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Study Guide
2015
2016
royal academy of ar t
the hague
s tudy guide
1. Introduction 1.1 Welcome to
the Academy 1.2 A Glorious History 2. 2.1
2.2
2.3
2.4
2.5
2.6
2.7
Bachelor Study
Programmes ArtScience Fine Arts Graphic Design Interactive/ Media/Design Interior
Architecture and
Furniture Design Photography Textile & Fashion 3. Preparatory
Education
3.1Preparatory
Courses
4. Master Study
Programmes 4.1Master
Artistic Research
4.2 Master ArtScience
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table of contents
page
9
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15
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21
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37
57
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73
89
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page 107
page 131
page 149
page 151
page 165
page 167
page 175
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4.3 Master Interior
Architecture (INSIDE)
4.4Master
Type & Media
5. Post Graduate
Course
5.1 PGC Industrial
Design
table of contents
page 183
page 189
page 195
page 197
6. PhD Doctoral Programme 6.1 PhDArts page 205
page 207
7. Research Domains page 213
8. General Study Information 8.1 Educational
Structure 8.2 Academy-wide
Education 8.3 Assessment
in Art Education 8.4 Study and
Progress
Guidance 4
page 219
page 221
page 233
page 239
page 245
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table of contents
8.5 Quality Assurance
page 249
9. Education and
Examination Regulation
page 255
10. Floorplan
page 277
Contacts
page 287
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introduc tion
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1.
Introduction
s tudy guide
welcome to the academy
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1.1
Welcome to
the Academy
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welcome to the academy
Welcome!
We are very glad that you have chosen
to study at the KABK.
In this study guide you will find
information on the curriculum and everything else that you need to know in
order to make the most of your studies
at the Academy, to ultimately graduate
as an inquisitive and enterprising artist
or designer who is capable of making
a unique contribution to the profession
and to society.
The Academy’s teaching staff consists of over 200 lecturers, and each
member of the teaching team also contributes to the professional field as a practising artist, designer or theoretician. We
have access to a large network of international schools, and try to do everything we can to encourage and facilitate
exchanges between students and lecturers. In addition to the main curriculum,
we offer an extensive range of lectures,
debates and film presentations. We are
currently developing several labs that students can sign up for. And of course we
like to mention our workshops, which are
extremely well equipped.
We also offer the option of taking
classes at the Royal Conservatoire and
at Leiden University through the Individual
Study Track or other arrangements. The
Academy’s location in the centre of The
Hague is unique, and the presence of so
many national and international administrative and political forums in the immediate area generates a large number of
interesting practical assignments.
These are just a few of our strengths.
I now invite you to discover all the possibilities that the Academy offers, explore
the boundaries between disciplines and
surprise yourself (and us) – we are here
to help you along the way!
I wish you all an inspiring academic year.
Work hard... and enjoy!
Marieke Schoenmakers
Director
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1.2
A Glorious History
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a glorious his tory
1.2 A Glorious History
The Royal Academy of Art in The Hague is
the oldest art academy in the Netherlands.
References to a Lucas Guild in The Hague
date from as early as the 16th century. In
1656, a group of painters severed their
ties with the guild and formed the Pictura
Brotherhood, in order to make a clear distinction between artists and artisans. In
1682, the Pictura Brotherhood founded
an academy, which was the forerunner of
our current academy. Its predecessor was
primarily intended to provide members of
the brotherhood with the opportunity to
further develop their drawing skills.
The idea for organising this additional education came from a group of
painters who had worked in Rome and,
inspired by their international experience, felt the need to raise painting in
The Hague to a more international and
organised level. This desire was consistent with the highly courtly character of
The Hague in contrast to other cities in
the Netherlands.
The founding of the original academy and its international orientation reflect
two aspects that have played a prominent
role throughout the history of our academy: the stimulation of the artistic climate
in the immediate area and the continuous quest to do so from an international
perspective. Upon separating from the
Pictura Brotherhood in 1780, the institute
was transformed into a free academy that
was open to all.
