedge, Thomas Heatherwick, Industrial
Facility (Sam Hecht), El Ultimo Grito
(Roberto Feo and Rosario Hurtado). Others
joined peripheral events: Wendy Dagworthy
mapped the 1970s fashion scene, and
Bronwen Marshall (MA, Fashion, 2009)
redesigned London’s Beefeater uniforms.
The exhibition was curated by Daniel
Charny.
This page:
1: Super Contemporary: Nigel Coates, Battersea
Gods Home
2: Reflection: Louis Thompson (MA, 1st Year)
3: Sunny Memories: Min-Kyu Choi, Insect Killer
© Ambrosetti & Droz
Telling Tales: Fear and Fantasy in
Contemporary Design at the Victoria and
Albert Museum brought a fairytale theme
to a “design art” exhibition of products
that blurred the boundaries between
function and art. Curated by RCA Design
Products’ Gareth Williams, the show
Opposite page:
1: Telling Tales: Installation view including Jurgen Bey, Pixelated Chairs and Julian Mayor (MA, 2000)
Clone Chair
© Victoria and Albert Museum
2: Super Contemporary: Bronwen Marshall, London Beefeaters’ uniforms (Photography Naomi James)
3: Future Fashion Now, Victoria and Albert Museum, London
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Annual
Fundraising
The RCA engages its students in the practice
of art and design through mutually beneficial
collaborations with industry. As such, our
commercial partners sit at the core of the
College’s life, and we work to meet and exceed
their expectations through creative, bespoke
partnerships. In 2008/9, the RCA continued to
generate huge interest across all industry sectors,
resulting in collaborations that allowed its students
to respond creatively to the constant demand
for innovative designs and ideas. Highlights of
2008/9 include:
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Creative Collaboration:
Toyota iQ Design Challenge 2008
Launched during the London Design
Festival, this college-wide competition
coincided with the launch of the new iQ
car in the UK. RCA students and alumni
were asked to design a product that would
reflect the concept of ‘intelligent urban
living’, using Toyota’s new premium city
car as a template for excellence.
Twelve finalists presented their cutting-edge
designs to a panel of judges, with three
winners sharing £12,000 in prizes. Lance
Scott, chief designer at Toyota’s ED2 base
and designer of the iQ, praised the level of
entries received, adding: “For me, the RCA is
the place to come for cutting-edge design.”
Prize-winner Dominic Hargreaves
had three bicycles stolen in quick
succession. His design solution to
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prevent bike theft locks bicycles out of
reach, eight feet above the ground.
The collaboration, ending in an exhibition at
the RCA, received outstanding international
press and online media coverage.
Sustained Partnership:
Man Group and the RCA
2009 marked the tenth anniversary of the
Man Drawing Prize, the competition that
brings everyone in the College together
once a year to showcase their drawing
skills. Since the first Man Group Scholarship
was introduced to the College in 1996, the
partnership has grown to include the Man
Drawing Prize, the Man Photography Prize
and Man’s sponsorship of ReachOutRCA,
the College’s schools outreach programme.
“As a longstanding supporter of the
RCA, we are delighted to continue our
investment in the creative future of
young people. This association with
a global centre of artistic excellence
and innovation aligns with Man’s core
business values of excellence and
performance.” Lesley King-Lewis, Director
of the Man Group plc Charitable Trust
Art in the Corporate Environment:
Tenth RCA Students’ Exhibition at Bank
of America’s European Headquarters
The RCA’s multidisciplinary collaboration
with Bank of America sets a model
for long-term, reciprocally beneficial
partnerships. This longstanding
relationship culminated in an exhibition
of works from Sculpture students at the
bank’s European Headquarters in Canary
Wharf, London in 2009. In a five-year
collaboration, between 2004 and 2009,
the bank hosted two exhibitions of RCA
students’ works each year, ten in total.
The exhibitors received an overwhelmingly
positive response from Bank of America
staff and visitors, who were given access
to inspiring art on their office doorstep.
Comments included: “I don’t get to go
to many art exhibitions so this made a
refreshing change from my normal lunch!”,
and “The finance environment needs the
free end enriching spirit of the artists.”
This page:
1: RCA Sculpture exhibition in the atrium at Bank of America’s European Headquarters.
(Photography Lucy May)
2: Man Drawing Prize exhibition: ReachOutRCA workshop
Opposite page:
Dominic Hargreaves, Out of Reach, Out of Harm, winner IQ Design Challenge
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The Rca Experience
The reputation of the RCA is, rightly, based on the
quality of the focused, specialised postgraduate
learning and teaching that happens in every
academic discipline and department of the
College, but this is not the whole story. Our
responsibility does not start on enrolment day, any
more than it finishes as a student crosses the stage
of the Albert Hall at Convocation. We support and
encourage our students from the day they make
their first enquiry, to the day they feel comfortably
independent in their lives beyond the RCA.
This commitment is encapsulated in the
simple expression ‘1 + 2 + 3 +…’. The
College is here to help: in the year before
students arrive; in the two years they are
here to study for their MAs (as most of
our students do); in the three years after
graduation (when many alumni are finding
their professional feet); and for as long
thereafter as they wish to stay involved.
The realisation of this undertaking has
come in a variety of forms.
New students join the online RCA community
months before they physically arrive at the
College, through networked pre-student
services that give them access to a wide
range of learning resources, relocation
support and social-networking opportunities.
Providing a high-quality educational
experience means offering effective
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support to everyone, regardless of their
chosen discipline. It also means attending
to aspects of that experience that affect
one student, or a particular group of
students. Some 25–30% of RCA students
are dyslexic or dyspraxic. For a similar
proportion of our students, English is not
their first language. Providing effective
support is arguably as important as
providing an effective discipline-specific
curriculum: we offer dedicated staff,
screening procedures, clear language
requirements, pre-sessional courses,
orientation days and specialist support.
FuelRCA helps students navigate the
sometimes difficult transition from
studying to professional life. Managed by
InnovationRCA, the College’s innovation
network for business, this very successful
initiative provides opportunities for all
students and recent graduates to access
seminars, lectures, discussions, events,
online resources and face-to-face advice;
covering everything from the ‘soft’ end of
the spectrum (how to develop confidence)
to the traditionally ‘hard’ end (accounts,
VAT and intellectual property).
ReachOutRCA, our high-flying educational
outreach programme, gives students and
alumni the opportunity to extend their
practice through hands-on participation. And
through AlumniRCA – with its 5,000 graduate
members, and counting – alumni are offered
a range of benefits and ways of engaging
with the College and each other. But the
real point is that the College is enriching
and enhancing life outside – as well as inside
– our academic departments, sustaining
connections with graduates and creating
an ever-expanding extended family.
This page:
1: AlumniRCA poster
2: Student support
3: Alumni event
Opposite page:
1: DiverseRCA, Diversity Week, opening address
2–3: AlumniRCA summer drawing classes
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Research
During 2008/9, the Research Office continued to
support staff and student applications to a range
of external funding bodies, including the Arts
and Humanities Research Council (AHRC), the
Economic and Social Research Council (ESRC),
the Engineering and Physical Sciences Research
Council (EPSRC), the Medical Research Council
(MRC) and the Leverhulme Trust.
Stuart Croft (School of Fine Art) was
awarded a grant from the AHRC Research
Grant (Practice-led and Applied) scheme
for ‘The Stag without a Heart’ and JoAnne Bichard (Helen Hamlyn Centre) was
co-investigator for a successful bid with
partners at Brunel University to the ESRC
New Dynamics of Ageing programme.
The College was also awarded four
research studentships in the AHRC
Doctoral Award scheme in 2009. The
graduation rate of our research students
remains strong, with over one tenth of
those registered receiving degrees at
Convocation in July 2009.
Two important AHRC-funded research
initiatives came to successful completion
at the end of the year:
The Centre for Jewellery Research, led by
Professor David Watkins, investigated the
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behaviour of materials and technologies
in the production of artefacts. The Centre
has been the largest focal point in the UK
for research into how digital technologies
are having an impact on jewellery’s existing
contexts and forms. A five-strong team of
researchers explored metal-enhanced textile
structures, drawing on the methodologies
of mathematical folding patterns, computer
simulation and animation, biomimetics and
batch production.
‘The Viennese Café and Fin-de-siècle
Culture’, a project led by Professor Jeremy
Aynsley and run jointly by the History of
Design Department (RCA) and the School
of History of Art, Film and Visual Media,
Birkbeck College University of London,
investigated the continuing legacy of
the city’s coffee culture in Europe and
beyond. In October 2008, an international
conference was held to coincide with the
exhibition Vienna Café 1900, including
a café run by the renowned Viennese
patisserie Demel.
Another significant research project now
moves into its final year. ‘The Future
of Landscape and the Moving Image’
sets out to address the production of
landscape and images of landscape in
terms of mobility, belonging/displacement
and current and anticipated future
economic change. It is a collaboration
between Patrick Keiller, filmmaker and
research fellow at the Royal College of
Art, Professor Doreen Massey of the Open
University and Professor Patrick Wright
of Nottingham Trent University, and is
supported by a grant from the Landscape
and Environment programme of the UK’s
Arts and Humanities Research Council.
This page:
1: Dominic Sedgwick, Square Plateau Pattern
2–4: Stuart Croft, The Stag without a Heart (2009), Production still from a film in 35mm (Stills photographer William Martin; Courtesy the
artist © 2009)
Opposite page:
1: Site of meteorite fall at Wold Newton, North
Yorkshire: Patrick Keiller’s research addresses the
production of landscape and images in terms of mobility, belonging/displacement and current and anticipated future economic change.
2: ‘The Viennese Café and Fin-de-siècle Culture’ project
led by Professor Jeremy Aynsley investigated the continuing legacy of the city’s coffee culture in
Europe and beyond. In October 2008, an
international conference was held to coincide with
the exhibition Vienna Café 1900 and a café run by
the renowned Viennese patisserie Demel.
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Helen Hamlyn
Centre
This was a special year for the Helen Hamlyn
Centre, which reached a ten-year milestone at
the Royal College of Art in its mission to design
for social change and inclusion through practical
research and projects with industry (1999–2009).
The centre organised and hosted the
fifth international Include conference
on inclusive design, welcoming more
than 150 participants from 29 different
countries to the RCA for three days of
workshops, talks, papers and networking.
It also played a leading role in ‘Design
Bugs Out’, a Government initiative
to make Britain’s hospitals safer and
cleaner, redesigning six vital pieces
of everyday equipment for doctors
and nurses.
The centre’s Challenge Workshops for
young design professionals extended
from the flagship DBA Inclusive Design
Challenge in the UK, which this year
focused on design to combat sedentary
living, to run landmark events in Hong
Kong, Jerusalem, Sarajevo and Tokyo.
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The Helen Hamlyn Research Associates
programme, which links new RCA design
graduates with business, reached its own
milestone – chalking up 100 collaborative
projects. This year’s crop of ten industry
projects was presented as part of the
CLOSEUP exhibition, sponsored by the
European Commission, during the London
Design Festival.
The centre revamped its College student
engagement programme with a popular
new workshop initiative called The
Methods Lab and a new-look award
scheme. And its research team presented
the results of ‘Welcoming Workplace’
– a global study of an ageing workforce,
established a Forum on the Future of
Surgery and began a major investigation
into medical error on hospital wards in
partnership with Imperial College London.
Centre director Jeremy Myerson completed
a busy first year as the Helen Hamlyn
Professor of Design – this is the first
endowed academic Chair in the entire
history of the RCA. The Helen Hamlyn
Centre is generously endowed by the
Helen Hamlyn Trust.
This page:
1–2: Two of the six items of hospital equipment that pose a hygiene risk redesigned by the Helen Hamlyn Centre: the Blood Pressure Cuff and Wipe Dispenser, part of the ‘Design Bugs Out’ government initiative.
3: ‘mo, a lightweight, portable seat, designed by
Matter was the winning project in the DBA Inclusive Design Challenge 2009.
4: The CLOSEUP exhibition, featuring ten years of the Helen Hamlyn Research Associates programme, was
held at the RCA in September. (Photography Matthew Harrison)
5: The 48-Hour Inclusive Design Hong Kong Challenge, 2008
Opposite page:
1: The cover of the design guidance report that was based on the ‘Welcoming Workplace’ research.
2: A design workshop held during the Include 2009 conference on inclusive design in April.
3: Arthur Schmitt; Hook-Light concept, Helen Hamlyn Research Associate 2009
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InnovationRCA
InnovationRCA is the Royal College of Art’s
innovation network for business: it acts as a
portal for external organisations to work with
the creative community of the College; it
manages and develops the RCA’s portfolio of
intellectual property; it provides professional
support for students, graduates and alumni;
and it leads on strategic College projects related
to innovation and entrepreneurship.
The flagship project in innovation practice
for 2008/9 was an interdisciplinary
workshop for the Home Office to address
the problem of ‘glassing’ in British pubs,
bars and clubs. The project, ‘SWIG’ (Safe
Ways in Glass), devised ways to make
drinking vessels safer.
In the area of intellectual property, the RCA’s
Selected Works panel reviewed more than
40 students innovations, choosing its first
ever fashion innovation, fold flat millinery,
and a modular light bulb for commercial
development. Two licenses were sold on the
IP portfolio – a first aid device called Tongue
Sucker to Wallace Cameron and the B3
Cutlery range to Lakeland Plastics.
A new RCA spinout company – StickSafe,
founded by Michael Korn – was created to
address the problems of needlestick injury
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in hospitals. Other InnovationRCA spinout
ventures made progress, including Future
Acoustic, which launched its first products
on the Apple i-Tunes platform.
James Dyson Innovation Fellow Rombout
Frieling attracted interest from European
manufacturers for his Flupper innovation,
which rethinks human-powered vertical
movement in buildings. Textiles graduate
Yemi Awosile became the first Innovation
Fellow in Materials, funded by London
Design Festival.
Two keyhole surgery devices were developed
by RCA graduate Lisa Stroux, working with
surgeon Justin Cobb as part of the Triangle
Projects with Imperial Innovations.
Strategic projects this year ranged from
working with materials scientists on the
MADE initiative and leading the Project
Executive for Design London to piloting
an RCA Innovation Forum for brand
leaders in the London area. FuelRCA
continued to offer a College-wide
professional practice service and opened
a permanent collection of business and
careers reference books in the Library.
The innovation year ended on a high note
with Innovation Night 2009, featuring an
evening with Jonathan Ive of Apple.
This page:
1: Yemi Awosile, Cork Textiles, Innovation Fellow in Materials
2: Sir Christopher Frayling in conversation with
Jonathan Ive
3: Emil Rosen, Modular Light Bulb
4: Graeme Davis, Phillip Greer, Christopher Huntley and Lisa Stroux, Tongue Sucker
Opposite page:
1: Michael Korn, StickSafe
2: Zara Gorman, Flat-pack Hats
3: Rombout Frieling, Flupper
4: ‘SWIG’ (Safe Ways in Glass) workshop
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Olympic & Paralympic
Games 2012
InnovationRCA’s John Bound continued
to build the College’s relationship with
the London 2012 Olympic & Paralympic
Games, through a Hackney Wick
community workshop that generated
ideas for the Olympic Park. The event
was facilitated by Steve Bunn (Sculpture),
Savina Torisi (Innovation Design
Engineering) and Onkar Kular (Design
Interactions), who worked with teams
of local people to create sculptures,
installations and wayfinding systems,
which Olympic Delivery Authority
(ODA) Head of Arts & Culture Sarah
Weir described as, “bringing the
Olympics alive”.
Later in the year, Sir Christopher Frayling
met senior members of the LOCOG
Olympics design team to discuss the
importance of a strong narrative for the
Games and their legacy, drawing on
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lessons from the 1951 Festival of Britain
and the Millennium Dome.
More recently, Sebastian Coe launched
part of the Cultural Olympiad from the
Senior Common Room, while students
of Communication, Art & Design (CA&D)
were challenged by the ODA to create
images for a 100-metre structure in
Stratford, East London, with the winning
design going into production.
Alongside such College-wide projects,
RCA students made their own
contributions to the Olympics, including:
William Shannon (Design Products),
who recycled some of the Stratford
site’s 15,000 blue plywood hoardings
for a boat-building workshop with local
residents; and Robin Howie (CA&D),
who developed a visual identity for the
latest Olympic bobsleigh with UK Sport.
Discussions are underway to create
further opportunities for RCA students,
staff and alumni to play their part in the
run up to 2012.
1: Hackney Wick community workshop, working group
2: Hackney Wick community workshop, sign-posting
3: William Shannon, ‘Blue Fence’ project
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Design London
Design London is the new international
centre for interdisciplinary design-led
innovation, based at the Royal College of
Art and Imperial College London. It was
created as a result of the Cox Review
(Creativity in Business), with the goal of
stirring together the designers, business
leaders and technology specialists of
tomorrow to pioneer new models for
interdisciplinary innovation. Formed at
the end of 2007, Design London has put
design at the heart of Imperial’s MBA,
the world’s first business Master’s degree
to feature design as a core subject. More
than 250 Imperial College London MBA
students and 88 students from the RCA
and Imperial’s Faculty of Engineering
have completed Design London’s sixmonth programme to date.
Design London has already:
• launched new postgraduate courses
inservice design and design
management, as well as special courses on entrepreneurship for fashion and
textile students
• launched six award-winning, new business ventures, all based on creative
concepts from the RCA
• delivered executive education to 145
small and medium enterprise (SME) companies in London
• published research on service design,
smart cities and the management of interdisciplinary design teams in leading academic journals
• attracted an audience of over 3,000 people to date to its public outreach programme – the STIR lecture series.
In July 2009 Design London opened
London’s leading centre for innovation
technology at the RCA with an £850,000
3D, immersive-visualisation environment
that can simulate and model everything
from products, interiors, and service
experiences to business processes. The
centre is open for business too, as it
supports not only our teachers and
researchers but also industry projects.
www.designlondon.net
1: Artica: award-winning air conditioning system that uses 10% of energy used by conventional systems.
2: Imperial Engineering students’ design exercise
3: STIR, Dick Powell talk during the London Design Festival 2008
4: Innovation Technology Centre
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ReachoutRCA
2008/9 was a significant and exciting
year for ReachOutRCA. Our programme
of workshops and projects brought
together young people, teachers, RCA
students and alumni for inspirational
exchanges. Our work was recognised
with the prestigious Lloyd’s Arts &
Business Award for our collaboration with
Deutsche Bank at Frieze Art Fair. Our Big
Draw project ‘The Animatics’ was named
overall prize-winner in the Campaign for
Drawing’s Drawing Inspiration Awards.
Over the year ReachOutRCA provided
opportunities for 47 RCA students and
alumni from across the College’s fine
and applied art and design departments,
to deliver creative and challenging
workshops based on their practice.
We worked with young people and
teachers from 27 schools in 14 London
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boroughs. Workshops took place in
schools, at SW7 museums, at Frieze Art Fair
and alongside the SHOW 2009 at the RCA.
We continued to develop our
relationships with schools and key
collaborating partners, including:
Crafts Council, Exhibition Road Cultural
Group, the Victoria and Albert Museum,
Latymer Upper School and the Royal
College of Music.
ReachOutRCA also piloted our first
residency with St Marylebone School
Chemistry Department. Textiles Alumni
Mandeep Marjara worked with pupils
over five weeks to create an extraordinary
installation based on the star systems.
We also created new links with
the Boroughs of Wandsworth and
Westminster and the Design Council.
Following on from the award-winning
Frieze Art Fair Education Programme in
2008, Deutsche Bank invited and accepted
a programme proposal for 2009.
The successful Crafts Council relationship
will move forward as they have committed to
fund the ‘Revival’ applied arts project in 2010.
1: Cumberland School students explore RCA SHOW
Part One 2009 with RCA Printmaking alumnus Bronwen Sleigh.
2: Ernest Bevin College students and their teacher explore Sculpture SHOW 2009 during a workshop with RCA Sculpture alumnus Philippa Hadley Choy.
3: Haverstock School students and RCA alumnus Lucy Pawlak at Frieze Art Fair 2008.
4: Alperton School students worked with RCA Product
Design alumnus Gregor Timlin during RCA SHOW Part Two 2009.
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Ceramics
& Glass
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Ceramics and glass are ubiquitous. They
are among mankind’s oldest synthesised
materials and are present in almost all
aspects of our daily lives from tableware
to sanitation, art and decoration to
hip replacements, bricks to windows,
etc. Ceramics & Glass at the RCA is
not simply a fixed set of media, but
also a site for discursive practice, where
cultural, social, personal, historical
and aesthetic concerns intersect.
Underpinning this is the belief that our
activity is rooted in its being an Applied
Art. It is this ‘application’ of process,
skills, material understanding and the
development of ideas through making
that defines our approach.
Alison Britton: Curator, Three by One, Crafts
Council & Crafts Study Centre, Farnham.
Jack Tan (MA, 2009): Elected president of
RCA Students’ Union.
Emmanuel Cooper: Contemporary
Ceramics (pub. Thames & Hudson).
Students’ contributions to teaching
programmes: University for the Creative Arts,
Buckinghamshire New University, University
of the Arts London, Bath Spa, Brighton,
Falmouth and Plymouth Universities.
Professor Martin Smith: Surface and
Depth, Galerie de Witte Voet, Amsterdam.
Exhibitor, Korean Ceramics Biennale.
Richard Price (MA, 2009): Head of
Glass Department, Buckinghamshire
New University.
Felicity Aylieff: Out of China, Monumental
Porcelain, Lightbox Gallery, Woking;
Working to Scale, Contemporary Applied
Arts, London. External examiner, University
of Ulster. Tutor, Glas & Keramikskolen,
Bornholm, Denmark.
Kerry Jameson (MA, 2009): Exhibitor, Young
Masters, Cynthia Corbett Gallery, London.
Emmanuel Boos: AHRC Doctoral Award.
Lisa Stockham & Ben Ben Li (MA, 2009):
Research residencies at Bath Spa
University’s Corsham Court.
Penny Batley (MA, 2009): Exhibitor,
Design-Nation at 100% Design.
Katharine Morling (MA, 2009): Major private
commission for ceramic interior, Glasgow.
Penny Batley, Marie Hermann, Shan Valla,
Hélène Uffren & Lisa Stockham (MA, 2009):
Exhibitors, Mint interior design, London.
SHOW 2009 sales: £39,341 – the highest
on record, and three times that of 2008.
Industry collaborations: Site-specific
project collaborations with Sir John
Soane’s Museum and Freud Museum,
London; internships at Wedgwood,
Denby, Royal Crown Derby, Studio Levien
and Queensberry Hunt; and product
developments for National Trust Shop
at Waddesdon Manor, Aylesbury.
1: Steve Royston Brown, Arlecchino the Brave (detail)
2: Louis Thompson, Sigmund Freud’s Dream Catching Apparatus 1910 (reproduction, for Freud Museum)
3: Katherine Morling, Poffa Stool
4: Felicity Aylieff, Transport in China of Work for Working to Scale
5: Willem van Landeghem, Bone China Bowl
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The Goldsmithing, Silversmithing,
Metalwork & Jewellery course at the
RCA provides an environment to study
and explore, in practical and theoretical
terms, what it means to be an applied
artist today. We challenge norms, question
conventions and interrogate the role and
purpose of the crafts-based artefact and
of adornment – through conventional and
smart materials as well as through digital
and analogue technologies. Whether using
high technologies or traditional methods,
we believe in the physical act of making,
because it keeps us in touch with what
is real and because it offers students
personal opportunities for invention
and innovation.