Building on the Prinsessegracht
The late 18th century was a period of
economic and political decline in the
Netherlands. It was also a difficult time
for the academy, which would not regain
its prominent position until 1821, when it
merged with the School for Civil Architecture. Having previously been based at the
Korenbeurs and the Boterwaag, the academy moved to its current building on the
Prinsessegracht in 1839. This neoclassical building, which was designed by the
city’s master architect Zeger Reyers, is
a true temple to the arts. With the disappearance of the guilds in the 19th century, technical education became increasingly important and the Academy played a
role in this development. Over the course
of the century, in addition to the architecture programme, a large number of
artisans came to the academy for additional training in the fields of drawing and
design. From the lists of enrolled students
from that time, it appears that the institute was almost more a technical school
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than an art academy. A teacher training
programme was also established, which
would occupy a prominent position until
the 1970s. The 19th century marked the
heyday of painting in The Hague. Many
famous artists from that period were educated at the academy, including G. H.
Breitner, Willem Maris, Jacob Maris and
Johannes Bosboom.
Independent courses
In the late 19th century, the academy
established the aforementioned training
programme for art teachers, in addition
to its courses in drawing, painting and
architecture. Under the leadership of Dr
J. H. Plantenga, the 20th century saw the
addition of evening courses and, for a
while, a Sunday morning course. Under
the influence of the Bauhaus movement
and other developments in the field, there
was increased interest in the applied arts
within the design disciplines. In 1929, the
academy launched the ‘Advertisement
Drawing and Furniture Construction’
course, which would later evolve into the
independent departments of Graphic and
Typographic Design and Interior.
Towards a modern academy
The academy building embodied a clear
reference to the ancient past, but as needs
must, the school was updated to reflect
modern times. The renovations included
creating a prominent area for design
teaching and the building was generally
modernised under the auspices of Plantenga. New teachers were recruited who
applied the fresh perspectives of the 20th
century avant-garde movement in their
teaching. These included the renowned
teachers Kiljan, Citroen, Schuitema and
Alons. As part of another development,
photography gained an important place
within the Advertising department.
During the early 20th century, the
academy played a pioneering role in the
Netherlands. In 1938, the ancient temple was replaced with the new academy
building that fully reflected the new educational system. It was a monument to
modernism, designed by Plantenga, J. W.
E. Buijs and J. B. Lürsen. After the war,
director B. Th. de Hey obtained approval
by Royal Decree to establish a course in
Industrial Design – one of the first of its
kind in the Netherlands.
Innovations over the last 50 years
The academy was designated as the
‘Royal Academy’ in 1957, on the occasion of its 275th anniversary. In the same
year, the academy separated from the
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technical college (in Dutch: HTS). In subsequent years, the art education system
was modernised in three successive
phases and accordingly, so to was the
Royal Academy of Art. In 1968, a number
of vocational schools officially became
art academies with the status of “institutes of higher vocational education”
(HBO). These academies, which at that
time offered five-year programmes, consisted of various departments. In addition
to painting and sculpture departments,
they offered programmes in design. In
general, they produced more designers
than they did autonomous visual artists.
In the 1980s, a process of expansion took place within the HBO system.
The various independent academies
merged into larger institutes. As part of
this expansion, the Royal Academy of Art
became part of the University of Visual
Art, Music and Dance following its merger
with the Royal Conservatoire and the photography and photonics departments at
the vocational technical school (MTS) .
In 2011, the name of the institution was
changed to the University of the Arts in
The Hague.
The final phase of modernisation
commenced with the redesign and renovation of the building in 2000. All of the
art and design departments have since
been housed in the building on the Prinsessegracht, although the 1938 building
has also been retained. Its current form
was realised by the Van Mourik Vermeulen architecture firm. The space requirements for modern art education were met
in 2012, with the new extension atop the
building on the Prinsessegracht and the
purchase of two spaces directly connected to the academy. The building is
now able to accommodate the expansion
of the Bachelor and Master programmes.
In the spring of 2015, the Master Interior
Architecture (MIA) programme received
its own space in the former nightclub
on the Bleijenburgzijde. As the last programme with its own location the Master
Artistic Research programme has moved
to the academy building.
The focus on new technologies and
new media within the academy’s programmes has expanded dramatically.
This can be seen in new facilities, laboratories and workshops as well as in
the array of new programmes including
ArtScience, Interactive/Media/Design, the
Master Interior Architecture (INSIDE) and
the Master Artistic Research.
a glorious his tory
Collaboration with
Leiden University
In 2001, an intensive collaboration was
established with Leiden University in the
newly founded Academy of Creative and
Performing Arts. This was the first formal
collaboration between a university and
an art institute in the Netherlands. Since
that time, students have had the option
of studying at the University of the Arts
in The Hague and at Leiden University
simultaneously.
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bachelor s tudy progr ammes
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2.