Professor Hans Stofer: Off My Trolley,
Galerie S O, Solothurn. Exhibitor, Collect
2009, Saatchi Gallery, London; The
Revivalists, Contemporary Applied Arts,
London; Our Objects, Mackintosh Gallery,
The Glasgow School of Art.
Otto Künzli: Fukidashi, Galerie
Wittenbrink, Munich.
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Michael Rowe: Exhibitor, MUDAC,
Lausanne; Raising the Bar, Dovecot
Studios, Edinburgh; Age of Experience,
Ruthin Gallery, Wales; Talking Hands,
National University Gallery, Seoul.
Laura Potter: Exhibitor, Nowhere/Now/
Here, LABoral Centro de Arte, Gijon; Twelve
Glass Cabinets, Bank St Arts, Sheffield.
interactive and educational project, Friday
Late at the V&A; Be Bold, interactive event,
London Design Festival, V&A.
Academic collaborations: ‘Three School
Project’: Hiko Mizuno College, Tokyo;
Academy of Fine Art, Munich; and GSM&J,
RCA, London.
Rebecca de Quin: Side x Side, Edge to
Edge, Häme Castle, Finland.
Amanda Mansell: Adorn: New Jewellery
(pub. Laurence King; book launch CAA).
Momoko Kumai (MA, 2007): Awarded
Makower Silver Commission for the V&A.
Ali Forbes (MA, 2009): Winner, Swarovski
Crystal Award and subsequently employed
as a designer.
Industry collaborations: ‘Add Value’,
student design project, Royal Mint; product
developments for National Trust Shop at
Waddesdon Manor; Metalrocks, public,
1: Rebecca de Quin, Side x Side, Edge To Edge
2: ‘Add Value’ project with the Royal Mint
3: Metalrocks, Friday Late at the V&A
4: Momoko Kumai, Makower Silver Commission for
the V&A
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Architecture
Whether for reasons of size or our unique
art and design surroundings, the RCA is
a very special place to study architecture.
We celebrate architecture as a distinct
discipline. We also invite influence from
product design, graphics and fashion,
among others. Looking at the city from
different perspectives, four Architectural
Design Studios (ADSs) pursue urban
themes with a cultural edge. All of them are
based in London, and reflect the life that
Londoners lead or might want to lead.
We believe in the link between the present
and the future, and the role architecture
should play in bridging between them.
Professor Nigel Coates: Hypnerotosphere,
11th International Architecture Exhibition,
Corderie dell’Arsenale, Venice Biennale;
Battersea Gods Home, Super Contemporary,
Design Museum, London. Glyndebourne
restaurant redesign, Lewes, UK.
Roberto Bottazzi (with Chora): Exhibitor,
‘The Landing’, Royal Academy Summer
Show, London. Shortlisted, ‘Poplar
Masterplan’, London.
Tobias Klein: Exhibitor, ‘Contoured
Embodiment and Resonating bodies in
Viscous Space’, Royal Academy Summer
Show, London. Contributor, Digital
Architecture Now (pub. Thames & Hudson).
Jordan Hodgson (MA, 2009): Shortlisted,
RIBA President’s Medals student awards.
Clive Sall: Architect, Design Council
refurbishment; Walkers HQ, Grand Cayman.
Siobhan Kelly (MA, 2009): Winner,
Network of Executive Women in
Hospitality scholarship. Nominee,
Helen Hamlyn Award for Innovation.
Tom Teatum (with Popular): ‘Between
House’, prefabricated concrete façade
in partnership with Quattro Concrete;
‘Shepherds Bush Masterplan’, for the
Green and surrounding areas.
Gerrard O’Carroll: Designer, SHOW 2009,
Royal College of Art. Collaboration (with
Nick Knight, SHOWstudio, Somerset
House, London.
Charlotte Skene Catling: Architect, Eco
House Boat, Regent’s Canal, London;
North Mymms Estate Yard, North Mymms.
Fergus Feilden, John Edwards and Ian
Douglas-Jones (MA, 2009): Blueprint
Ian Douglas-Jones (MA, 2009): Winner,
Conran Award.
Tom Greenall (MA, 2009): Selected,
Building Design ‘Class of 2009’.
Fergus Feilden and Ian Douglas Jones
(MA, 2009): Exhibitors, London Yields:
Urban Agriculture, The Building Centre,
London; also featured in Building Design.
ADS3: Exhibitors, We Can Understand
the Meaning Better Without, Euston
Crypt, London; Small Show Huge Talent,
Sotheby’s, London.
1: Fergus Feilden, Agridemics
2: Jordan Hodgson, Chandelier
3: ADS3, Faerie Camp Destiny Shower, Vermont
4: Nigel Coates, Hypnerotosphere
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Design Interactions
Design Interactions at the RCA has a
broader technological focus that goes
beyond digital technologies to include
areas such as biotechnology, neuroscience
and nanotechnology. We explore not only
applications for existing technologies but
also possible social, cultural, political and
ethical implications for future technologies.
Professor Anthony Dunne: Received 2009
Sir Mischa Black Award for Innovation in
Design Education. Commissioned by EPSRC
(Engineering and Physical Sciences Research
Council) to link 16 Design Interactions staff,
students and alumni to 16 UK research
projects. Invited by The Wellcome Trust to
showcase the work of the department in their
HQ windows, London, throughout 2010.
Professor Anthony Dunne and Fiona
Raby: Finalists, Design Management
Institute’s Muriel Cooper Prize (USA).
Exhibitors: Telling Tales, Victoria and
Albert Museum, London; Notorious,
FRAC, Ile-de-France and Le Plateau, Paris;
Supertoys, Arnolfini, Bristol.
Exhibitor: Crossing Over, Royal Institution,
London; Kinetica Art Fair, London.
Revital Cohen (MA, 2008) and Gunnar
Green (MA, 1st year).
Noam Toran: Exhibitor, 4th International
Video Art Biennale, Centre for
Contemporary Art, Tel Aviv, Israel.
Revital Cohen (MA, 2008): Received
Wellcome Trust Grant.
Nina Pope: Collaboration, Newham
Council, ‘What Will Our Harvest Be?’
Funded through London Development
Agency and Arts Council.
Cesar Harada (MA, 2009): Winner, 2009
Ars Electronica Next Idea Award/Grant for
graduate MA project, ‘Open_Sailing’.
Will Carey (MA, 2009): Winner, Blueprint
Best Show design at 100% Design,
Disruptive Thinking, featuring selected DI
graduating projects.
Daisy Ginsberg (MA, 2009): Awarded
residency at the bioart lab Symbiotica,
Australia, to develop graduate synthetic
biology MA project.
Professor Anthony Dunne, Fiona Raby,
Noam Toran and James Auger: Exhibitors,
Nowhere/Now/Here, Laboral AICC, Spain.
Dot Samsen, Thomas Thwaites and Cesar
Harada (MA, 2009): Exhibitors, Test Lab:
What Crisis?, V2: Institute for Unstable
Media, The Netherlands.
James Auger: ‘Carnivorous Robots’ project
nominated for Transmediale 2010 Award.
Design of the Year Prize: Design Museum,
nominees included Noam Toran (tutor),
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Kjen Wilkens (MA, 1st year): Awarded
Design London Fellowship.
Microsoft Research, Cambridge: Funders,
full-time Research Fellow (extended for
another six months) and MPhil/PhD for
three years.
Vodafone: Funder, four-week, first-year MA
project with Global User Experience team.
MA Bio Project: Worked with research
groups at ten UK universities to link teams
of first-year DI students with researchers,
including: Centre for Biomedical
Engineering, University College London;
Developmental Cognitive Neuroscience
Unit, University of Sussex; Institute of
Biomedical Engineering, Imperial College
London; School of Biomedical and
Molecular Sciences, University of Sussex.
1: Hayeon Yoo, Compass Phone
2: Nelly Ben Hayoun, Soyuz Chair
3: Noam Toran (with Onkar Kular), The MacGuffin Library
4: Will Carey, Disruptive Thinking
5: Zoe Papadopoulou and Cat Kramer, The Cloud Project
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Design Products
Design Products, which incorporates
furniture and industrial design, takes a
pluralistic approach to the teaching of
a very broad subject area. A series of
separate ‘Platforms’, each with their
own tutors, invite students to share
their own approach to, and definitions
of, design.
Telling Tales: Fantasy and Fear in
Contemporary Design, Victoria and
Albert Museum, London. Curator, Gareth
Williams; exhibitors including Jurgen
Bey and Tord Boontje; 165,000 visitors.
The exhibition showcased the work of
contemporary designers who explore the
narrative potential of objects.
Academic collaborations: EPFL + ECAL
Lab, Switzerland, offered flexible photo
voltaic cells to create ‘Sunny Memories’.
(The Greatzel cells they used were
shortlisted for the Nobel Prize.); the
French government’s ceramic factory
Manufacture Nationale de Sevres invited
proposals for their future.
Royal Designers for Industry: Awarded
to tutors Sam Hecht and Luke Pearson.
Highest accolade for designers in the UK:
limited to 200, the award is conferred for
‘sustained excellence in aesthetic and
efficient design for industry’.
Jorge Santos (PhD, 2009): Completed
study on application of new designers
tools – scanning and digital manufacturing
equipment – in foetal medicine, working
with physicians, ultrasound specialists and
software developers to construct real-size,
physical models of the unborn.
Brit Insurance Designs of the Year 2009:
Shortlisted, Sebastian Noel and Troika,
All the Time in the World and Cloud;
Durrell Bishop (Lucky Bite), Dinner Table
Game; Jurgen Bey, Witness; El Ultimo
Grito, Composite bench system; Jorre Van
Aste, Jar Tops; Joe Wentworth (MA, 2007),
Ippogeo edited by Artemide; Noam Toran
and Onkar Kular, MacGuffin Library.
Professor Ron Arad: No Discipline, a
major retrospective, Pompidou Centre,
Paris; MoMA, New York.
Hilary French: Key Urban Housing of the
Twentieth Century (pub. Laurence King).
Troika (Conny Freyer, Eva Rucki,
Sebastien Noel: MA, 2003): Digital by
Design: Crafting Technology for Products
and Environments (pub. Thames & Hudson)
Gareth Williams: Telling Tales – Fantasy
and Fear in Contemporary Design
(pub. Victoria and Albert Museum), to
accompany exhibition.
Sato Hisao (MA, 2005): Toys developed
in 2006 went into production with a British
manufacturing company and are now on
sale in Muji.
Toyota IQ Design Challenge Award:
Winner, Dominic Hargreaves (MA, 2009),
‘garage’ category; shortlisted, Romain
Jeantet and Jonas Trampedach (MA,
2009), ‘bedroom’ category.
Industry collaborations: BASF SE offered
students the opportunity to explore
applications for a new kind of plastic
Ultradur (B4300 M12); Yamaha Corporation
asked for new ways to ‘play’ music.
Super Contemporary: Exhibition to,
‘celebrate the fearlessly progressive spirit
of London’s greatest creative minds’.
Curator, Daniel Charny. Exhibitors, Ron
Arad, El Ultimo Grito with Urban Salon,
Industrial Facility and Thomas Heatherwick,
Design Museum, London.
1: Ron Arad, No Discipline (installation view)
2: Jonas Trampedach, Folding Chair
3: Manufacture Nationale de Sevres project
4: Min-Kyu Choi, Sundew Flower Fly Trap
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Innovation DEsign
Engineering
In IDE we are looking for a new type
of designer; one who can innovate
masterfully in areas across the broad
spectrum of industrial design. Our remit is
to fully exploit creativity, to deliver social
benefits through design and to achieve
commercial success through innovation.
Professor Miles Pennington: Exhibitor,
My Ecopets, TIA Toy Fair, New York and
Fall Toy Preview, Dallas, licensed deal
with major global children’s brand owner;
Cybercino, Sic International Coffee
Exhibition, Fiera Milano, fully automated
commercial coffee machine, design and
engineering for England’s only espresso
machine makers, Fracino, Birmingham.
Ashley Hall: Presented papers at
‘Creating a Better World’, E&PDE 09, 11th
International Conference on Engineering
and Product Design Education; IASDR
2009 Conference, Seoul.
Ranulph Glanville: Elected President of the
American Society for Cybernetics, 2009.
Neil Barron: Winner, Mayor of London
Boris Johnson’s, ‘London on Tap’
Competition for carafe design.
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Blue Peter, BBC TV: Selection of ‘makes’
for famous children’s programme: Pip
Mothersill; Sarat Babu, Hermann Trebsche;
Nick Reddall; Ross Atkin; David Graham
and Chris Holden (MA/MSc, 2009).
Sustain: Exhibitors, online sustainability
exhibition, RCA: Gianpaolo Fusari; Daniel
Mason; Nick Redall; Pip Mothersill; David
Graham; Dae Kyung Ahn; Ross Atkin; Hersh
Haladker; Bibi Nelson (MA/MSc, 2009).
Bare Conductive project: Collaboration
with Calvin Harris and Sony Music UK to
make the ‘Humanthesizer’: Bibiana Nelson,
Matt Johnson, Isabel Lizardi, Becky Pilditch
(MA/MSc, 2009).
Toyota IQ Design Challenge Award:
Shortlisted, Gianpaolo Fusari MA/MSc,
2009), Dae Kyung Ahn (MA/MSc, 2009)
and Present Skins.
James Dyson Award: Winners, Paul
Thomas (MA/MSc, 2008), Yusuf
Muhammad (MA/MSc, 2008) for lifesaving invention ‘Automist’.
Go Global: ‘e.Artisans’ project,
contemporary design for the global
market, Kumasi University, Ghana.
Synaesthesia Design Lab: Experimental
Design Master class run by Malte
Wagenfeld, Royal Melbourne Institute
of Technology (RMIT).
Industry collaborations: Ford Motor Co.,
‘Smart Thinking’, collaborative project
Vehicle Design, Textiles and IDE; Unilever,
‘Laundry Minimisation’, recent IDE
graduates; Lakeland Plastics, ‘I’ll Take
Nine’, IDE1 project to develop innovative
house wares; Unilever, ‘Cues for Success’,
developing countries packaging project;
London Development Agency, ‘Raw
Fairies’, innovative packaging; Nekuda
Design, ‘I am a brand, workshop with
Avner Sadot, Nekuda Design, Israel;
iSpace, Thales Alenia Space, Philips and
the European Space Agency (ESA), ‘Space
Hotel’, module with space architect Daniel
Bedini; Design London, SEED (Social
Environmental Enterprise + Design),
including Clare Brass, Jonathon Porritt
– Forum For the Future, Chair Sustainable
Development Commission.
1: Sarat Babu, Micro Kinetics
2: David Graham, Move-it
3: Dae Kyung Ahn, Micro Factory
4: Sheraz Arif, Living Paint
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Vehicle Design
Vehicle design has moved beyond
engineering and consumerism, and
increasingly must respond to individual
demand, cultural, social and demographic
change and, of course, environmental
issues. The main focus of the Vehicle Design
Department is to improve the design and
experience of journeys, particularly of
urban and inter-urban mobility. The goal
is to promote and encourage sustainable
transport futures through the development
and teaching of new design methodologies
for socially responsible mobility.
Professor Dale Harrow: Principal
investigator, EPSRC-funded research
project ‘Smart Pods’. Speaker, Design
Council Korean Tour; Cheltenham Science
Festival; International Transport Design
Summit, Barcelona.
Marek Reichman (MA, 1990 and Visiting
Lecturer): Exhibitor, Aston Martin Lagonda
Concept SUV and One-77, Geneva Motor
Show. Leader, winning Aston Martin/Foster
+ Partners multi-disciplinary team to design
new Routemaster bus, Transport for London.
Peter Stevens: Judge, Interior Motives
Awards. ‘Solar Tractor’ project; ‘Windcar’
project. Lecture tour, China.
David Woodhouse (MA, 1990): Director,
new Ford Ingeni design studio, to
develop Ford’s global design strategy
based in London.
Reginald Hingston (MA, 2008): Design
for boat to improve economic health of
community of Lamrana, West Africa, went
into production using local craftsmen,
materials and skills. (Winner, Deutsche
Bank award 2008.)
Luke Harmer (PhD, 2009): Exhibitor, UITP
Paris Design Day (2008) and Eurobus 2008.
Lino Vital García-Verdugo (MPhil student):
Awarded Design London Fellowship.
Presentation, Jaguar Land Rover (Coventry).
Artur Grisanti Mausbach (PhD student):
Presented ‘Paradigm Shift: Entering a New
Age of Automobile Aesthetics’, Fourth
International Conference on Ecological
Vehicle and Renewable Energies (EVER
2009), Monaco.
Sheila Clark (PhD student): Exhibitor, car
seats and accessories, Industrial Fabrics
Association International (IFAI), Charlotte,
North Carolina. Invited by Marie O’Mahony.
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Student exhibitions: Japan Car: Designs for
the Crowded Globe (Kei-Car project), Science
Museum, London; Fast Forward 40 Yrs,
London Transport Museum; ‘Interior Motives’
entrants displayed at Frankfurt Motor Show;
Future Cities Mobility, London Transport
Museum; Selected graduate works, Futures
Gallery, London Transport Museum.
Industry collaborations: Internships at
Hyundai, Japan; Ford and Seymourpowell,
UK; Pininfarina, Italy; BMW, Audi and
Opel, Germany.
Partner projects: Autocare, ‘Smart
Pods’; Daihatsu/Suzuki, Kei Car; Ford,
afFORDable; Opel, Fast Forward 40 Yrs;
HAVAS Media, Future Cities Mobility.
Academic collaborations: ‘Smart Pods’, with
Helen Hamlyn Research Centre, Universities
of Loughborough, Bath, West of England
and Plymouth. Umbro project with Fashion
and Textiles Departments. ‘Sunny Delight’
project with Ford/Innovation Design
Engineering Department.
1: Dalibor Pantucek (MA, 1st Year), Cocoon
2: Rui Guo (MA, 1st Year), Caring Engineering
3: David Seesing (MA, 1st Year), Nomad
4: Gabriel Tam (MA, 1st Year), Astrocar
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Animation
The Animation Department has
developed a vibrant, creative environment
in which to observe, study, think, produce,
exhibit and reflect through research and
practice. The department delivers an
exciting combination of both teaching and
research, which examines the complex
medium of animation.
Professor Joan Ashworth: Professorial
lecture, ‘Touch, Transform, Think, Tell’.
Current research project: Mushroom Thief.
Deborah Levy: AHRC-funded Research
Fellow, completed three-year fellowship
with keynote lecture, ‘The Lost Objects of
Childhood’, featuring a short, stop-motion
animation film, Hot Milk Madonna, made
with Pia Borg (MA, 2008).
Marina Warner: First Visiting Professor
to the Animation Department. Inaugural
lecture, ‘My Father He Ate Me’.
Tim Webb: A is for Autism, in ‘More
Than Just Reality? The Best Animated
Documentaries’, 51st International
Leipzig Festival for Documentary and
Animation Films.
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Joe King: Sea Change, selected for
screening by Andrew Kotting, Coastal
Currents Arts Festival, Hastings. Arts
Council funding: Strange Lights.
Rafael Sommerhalder (MA, 2008):
Flowerpots, winner, Animation, Adobe
Design Achievement Awards. Wolves,
winner, Conran Foundation Award.
Kristian Andrews (MA, 2008): Rabbit
Punch, award winner, International
Animated Film Festival, Stuttgart;
Grand Prix, International Competition,
Curtocircuito Film Festival, Santiago de
Compostela; nomination, Royal Television
Student Awards.
Film Funding Day: Cross-college event
(organiser, Joe King); overview of film
funding opportunities in the UK. Attended
by Film London; Arts Council England;
Animate Projects; UK Film Council; BECTU
(Moving Image Union).
Academic collaborations: Sound
Department students, National Film &
Television School; Composing for Screen
students, Royal College of Music.
Peter & the Wolf: Suzie Templeton (MA,
2001) donated a set and puppets from the
Academy Award-winning animated film;
the first animation object to become part
of the Royal College of Art Collection.
Laurie Hill and Ian Mackinnon (MA, 2005):
Photograph of Jesus (Laurie Hill), winner;
Long Jump (Ian Mackinnon), third prize: Getty
Images/Short & Sweet Film Competition.
Maryam Mohajer (MA, 2007): And Life Went
On, winner, Best Student Film, Trinidad and
Tobago Film Festival, Animae Caribe.
Alan Smith and Adam Foulkes (MA,
1996): This Way Up, nominee, Animated
Shorts, Academy Awards 2009.
1: Still from Maryam Mohajer, And Life Went On
2: Still from Wolves, Rafael Sommerhalder
3: Set of Suzie Templeton’s stop-motion film Peter
and the Wolf.
4: Still from Photograph of Jesus, Laurie Hill
5: Still from Rabbit Punch, Kristian Andrews
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Communication
Art & Design
The largest RCA department, CA&D is
also one of the most international, and the
resulting mixture of cultural backgrounds,
religious and social attitudes, and linguistic
richness all contribute to the distinctive
flavour of the department. Students
on the course work in an enormously
wide range of media, but the defining
characteristic, which runs through all of
the project work produced in CA&D,
is the emphasis we place on ideas. We
encourage students to develop critical
positions in relation to the great issues of
the day: environmental, cultural, political
and social – but there’s also a great deal
of work produced here that is made for no
other reason than sheer creative pleasure.
Professor Dan Fern: Chair, RCA
International Development Group. Solo
exhibition, England & Co. Gallery, London.
Jeff Willis: Business Fellow, InnovationRCA:
founder of Graphic Design Unit to
negotiate projects with industry. Designer,
British Academy visual identity.
Andrzej Klimowski: Dr Jekyll & Mr Hyde,
graphic novel (pub. SelfMadeHero).
Juror, Slovenian International Design
Competition, Ljubljana, and exhibitor at
accompanying design conference.
Jon Wozencroft: ‘Brian Eno’s 77 Million
Paintings’, lecture and screening, Punkt
Festival, Norway. The Suffolk Symphony,
new film with live music performance,
Aldeburgh Festival, Suffolk.
Anne Howeson: Remember Me, Guardian
Gallery, London.
Eva Kellenberger and Sebastian
White (MA, 2009): Designers, Design
Interactions’ yearbook, now working as a
professional partnership.
Carlos Mancebo (MA, 2009): Designer,
CA&D, SHOW 2009, generally acclaimed
to be the best in recent years
Povilas Utovka and Alistair Webb (MA,
2009): Designers, supporting material, Cold
War Modern (curator, David Crowley, CCA).
Zoe Taylor (MA, 2009): Illustrator,
Rapunzel, with writer Marina Warner.
MAP/making: Collaborative performance
project (MAP=Music, Art and Performance)
by first-year students with musicians
from the Guildhall School of Music, using
Marina Warner’s Rapunzel; culminating in a
one-hour multimedia performance at Bath
International Music Festival, commissioned
by Festival Director Joanna MacGregor.
British Film Institute: Screening,
graduating moving-image students.
Illustrative 09: International forum for
contemporary illustration and graphic
arts: 26 recent graduate and current
student exhibitors.
Research: PhD graduate in documentary
film and two MPhils in typographic research
and sonic art installation. External research
seminars and conferences, film festivals and
design exhibitions in Cuba, St Petersburg
and UK venues. Karin von Ompteda
(typographic research) gained major
funding from the Canadian Social Sciences
Research Council and other foundations.
1: Povilas Utovka and Alistair Webb, Code Share,
CAC Vilnius (exhibition identity)
2: Leslie Deere, Outer Dark (detail)
3: A Young Kim, Protea at MAP/making, The Equator Project
4: Jaakko Tuomlvaara, Communication Art & Design Degree Show 2009 gallery graphics
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Fashion
The design ethos of the Fashion
Department is a powerful combination of
creative expression, technical excellence
and high professional standards.
Its strength is based on a fearless
approach to exploring and questioning
the boundaries of womenswear and
menswear. We believe that the core of
innovation is based on the investigation
and development of personal vision
and inspiration, and that bringing this
into a valid context offers a position of
confidence that enables our graduates to
pursue an influential career path within
the international fashion industry.
Professor Wendy Dagworthy: Contributor,
Style City, How London Became a
Fashion Capital (pub. Francis Lincoln).
London Mapper and interviewee, Super
Contemporary, Design Museum, London.
Ike Rust: Halcyon Daze: Uncovering the
Language of Designing, CETLD-funded
film focusing on the process of learning
Fashion at the RCA.
Tristan Webber: ‘From Sketch to Product’,
CETLD-funded project, with V&A Prints &
Drawings Study Room.
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Julie Verhoeven: Fannying Around,
Concrete, Hayward Gallery, London;
Feathers Up My Arse, ZINGER Presents,
Amsterdam; Rubber Necking, The White
Cubicle, London.
Darla Jane Gilroy: Future Perfect website
identifying trends and providing brands,
advertising agencies and think-tanks with
visions of the future.
Claire Pajazckowska: Co-editor, The
Sublime Now (pub. Cambridge Scholars).
Bronwen Marshall (MA, 2009):
Competition winner, redesign Tower of
London Beefeaters’ uniforms for launch
event, Super Contemporary, Design
Museum, London.
Future Fashion Now: 2008 RCA Fashion
graduates’ final collections, Victoria and
Albert Museum, London, co-curated by
Professor Wendy Dagworthy and senior
tutors.
ITS8, Trieste: RCA Fashion (Mason Jung,
Chau Har Lee, Ali Forbes) overall winners,
Fashion and Accessories Collections of the
Year Awards.
London Fashion Week: Recent graduates
making a powerful impact on the
regeneration of London Fashion Week
include Erdem, Aminaka Wilmont, Justin
Smith, Soren Bach, Julian Smith, Katie
Eary, James Long, Carolyn Massey, Aitor
Throup, Holly Fulton and Heikki Salonen.
Brioni project work: Harrods, London;
Menswear Fashion Week, Milan.
Sponsored projects 2008/9: I.F.F;
Bill Amberg; Brioni; FMO; Umbro
International; Sophie Hallette; Manolo
Blahnik; UPS; Swarovski; Crown Paints.
Umbro: Project collaboration RCA
Departments of Fashion, Textiles and
Vehicle Design, and Imperial College
London.
Teko College, Denmark: Design/technical
student collaboration.
1: Mason Jung, Menswear
2: Chau Har Lee, Footwear
3: Bronwen Marshall, London Beefeaters’ uniforms
(Photography Naomi James)
4: Future Fashion Now, Victoria and Albert Museum, London
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Textiles
The Textiles Department aims to provide
students with a course and environment
that encourages individuality, enhances
their skills and invites them to challenge
and be challenged by related issues,
while exploring the breadth and diversity
of textiles.
Constantly evolving technology,
innovation, art, design and traditional
craft skills cohabit and fuse in the subject
of textiles. The context of textiles is
approached through two selective
pathways: Body and Space.
Professor Clare Johnston: Presentations,
The Colour Conference, Belfast University;
National Institute of Fashion Technology,
Delhi; National Institute of Design,
Ahmedabad. Board member, Material and
Design Exchange, UKKTN
Anne Toomey: Research presentations,
Annual Scholars’ Lecture, Cambridge;
MADE: Materials for Design and
Safety, Loughborough; Textile Institute
World Conference, Hong Kong; SFIT
(Smart Fabrics and Intelligent Textiles)
Conference, Rome; Avantex, Frankfurt.
External reviewer, Skin Dreams exhibition,
Hong Kong Polytechnic University.
Sarah Dallas: Adviser to Museum of
Fashion, Bath for Sarah Dallas Collections
1976–89. Contributor, Rowan Knitting and
Crochet Magazine.
René De Lange, Will Stone, Laura
Mcpherson, Justin Smith and Nicola
Strathearn (MA, 2009): Exhibitors,
Texprint, London, Paris and Hong Kong.
Freddie Robins: Exhibitor, Dress Codes:
Clothing as Metaphor, Katonah Museum of
Art, New York; Diritto Rovescio, Triennale
Design Museum, Milan; Think Tank takes
on ‘Skill’, Contemporary Applied Arts,
London and touring; Bottom Drawer, PM
Gallery, London; Deviants, Crafts Council,
London and touring, Cloth & Culture Now,
Sainsbury Centre for Visual Arts, Norwich
and Whitworth Art Gallery, Manchester.
Nicola Strathearn (MA, 2009): Winner,
‘Breaking New Ground’ Prize, Texprint,
London and Paris.
Julian Roberts: Presenter, Your Label, BBC,
mentoring ten 14- to19-year-olds through
development of a collection for London
Fashion Week. School of Subtraction
Cutting (pub. Centre for Pattern Design,
CA). Subtraction cutting master classes at
international universities and art galleries.
Philippa Watkins: Contributor, journals
and magazines: Textile Outlook
International, Textiles View and Textiles.
Comment and analysis on design trends
and innovation in textiles, through
European trade fairs in France, Italy and
Germany. Consultant, textiles for fashion.
Keith Gray (MA, 2009): Exhibitor, full
collection of menswear and prints, RCA
Fashion catwalk show, London.
UNESCO: Emma Bradbury (MA,1st
Year) and Claire-Anne O’Brien (MA, 1st
Year) participated in the ‘Snow Leopard’
project, Northern India.
Institute of Materials: Joint workshops
with Vehicle Design Department.
Ford team project: Collaboration with IDE
and Vehicle Design Departments.
Umbro project: Collaboration with
Fashion Department.
1: Keith Gray, Menwear
2: Ella Robinson, Canoe Cocktail
3: Freddie Robins, The Saddest Sight of All
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Painting
The Painting Department is committed
to offering students the opportunity
to engage – in a pluralistic and highly
critical manner – with painting’s
unique relationship and approach to
contemporary discourses: the status of
the image and issues of materiality, site,
practice and history. Our aim is to provide
a creative and challenging professional
environment in which students can develop
their work and thinking in relation to both
studio practice and academic research,
in order to engage in the widest possible
professional arena.
Professor David Rayson: Everyday Fantastic,
Marlborough Fine Art, London. Exhibitor,
LUBOK 8, Schauspiel Spinnerei, Leipzig.
Lectures, Camden Arts Centre, The Prince’s
Drawing School; Slade School of Fine Art;
CAFA and Tsinghua University, Beijing.
John Strutton: Donderslag, Domobaal
Gallery, London/Volta, New York. Exhibitor,
PARKHAUS, Kunsthalle Düsseldorf; Precious
Things, Highlanes Gallery, Drogheda.
Goshka Macuga: Nominee and exhibitor,
Turner Prize, Tate Britain, London;
Bloomberg Commission: The Nature of the
Beast, Whitechapel Art Gallery, London.
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School of Fine Art
Elizabeth Price: Hall of Sculptures, Spike
Island, Bristol.
John Slyce: Convened Fine Art Lecture
Series, Dan Graham, Garth Evans,
David Claerbout.
Douglas Allsop: Fast Surface, Blind
Screen and Reflective Editors, Letherby
Gallery, University of the Arts, London;
The Director’s Cut, Galerie Bernd A.
Lausberg, Düsseldorf; Blind Spot, Bartha
Contemporary, London.
Ansel Krut: Next Chicago, Domobaal
Gallery, Art Chicago. Exhibitor, Turps
Banana 2, Galleria Marabini, Bologna.
Milly Thompson: My Kind of People,
Galerie Valerie, Bilbao/Venice. Exhibitor:
Less is Less and More is More, That’s All,
CAPC, Bordeaux.
Through the Wall: Group show (MA, 2009),
Rochelle School, London.
Jerwood Contemporary Painters:
Winners, Ellen Stanford (MA, 2008),
Scott O’Rourke (MA, 2008).
John Moore’s Painting Prize 2009:
Exhibitors, Richard Baines (2nd year), Ian
Homerston (MA, 2009).
Painting alumni: Katy Moran (MA, 2005),
Andrea Rosen Gallery, New York; Laura
Oldfield Ford (MA, 2007), Marlborough
Fine Art, London; Ryan Mosley (MA, 2007),
Alison Jacques Gallery, London; Jaimi Gili
(MA, 1998), Bloomberg Space, London;
Armando Anrade Tudela (MA, 2003), Ikon
Gallery, Birmingham; Lydia Gifford (MA,
2008), winner, Valerie Beston Prize, solo
exhibition, Marlborough Fine Art, London.
Exhibitors: Ryan Mosley (MA, 2007).
Alistair Frost (MA, 2007), Mathew Weir
(MA, 2004), Sam Windett (MA, 2004) Scott
O’Rourke (MA, 2008), Ellen Stanford (MA,
2008), Jerwood Visual Arts, London; Lara
Viana (MA, 2007), Paul Westcombe (MA,
2007), Christopher Hanlon (MA, 2008),
Bloomberg New Contemporaries, London;
Katy Moran (MA, 2005), Anthea Hamilton
(MA, 2005), Dee Ferris (MA, 2004), Art
Now, Tate Britain, London.
1: Nathan Barlex, Robin Footitt and Andrew Larkin, Ghost Tank
2: Lydia Gifford in the Valerie Beston Studio (2008
Valerie Beston Prize winner)
3: Through the Wall, Rochelle School
4: Kate Moran, Snowdance
5: Ryan Mosley, Peacemakers
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Photography
The Photography Department aims to
foster a critical practice of the still and the
moving image. Practice – but also theory
and criticism – address the image as a
material and physical object, used for the
creation of fact, fiction and fantasy.
Rut Blees Luxemburg: Commonsensual:
The Works of Rut Blees Luxemburg
(pub. Black Dog Publishing); texts, Regis
Durand, A G Duttmann and Douglas Park.
Peter Kennard: Embedded Art, Akademie
der Künste, Berlin.
Olivier Richon: Anima(l), Ibid Projects,
London; Bendana-Pinel, Paris.
Sarah Jones: Within: New Photographic
Portraits, Bloomberg SPACE, London
(commission, exhibition and catalogue).
Noemie Goudal (MA, 1st year):
Shortlisted, International Talent Support
awards (ITS8), Trieste. Featured in Hot
Shoe magazine.
Agata Madejska (MA, 1st year): Winner,
National Magazine Award.
Ewa Axelrad (MA, 1st year): Solo
exhibition, EASTinternational 2009,
Norwich University College of the
Arts, selected by Art & Language
and Raster Gallery.
Ricoh Japan: Collaboration using their
top-of-the-range compact cameras to
experiment with the book form. MA
student work displayed at Photokina
2008, Cologne.
La Seine: Collaboration between
Photography research students and the
research atelier, Ecole nationale supérieure
des beaux arts de Paris. In situ research
project and exhibition, Lasalle School of
Art, Singapore.
Thomas Adank (MA, 2009): Exhibitor,
Cass Sculpture Foundation, Goodwood.
Regine Petersen (MA, 2009): Exhibitor,
Saatchi New Sensations, A Foundation,
London.
Hermione Wiltshire: Birth Rites, Glasgow
Science Centre; Manchester Museum.
Åsa Johannesson (MA, 2009): Shortlisted,
Independent Photographers Terry O’Neill
Award.
Yve Lomax: ‘Besides/In a paradigmatic
way’, Journal of Visual Arts Practice, 7:3,
2008, pp 205–12.
Susanne Ludwig and Konrad Pustola
(MA, 2008): Exhibitors, Bloomberg
New Contemporaries, London.
Leica Prize, Paris: Three Photography
students shortlisted.
Runa Islam (MPhil, 2007): Shortlisted,
Turner Prize, Tate Britain.
1: Runa Islam, Intervals; Spotlight and Banana
2: Olivier Richon, Anima(l)
3: Regine Petersen, Pigeon
4: Åsa Johannesson, Portraits of Him 9
5: Ewa Axelrad, Mislocated
School of Fine Art
41
2
4
1
3
Printmaking
Hybridity is the key to the Printmaking
Department, which works with very
diverse students to explore print media
in their widest manifestations within
a fine art context. The material and
conceptual histories and influences of
print are explored through making and
critical reflection. This focus is supported
by excellent workshops, opportunities
for exhibition, discussion and exchange,
all of which aim to bring out the creative
potential of each student.
Ann-Marie LeQuesne: Double Exposure II,
Merlin Studios, London.
Rhys Himsworth (MA, 2009): Winner, Conran
Foundation Award; Land Securities Prize.
New Prints from the Royal College of Art:
Selected by Chris Orr (RA), Royal Academy
of Art, London.
Andrew Curtis (MA, 2009): Winner,
Jealous Print Prize. Exhibitor, Bloomberg
New Contemporaries, London.
10 – The Chris Orr Years 1998–2008:
Limited-edition prints by Paula Rego,
Michael Craig Martin, Tracey Emin
alongside College staff and graduates,
Royal College of Art, London.
David Price (MA, 2009): Exhibitor,
Bloomberg New Contemporaries, London.
Professor Jo Stockham: Exhibitor,
Buitendoor, Ostende; No Letters, Nettie
Horn Gallery, London. Nominee, Paul
Hamlyn Foundation Award.
‘Print in 3D’: One-day symposium, Victoria
and Albert Museum, London; including Gill
Saunders, Troika, Simon Patterson, Richard
Woods, Jeremy Gardiner, Jo Stockham and
Nick Grace, RapidformRCA.
Mark Hampson: Curator, Pick ‘n’ Mix,
Walthamstow Woolworths, London.
Exhibitor, Krakow Print Triennale.
Dick Jewell: Solo exhibition, Rachmaninoff’s,
London. Exhibitor, Self-made Men, Victoria
and Albert Museum, London.
Bob Matthews: Solo exhibitions: Keith Talent
Gallery, London; Gregory Lind Gallery, San
Francisco. Curator: A Sort of Night to the
Mind, A Kind of Night for Our Thoughts,
Herbert Read Gallery, Canterbury.
42
School of Fine Art
Andrea Büttner (PhD, 2009): Solo
exhibitions: Croy Nielsen, Berlin;
Hollybush Gardens, London. Exhibitor,
Nought to Sixty, ICA, London 2008.
Oona Grimes: Solo exhibition, images
made for Iain Sinclair, Hackney, That Rose
Red Empire (pub. Hamish Hamilton),
Daniel Arnaud Gallery, London.
Serena Korda (MA, 2009): Winner,
Deutsche Bank Award; Start Point Art Prize.
Claas Gutsche (MA, 2009): Winner,
inaugural FT Weekend Fine Art Awards;
Royal Academy of Art Summer Exhibition
student prize.
Printmaking alumni: Christiane
Baumgartner (MA, 1999), solo exhibition,
Alan Cristea, London; Haris Epaminonda
(MA, 2003), The Generational: Younger Than
Jesus; New Museum, New York; Richard
Healy (MA, 2008), Red Mansion Art Prize;
Gemma Anderson (MA, 2007), Wellcome
Trusts Arts Award; George Charman (MA,
2008), Jerwood Drawing Prize, Second Prize;
Marilène Oliver, The Space Between, Crypt
Gallery, London, The Future Can Wait, Old
Truman Brewery, London.
1: Hector de Gregorio, Lee Adams, Performer
2: Marilène Oliver, Dreamcatcher
3: Rhys Himsworth, Hephaestus
4: Andrew Curtis, New Empire
2
1
3
4
Sculpture
In 2008/9 the students and staff of the RCA
Sculpture Department found themselves
possessed of an exceptional opportunity,
working in the handsomely lit, singlestorey spaces of the new building. Looking
ahead, with the new Moving Image
Studio and the imminent arrival of the
Painting Department next door, there
is the chance to set fresh standards for
both the production and display of
artworks. It will concentrate the debate
about fine art at the RCA. For the first
time there will be a genuine coalition of
fine art students in a single place: a critical
mass, to cultivate something much more
considerable than the sum of the parts.
We imagine a magnetic future, open to
all students. At a time when the forming
processes and materials of the world
are encountering near-magical guidance
systems, we should be expecting the
Sculpture Department to attract the kinds of
intelligences that will become the ‘shapebrokers’ of the twenty-first century.
John Frankland: Boulder, Peer Gallery,
London, Shoreditch Park and Mabley
Green. Exhibitor, Boule to Braid, Lisson
Gallery, London.
Professor Richard Wentworth: Exhibitor,
53rd International Art Exhibition, Giardini
Pavilion and Arsenale, Venice Biennale.
Curator, Boule to Braid, Lisson Gallery,
London. Inaugural curator, Cabinet of
Curiosities, Whitechapel Art Gallery, London.
Denise de Cordova: Love, Flowers East,
London.
Lee Grandjean: Workforce Ha Ha, De
Fabriek, Eindhoven.
Kate Davis: Exhibitor, Travelling Light,
WW Gallery, London and Venice Biennale.
Commission with Modus Operandi,
Whooosh, Langdon Park Station, DLR.
Keith Wilson: What is Industry? Strategic
Questions #25, Eastside, Birmingham;
Boat Race, Snape Maltings, Aldeburgh.
Exhibitor, Deceitful Moon, Hayward
Project Space, London.
Jordan Baseman: Dark is the Night, The
Photographer’s Gallery, London and
ArtSway, New Forest. Exhibitor, 53rd
International Art Exhibition, New Forest
Pavilion, Venice Biennale.
Edward Payne (MA, 1st year): Winner,
Annual Friends of Battersea Park Sculpture
Commission.
James Capper (MA, 1st year): Shortlisted,
Jerwood Sculpture Prize, London. Exhibitor,
53rd International Art Exhibition, Peckham
Pavilion, Venice Biennale. Winner, Jack
Goldhill Prize, Royal Academy Summer
Exhibition, London.
Lucy May (MA, 1st year): Exhibitor,
Travelling Light, WW Gallery, London and
Venice Biennale.
Fred [London] Ltd: Student exhibition, crit.
by gallery director Fred Mann and Kate Davis.
Bank of America: Student exhibition, HQ
building, Canary Wharf, London.
Camden Arts Centre: First-year student
summer project with Keith Wilson.
Foundry: Castings, City of London Festival,
Painters & Stainers Livery Company.
Education, Victoria & Albert Museum Guides;
Dr Stephen Case-Green, Pangolin Foundry;
The British Wax Refining Company.
1: Lucy May, Throat of Venice
2: John Frankland, Boulder
3: Krister Klassman, Untitled (winner, Villiers David
Travel Award)
4: Edward Payne, Table-shelter Stack
School of Fine Art
43
4
1
3
5
2
Drawing Studio
During 2008/9 the Drawing Studio
provided a wide range of workshops and
events, as part of its remit to raise the
awareness of the importance of drawing
and its relevance to art and design
practice. Course-specific workshops
were carried out in consultation with
Heads of Department or Senior Tutors,
alongside well-attended, College-wide
workshops and evening classes that are
open to all students and staff.
Drawing classes: ‘Drawing the Body’
figure drawing classes; ‘Lab’ (experimental
approaches to drawing) taught by
Iwona Abrams; ‘The Anatomy Course’,
restructured and enlarged to meet student
demand by tutors Eleanor Crook and
Richard Neave; ‘Natural Forms’ run by
John Norris-Wood; ‘Facial Reconstruction’
workshop; ‘Esemplastic Tuesdays’ replaced
by sound/music/poetry and performance;
Martin Morris’ ‘Drawing Course’ (lunchtime
drawing classes open to staff).
Master classes, workshops and
lectures: Run by distinguished artists,
designers and theorists, including ‘Body
Decoration’ workshop, Dr Rebecca
Jewell; ‘Imagination and Drawing’, Amelia
Johnstone; ‘Comicology and Sequential
44
School of Fine Art
Narrative’ workshops, Doctor Simpo;
‘Tactile’ workshops, Tereza Stelhikova;
‘Collaborative Drawing’ workshops,
Meghana Bisineer and Jane Cheadle;
and ‘Animation-specific’ workshops,
Aline Helmcke.
Drawing Studio competitions: The
Man Group Drawing Prize; John Norris
Wood Natural Forms Drawing Prize,
sponsored by Josh and Cyndy Silver
(and accompanying exhibition).
GOB: Exhibition/research project,
culminating in a week-long residency
in the Courtyard Galleries, Kensington
Campus. A collaboration between six
research students from across the College,
the project aimed to explore and expose
publicly the nature of practice-led research,
through site-specific production of works
and seminar with external guests artist
Shezad Dawood, and writer Tom McCarthy.
Under the guidance of the College-wide
Research Tutor in Drawing, the Drawing
Studio continued its collaboration across
disciplines and departments, promoting
research through drawing in the widest
possible sense; encouraging the perception
of drawing as a tool for investigation, as
well as an autonomous medium.
Margarita Gluzberg: Captive Bird Society,
MAC/VAL, Musée d’art Contemporain
du Val-de-Marne, Paris; Kevin Kavanagh
Gallery, Dublin. Exhibitor, Natural
Wonders, New Art From London,
Baibakov Art Projects, Moscow; Il Faut
Être Absolument Moderne, Paradise Row
Gallery, Istanbul. Speaker, Folie à Deux
Symposium, Tate Britain, London.
1–2: GOB research project, RCA galleries
3–4: Drawing Studio workshop
5: Margarita Gluzberg, Captive Bird Society (installation/performance), MAC/VAL, Musée d’art Contemporain du Val-de-Marne, Paris
3
1
2
Conservation
2008/9 saw a review of options for
RCA/V&A Conservation, and the
decision that – as a result of the Victoria
and Albert Museum’s reassessment of
its commitment to our partnership in
conservation – there will be no further
recruitment of students. The College
will continue to support existing
Conservation students, and to provide
them with a learning experience that
meets the RCA’s standards of excellence.
The department was established in 1989
as a unique partnership between the
RCA and the V&A, in association with
Imperial College London, for the delivery
of specialist, work-based postgraduate
learning in conservation. MA, MPhil and
PhD students have worked across the
disciplinary boundaries of the Humanities,
Sciences and the Arts, exploring avenues
of context and understanding that
influence conservation practice and
theory, and revealing new ways of looking
at conservation issues.
The department’s significant achievements
include:
• 61 MA, 15 MPhil, and 8 PhD conservation graduates to date.
• Some 95% of graduates employed in
conservation or directly related
activities, many in senior positions both
in the UK and internationally.
• MA expanded beyond the V&A to offer diverse specialisms through collaboration
with many London-based heritage
organisations, including: Preventive
Conservation, Conservation of Social
History Objects, Natural History Collections, Ethnographic Materials
and Musical Instruments, and
Conservation Science.
• Queen’s Anniversary Prize for Further and Higher Education, 2001.
• UK’s Student Conservator of the Year nominations, and three award winners.
In addition to the V&A, Imperial
College London and a large number of
conservation, heritage and education
professionals, the following museums and
organisations have collaborated formally
in the development and delivery of RCA/
V&A Conservation: the British Museum,
English Heritage, the FOM Institute
AMOLF (The Netherlands), FORTH-IESL
(Crete), Historic Royal Palaces, ICON,
the Horniman Museum, the Leather
Conservation Centre, the Museum of
London, the National Conservation Centre
Liverpool, The National Archives, the
National Maritime Museum, the National
Trust, The Natural History Museum, School
of Conservation of the Royal Danish
Academy of Fine Art, the Straus Center
for Conservation (Harvard University Art
Museums), Tate. We are indebted to all
who have worked with us.
1: Textiles conservation
2: Working on a Plywood Chair by Marcel Breuer
(dating from about 1936).
3: Stained Glass conservation
45
2
1
3
Critical & Historical Studies (CHS) provides
a unique environment for postgraduate
art and design students to reflect upon
their own practice, and to engage
critically with students from their own
and other disciplines. The CHS Collegewide programme is designed to enhance
each student’s College experience by
engaging with important ideas that are
relevant to their studio work in an exciting
and challenging manner. In so doing, it
provides each student with an intellectual
framework within which they can begin to
establish a coherent relationship between
theory and practice.
Filipa Roseta (PhD, 2009): Professora
Auxiliar, Faculty of Architecture,
Universidade Técnica de Lisboa.
Joe Kerr: Convened ‘Architecture and
Design in the Bacon Era’, the Architecture
Foundation/Tate Britain debates,
October–November 2008.
Lucy Soutter: ‘Conceptual Painting’, a
panel discussion from 2006, included in
Frieze Projects/Frieze Talks 2006–2008
(pub. Thames & Hudson).
Michael Schwab: ‘First, the Second:
Walter Benjamin’s Theory of Reflection
and the Question of Artistic Research’,
(pub. Journal of Visual Arts Practice, 7:3,
pp. 213–23).
46
1: Critical & Historical Studies resources
2: Franz Ackermann, ‘Gateway’ installation, Altermodern, Tate Britain
© everydaylife.style, 2009
3: Catrin Morgan (MA, 2009), The Collector/The Butterfly Library
2
1
3
Established in 1992, the Curating
Contemporary Art MA at the RCA has
become a benchmark for postgraduate
curatorial education, globally. The course is
unique because of the collaborative nature
of its group learning and its growing range
of international partnerships and projects.
CCA RCA provides a unique mix of
practical experience based on the
development of exhibition projects,
theoretical study, and access – through
travel and visiting lecturers – to an
international range of professionals
from all areas of the field. CCA
RCA is also developing pioneering
research into curatorial histories and
contemporary debates.
This year sees the launch of the workplacement based MA Curating pathway
(Inspire), an initiative with Arts Council
England.
Professor Mark Nash: Curator, Re-imagining
October, Calvert 22, London. Co-curator,
The View from Elsewhere, exhibition and
catalogue essay, Gallery of Modern Art,
Queensland; Sherman Gallery, Sydney
(with Kathryn Weir).
David Batchelor: The Backlights, Galeria
Leme, São Paulo.
Clare Carolin: Curator, Regina José Galindo:
The Body of Others, Modern Art, Oxford.
Acting Senior Curator, Modern Art, Oxford.
Kit Hammonds: Director, Publish and Be
Damned, self-publishing fair. Acting Director,
Showroom Gallery, London.
Michaela Crimmin: Director, Arts & Ecology
Centre, Royal Society of Arts, London.
Jean Fisher: Keynote speaker, SITAC,
Guadalajara. Catalogue essay, ‘James
Coleman’, IMMA, Dublin.
Polly Savage (MPhil, student): Author,
‘Playing to the Gallery: Masks, Masquerades
and Museums’, African Arts, Winter 2008;
Nnenna Okore: Infinite Flow, exhibition
catalogue, October Gallery, London.
Marieke van Hal (MPhil, student): Curator,
Bergen Biennial.
Louli Michaelidou (MPhil, student):
Commissioner, Cyprus Pavilion, Venice.
Olga Fernandez (MPhil, student):
Coordinator, ‘Curatorial Strategies. Past
and Present’, CCA RCA. Author, Angel
Ferrant, monograph on the avant-gardist
Spanish artist.
Florence Ostende (MA, 2009): Editor,
Catalogue, online contemporary art
magazine (www.cataloguemagazine.com),
with Coline Milliard (MA, 2007).
Student exhibitions: Performing Localities:
Recent Guatemalan Performance Art on
Video, Iniva, London; Testing Ground:
Curating, collaborative exhibition with
Goldsmiths MFA Curating, University of
London and 176 Gallery; Reel Geographies,
Jagillonian University, Krakow.
Pamela Prado (MA, 2009): Organiser,
‘The New Archive. Documenting Visual
Art from Latin America’, conference,
RCA, 2009.
1: David Batchelor, Installation view of The Backlights, ~
Paulo
Galeria Leme, Sao
2–3: Performing Localities: Recent Guatemalan Performance Art on Video, Iniva, London
Jonathan Rée: Broadcaster, William Hazlitt,
Philosopher, BBC Radio 3.
47
2
3
4
1
History of Design
The History of Design Department offers
an exceptional opportunity to study the
world of design at postgraduate level.
Not only do our students work in the
creative environment of the College,
they also have direct access to the rich
collections and considerable expertise
of the Victoria and Albert Museum.
David Crowley: Cold War Modern
– Design 1945–1970, Victoria and Albert
Museum, London; MART, Rovereto;
National Gallery of Art, Vilnius. The Times
called it, ‘Britain’s finest exhibition on
design in years’.
following directly from his MA thesis,
‘English Woodworking Artisans of the
Early Modern Period’.
The Viennese Café and Fin-de-siècle
Culture: Working with Birkbeck College,
University of London, this AHRC-funded
research project entered its third and
final year.
Vienna Café 1900: Exhibition, Royal
College of Art, examining the lasting
significance of the city’s coffee culture.
The exhibition was accompanied by
screenings, performances and an
international conference.
Dr Christine Guth: Toshiba series of
lectures in Japanese Art on the theme of
Hokusai’s Great Wave, British Museum,
London; SOAS, London and Sainsbury
Centre at UEA, Norwich.
Professor Jeremy Aynsley: Designing
Modern Germany (pub. Reaktion Books).
Asian Design History: Launch of our
pioneering MA ‘specialism’, led by Dr
Christine Guth.
Don White (MA, 2009): Took up PhD
studentship, University of Warwick,
48
1: Café life in Vienna
2: Cold War Modern, Victoria and Albert Museum, London
3: Invitation to the symposium organised by graduating
students at the V&A in June 2009.
4: Cover, Jeremy Aynsley, Designing Modern Germany
2
3
1
Post Experience
Programmes
There were 11 registered Post Experience
Programme students during 2008/9:
Communication Art & Design: Jung-Hsuan
Liang (Taiwan), illustration and design
skills; Joana Monteiro (Portugal), visual
representations in the music industry.
Textiles: Sigal Cohen (Venezuela),
application of graphic design skills to
fabric surfaces.
Fashion Womenswear: Young Joo Yoo
(South Korea), identifying traditional
British style for a new audience.
Vehicle Design: Nobutake Tase (Japan;
sponsored by Nissan), extending design
capabilities; Daria Cabaj (Poland; naval
architect), developing the aesthetics of
a yacht project.
Printmaking: Rooshika Patel (India),
furthering knowledge of fine art
printmaking.
Design Products: Alejandro Villarreal
(Mexico), developing academic knowledge
of product design (programme will
continue into 2009/10); Shunsuke Tanaka
(Japan; sponsored by Toyota Motor
Corporation), studying the European
design-making process (programme will
continue into 2009/10).
outstanding designers; Tien Sheng Huang
(Taiwan), collaborating with designers
from varied backgrounds and extending
academic design knowledge into more
practical design knowledge.
For the fourth consecutive year, Post
Experience Programmes in Design
Products were sponsored by scholarships
from the Taiwanese government.
Two applicants were successful: Shi Kai
Tseng (Taiwan), finding the definition
of design and learning with the most
1–3: Post Experience Programmes
49
Financial Report &
Summary Accounts
The College’s income and expenditure
results for the year to 31 July 2009 are
summarised below, and the income
and expenditure account and balance
sheet appear on the following pages.
The figures incorporate a number of
quite large elements which disguise
the College’s operational financial
performance. These include the financial
position of the College’s Retirement
Benefits Scheme, as required by FRS
17, and an amount of £2.2m due to the
College under the HEFCE ‘matched
funding’ scheme, whereby certain
donations received by the College are
matched by HEFCE in a ratio of 1:3.
The table below shows the effect of
these adjustments and the College’s
operational financial results for the past
two years.
looked at in the context of declining
public expenditure, an operational
surplus of £419,000 represents less than
1.5% of the College’s turnover and does
not offer us much of a cushion against
financial adversity.
This is a creditable result in the
circumstances, especially in the context
of the three-year pay settlement agreed
in 2005, which called for an increase of
RPI in October 2008. This unfortunately
coincided with the peak level of inflation
just before the recession began and
resulted in a large and unexpected
increase in payroll costs. However,
2008/09 2007/08 £’000s
2008/9 £’000 2007/8
£’000
Historic Cost Surplus
HEFCE Matched Funding
Restructuring Costs
FRS 17 Adjustments
Battersea North Site Costs
Sale of Bacon Painting
Interest on Bacon Proceeds
3,031
(2,185)
316
(539)
26
–
(230)
8,127
–
–
(756)
948
(7,704)
(280)
Surplus Generated from Operations
335
419
Breakdown of the College’s Income in 2008/9 by Source
Funding Council Grants 56%
Tuition Fees and Education Contracts 20%
Research Grants and Contracts 7%
Other Operating Income 12%
Endowment and Investment Income 5%
5%
12%
7%
56%
20%
50
Summary Consolidated Income and Expenditure
Account for the Year Ended 31 July 2009
Income
Funding Council Grants
Tuition Fees and Education Contracts
Research Grants and Contracts
Other Operating Income
Endowment and Investment Income
Total Income
Expenditure
Staff Costs
Other Operating Expenses
Depreciation
Total Expenditure
Surplus/(Deficit) on Continuing Operations
Disposals of Fixed Assets
Surplus after Disposal of Assets
Surplus Transferred from Accumulated Income
in Endowment Funds
Surplus for the Year Retained Within General Reserves
2008/9
£’000
2007/8
£’000
18,145
6,613
2,230
4,090
1,568
16,166
5,980
1,416
3,238
1,938
32,646
28,738
14,355
14,802
1,800
12,908
14,987
1,762
30,957
29,657
1,689
(919)
0
7,704
1,689
6,785
183
548
1,872
7,333
1,689
6,785
1,342
1,342
3,031
8,127
Statement of Historical Cost
Surpluses and Deficits for the Year Ended 31 July 2009
Surplus After Depreciation of Assets at Valuation
Difference Between the Historical Cost
Depreciation Charge and the Actual Depreciation Charge for the Year
Calculated on the Revalued Amount
Historical Cost Surplus
51
Summary Consolidated Balance Sheet as at 31 July 2009
Assets
Tangible Assets
Endowment Asset Investments
Other Fixed Asset Investments
Current Assets
Current Liabilities
Net Current Assets
Debtors: Amounts Falling Due After One Year
Net Assets Excluding Pension Liability
Pension Liability
Net assets including pension liability
Represented by:
Deferred Capital Grants
Endowments
General Reserves
Revaluation Reserve
General Reserves Excluding Pension Reserve
Pension Reserve
Total General Reserves
Total
2009
£’000
2008
£’000
59,201
55,242
11,179
10,186
332
243
17,620
15,204
(4,053)
(3,687)
13,567
11,517
2,434
0
86,713
77,188
(21,477)
(4,834)
65,236
72,354
14,316
7,117
11,179
10,186
46,045
47,387
15,173
(21,477)
12,498
(4,834)
(6,304)
7,664
65,236
72,354
The full financial statements were approved by Council on 12 November 2009 and can be obtained at www.rca.ac.uk.
Independent Auditors’ Statement to the Royal College
of Art (“The College”)
We have examined the summarised financial statements
of the College for the year ended 31 July 2009 which
comprise the Summary Group Income and Expenditure
Account and the Summary Group Balance Sheet,
which are set out on pages 50 to 52 of the College’s
Annual Review. The summarised financial statements
have been prepared by the Council for the purpose of
inclusion in the Annual Review, as explained in note 1.
This statement is made, in accordance with our
engagement letter dated 6 June 2008, solely to the
College, in order to meet the requirements of paragraph 36
of the Statement of Recommended Practice: Accounting
for further and higher education (2007). Our work has been
undertaken so that we might state to the College those
matters we have agreed to state to it in such a statement
and for no other purpose. To the fullest extent permitted by
law, we do not accept or assume responsibility to anyone
other than the College for our work, for this statement, or
for the opinions we have formed.
52
Respective responsibilities of the council and auditors
The Council has accepted responsibility for the
preparation of the summarised financial statements in
accordance with paragraphs 29 to 35 of the Statement
of Recommended Practice: Accounting for further and
higher education (2007). Our responsibility is to report
to the College our opinion on the consistency of the
summarised financial statements on pages 50 to 52 within
the Annual Review with the full Financial Statements.
We also read the other information contained within the
Financial Report and Summary Accounts and consider
the implications for our report if we become aware of
any apparent misstatements or material inconsistencies
with the summarised financial statements.
Basis of opinion
We conducted our work having regard to Bulletin
1999/6 the auditor’s statement on the summary financial
statement issued by the Auditing Practices Board. Our
separate report on the College’s full Financial Statements
for the year ended 31 July 2009 describes the basis of
our statutory audit opinion on those financial statements.
Opinion
In our opinion, the summarised financial statements
set out on pages 50 to 52 are consistent with the full
Financial Statements for the year ended 31 July 2009.
Stephen Clark
Senior Statutory Auditor
for and on behalf of KPMG, LLP. Statutory Auditor
Chartered Accountants
2 Cornwall Street
Birmingham
B3 2DL
12 November 2009
53
College
Honours &
Appointments
At Convocation
2009, Honorary
Doctorates and
Fellowships were
conferred as
listed below.
Honorary Doctors
Tony Cragg: Sculptor
Professor Sir Christopher Frayling: Rector, Writer and Broadcaster
Jonathan Ive: Designer
Senior Fellows
Elsbeth Juda: Fashion and advertising photographer
Jan Svankmajer: Animator
Michael Wolff: Communication Designer Professors Emeritus
Professor Ron Arad: Head of Department, Design Products
Professor Sir Christopher Frayling: Rector; Professor of Cultural History
Professor David Watkins: Former Head of
Department, Goldsmithing, Silversmithing, Metalwork & Jewellery
Professor Glynn Williams: Head of School of Fine Art; Professor of Sculpture
Honorary Fellows
Victoria Conran: Sponsor and champion of the College
Catherine Mitchell: Business Development Manager, International Flavours and Fragrances
George Kessler: Group Director, Kesslers International Ltd
54
Graham Lawson: Sound Technician, Animation Richard Rome: Former Senior Tutor, Sculpture Malcolm Shirley: Secretary, the Royal Commission for the Exhibition of 1851
Bob Tipper: Former Technician, Printmaking
Martha Turinas-James: Patron, the Varley
Awards for Excellence in Communications
Fellows
Sue Bradburn: Media Relations Officer
Padraig Coogan: Network Administrator
Kate Davis: Tutor, Sculpture
Chris Franklin: Events Manager
Nick Leon: Director, Design London
Ann-Marie LeQuesne: Tutor, Printmaking
Ray Martin: Chief Engineer
Stefan Stefanou: Technician, Ceramics
and Glass
Clare Brass: Senior Design Tutor, Design
London and Industrial Design Engineering
Catherine Demoisy: Head of Academic Fundraising, Development
Jamie Gilham: Senior Research Manager, Research Office
Bradley Hardiman: Head of Incubator, Design London
Sam Livingstone: Senior Tutor,
Vehicle Design
Professor Miles Pennington: Head
of Department, Industrial Design Engineering
Dr Paul Thompson: Rector and
Vice-Provost
Professor Richard Wentworth: Head of Department, Sculpture
Gareth Williams: Senior Tutor, Design Products
Senior Staff Appointments
Karen Alexander: Senior Tutor,
Inspire Programme, Curating Contemporary Art
Professor Jeremy Aynsley: Director of Research; Head of School, Humanities and Professor of History of Design
Professor Tord Boontje: Head of Department, Design Products
Honorary Fellows, 2009 (from left: Jan Svankmajer,
Sir Christopher Frayling, Elsbeth Juda and Michael Wolff)
Donors &
Sponsors
The Royal College of Art gratefully acknowledges
the substantial help and support we have received
– financial, in kind and in many other ways – from
our patrons, donors and sponsors. A number of
those listed below – in particular those who have
provided college-wide support, endowments
and capital funding – have made a long-term
commitment to us over a number of years; others
have supported us during the current academic
year. We are also grateful to those patrons, donors
and sponsors who wish to remain anonymous.
College-wide Supporters
Department Supporters
Major Donors
Conran Foundation
James Dyson Foundation
The Dr Mortimer and Theresa Sackler
Foundation
Toyota (GB) plc
Garfield Weston Foundation
The Wolfson Foundation
Awards & Scholarships
20:21 Contemporary British Art Fair
Alexander de Brye Scholarship
Armourers and Brasiers’ Company Prize
Augustus Martin Award
Basil H Alkazzi Foundation
Brioni Award
Charles Wallace India Trust Awards
Charlotte Fraser Award
Claremont Garments Scholarship
CLAWSA (Cities of London and Westminster Society of Architects)
Clive Wainwright Memorial Prize
Crown Award
Davis Langdon Award
Eduardo Paolozzi Travel Award
Engineering and Physical Sciences Research Council Studentships
Eric and Jean Cass Scholarship
Friends of the V&A
Geoff Lawson Jaguar Scholarship
Gillian Naylor Essay Prize in Memory of Tom Naylor
History of Design Award for Distinction
in the Final Dissertation
Hoopers Gallery Award
House and Garden Award
International Flavours & Fragrances (GB) Ltd / Thierry Mugler Awards
James Dyson Foundation Bursaries
Janey Ironside Travel Scholarship
Jealous Art Print Award
John McAslan + Partners Award
Supporters
29th May 1961 Charitable Trust
Monica Ford
Robert Lane
Linklaters
Outset Contemporary Art Fund
The Paolozzi Foundation
Miuccia Prada
Oliver Stocken
The Violet Tchenguiz Charitable Trust
Michael G Wilson
In-kind Support
Homebase Ltd
Forbo Flooring UK Ltd
Prizes, Awards and Scholarships
Conran Foundation
Deutsche Bank
The Man Group plc Charitable Trust
NEWH UK
Worshipful Company of Painter-Stainers
The Matthews Wrightson Charity Trust
John Purcell Prize
Kay Cosserat Scholarship
Laura & Bernard Ashley Scholarship
Manolo Blahnik Award
Marks & Spencer Scholarship
Marlene Burston Award
Nat Cohen Scholarship
National Magazine Award
New London Architecture Prize
Oliver Ford Trust Scholarship
Ossie Clark Scholarship
Parallel Prize
Passion Pictures Prize
Photographer’s Gallery Award
Pilkington Automotive Vehicle
Design Awards
Printmakers Council Prize
R J Washington Bursary
Rowan Award
Royal Mint Awards
Ruth Drew Award
Serenella Ciclitira Scholarship
Sheila Robinson Memorial Prize
SMC Alsop Prize for Urbanism
Sophie Hallette Award
South Square Trust Scholarships
The Augustus Martin Award
The Boots Company Scholarship
Theo Fennell Awards
Tim Mara Trust Prizes
Todd & Duncan Award for Excellence
Umbro International Award
UPS Award
Valerie Beston Artists’ Trust Award
Varley Memorial Award
W H Smith Scholarship
Worshipful Company of Carpenters
Worshipful Company of Coachmakers
and Coach Harness Makers Bursaries
Worshipful Company of Goldsmiths’ Bursary
Worshipful Company of Painter-Stainers Bursaries for Painting & Award
Donors
Adam Opel AG
Allen & Overy
Arts Council England
Bank of America
BASF SE
Brioni
Converse
Design Museum
EPFL
EPSRC
Federation of Manufacturing Opticians
Ford Motor Company plc
55
House of Fraser
Intel Corporation
International Flavours & Fragrances (GB) Ltd/Thierry Mugler
Manufacture National de Sevres
Merlin Studios
Metro Imaging
Microsoft Research
Monique Beudert Fund
Next
Oasis Arts & Crafts Products
Oberon Books
Picasso Pictures
Polish Cultural Institute
Romanian Cultural Institute
Royal Mail
SEACEX
Sony Computer Entertainment Europe
Swarovski
The Behrens Foundation
The French Embassy
The Leverhulme Trust
The Woo Charitable Foundation
Thomas Gibson Fine Art
Umbro International
Unilever R&D Port Sunlight
UPS
Victoria Miro
Vodafone
Wellcome Trust
Withers LLP
WPP Group plc
Yamaha Corporation
Zegna Baruffa
In-kind Support
Adjaye Associates
BreakThru Films
56
Denby Pottery Company
Foster + Partners
Future Systems
John Purcell Paper
MAKE Architects
New London Architecture
Nexus Productions
Nicholas Grimshaw & Partners Ltd
Polywood Studios
Robert Horne Paper Co Ltd
Rogers Stirk Harbour & Partners
Ron Arad Associates
Royal Crown Derby
Studio aka
Studio Levien
The Sound Post Production Department
of the National Film School
Wedgwood Group
Wells MacKereth
Zaha Hadid Architects
Helen Hamlyn Centre
Helen Hamlyn Trust
EPSRC
AHRC
Design Council
ESRC
Wellcome Trust
National Patient Safety Agency
Audi Design Foundation
Bene
BUPA
CABE
Kinnarps
Legrand
Megaman Charity Trust Fund
Norwegian Design Council
Norwegian Research Council
Research in Motion
Samsung
Sanctuary Care
Think!
Factorydesign
Help the Aged
Technology Strategy Board
InnovationRCA
Design Council
James Dyson Foundation
London Design Festival
London Development Agency
Materials Knowledge Transfer Network (Technology Strategy Board)
ReachOutRCA
The Man Group plc Charitable Trust
Reeves
Project Partners:
Crafts Council
Deutsche Bank
Campaign for Drawing: Drawing
Inspiration Award
Kensington & Chelsea Council
Hammersmith & Fulham Council
Oasis Arts & Crafts
Specialist Schools and Academies Trust
Westminster Council
Sir Christopher Frayling with Conran Foundation
members (Vicky Conran and Nicholas Bull) and the
Conran Foundation Awards 2009 winners: Ian DouglasJones (Architecture), Penelope Batley (Ceramics &
Glass), Rafael Sommerhalder (Animation), Min-Kyu Choi
(Design Products), Rhys Himsworth (Printmaking) and
Andreas Blank (Sculpture).
‘The objects of the College are to advance
learning, knowledge and professional
competence particularly in the field of fine
arts, in the principles and practice of art
and design in their relation to industrial
and commercial processes and social
developments and other subjects relating
thereto through teaching, research and
collaboration with industry and commerce.’
Charter of Incorporation of the
Royal College of Art, 28 July 1967
Visitor:
His Royal Highness The Prince Philip
Duke of Edinburgh
Provost:
Sir Terence Conran
Pro-Provost and Chairman of the Council:
Sir Neil Cossons
Rector and Vice-Provost:
Dr Paul Thompson
Editor:
Octavia Reeve
Design:
Happily Ever After
www.happily-ever-after.co.uk
Photography:
Marta Casellas, Anja Schaffner,
Dominic Tschudin
Printed by:
Calverts
Paper:
Cocoon Silk
50% recycled, FSC mixed sources
Website:
www.rca.ac.uk
Annual
Review
2008/9

Insurance - Royal College of Art

Transcription

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