Bachelor Study
Programmes
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2.1
ArtScience
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2.1 ArtScience Interfaculty
2.1.2 Art and Science
2.1.1 Introduction
The ArtScience Interfaculty offers an
interdisciplinary Bachelor’s and Master’s
programme that fosters curiosity-driven
research as an approach to the creation
of art. The programme regards art and
science as a continuum and promotes
the development of new art forms and
artistic languages. The ArtScience programme is offered fully in English.
Within a world in which technology
and social developments intersect with
traditional art forms (e.g. music, visual
arts, cinema and theatre), within a world
in which the ‘digital’ and the scientific are
playing an increasingly prominent role in
our perceptions of our society, environment and being, the ArtScience Interfaculty has chosen to focus on developing
new artistic discourses and practices that
transcend the traditional disciplines. We
strongly believe that art should take an
active part in shaping the world in which
we live, and that it should regard the universe as a playground for unexpected
forms of expression. We are interested in
asking creative and fundamental questions concerning contemporary knowledge, and we favour an experiential and
experimental approach to answer them.
As a truly interdisciplinary department,
we do not focus on any single type of
idiom, but try to combine them. ‘Visual’ idioms, as the production and signification
of objects and environments, are combined with the ‘musical’ idioms of composition in time, performance, improvisation and collaboration. We love science,
and we try to indulge in its findings, but
we aim to use its knowledge to produce
interpretations. We make art.
The ArtScience Interfaculty is an
interdisciplinary department situated
between and embedded within both the
Royal Academy of Art and the Royal Conservatoire. Classes include scientific and
theoretical knowledge, sensory perception, interdisciplinary composition, handson production, performance training, collaborative projects and critical thinking.
We focus largely on individual coaching.
ArtScience allows students to code and
create never-before heard sounds and
never-before seen images, to establish
immersive environments, to design new
forms of interaction with their audiences
and explore media that have never before
been used by artists. Most importantly,
students are invited to re-invent art, as
needed in this century.
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For several years, we have been experiencing a new wave of interest in the
connection between art and science.
Two similar waves occurred in the previous century. The first took place in the
1920s and 1930s, marking the beginning
of modern art, industrial design, modern
music and modern architecture. The second of these waves was in the 1950s and
1960s, marking the birth of electronic
music, video art, interactive art and generative art.
Both of these periods shared a
sense of optimism about potential future
developments, as well as a sense of
responsibility on the part of artists, who
were expected to fulfil specific missions
to help ensure the realisation of this positive potential. This mission was perceived
as consisting of absorbing new technological and scientific notions into the
realms of human experience and imagination. Civilisation often lags behind the
advances in technological control of the
world. According to the Bauhaus artist
Laszlo Moholy-Nagy, this lag is one of the
root causes of exploitation, war and other
excesses.
Within the current wave of interest in
the ArtScience connection, several views
on the interactions between art and science can be distinguished. One form of
collaboration that has become almost
common regards scientific concepts as
a type of ‘content’, which artists translate
into images, sounds or other experiences.
Although this approach has the potential
to reduce artists to some type of scientific
communicators, it usually triggers radically new kinds of artistic development.
This approach can also generate
works that help scientists acquire new,
intuitive understandings of what they are
doing, as well as works that comment
on the consequences of scientific developments. Another form of collaboration
is one in which scientists and technologists assist in the realisation of artistic
ideas. Although this process can reduce
scientists or engineers to some type of
art facilitators, it usually ensures that the
actual artistic ideas are informed by a
new awareness of possibilities. It also
allows artists to help trigger new directions of research by posing uncommon
problems.
A more complex and much more
interesting zone between art and science
has been described in two recent books.
In ArtScience (2008), David Edwards cites
many examples from the worlds of sci-
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ence, art, civil society and industry that
demonstrate the ways in which the transposition of ideas or strategies from one
field to another often results in radical
innovation. For Edwards, ArtScience is
an intermediate area of creativity, in which
neither art nor science is clearly defined.
According to this reasoning, the stimulation of this zone is a key strategy for
fostering innovation. In Information Arts
(2002), the artist and theorist Stephen Wilson provides an encyclopaedic overview
of many new forms of art that are rooted
in current science and technology. Wilson
no longer considers the traditional artistic disciplines relevant to the discussion
of these art forms, proceeding to group
them under the headings of the main scientific disciplines. Wilson further argues
that these new forms of art will not necessarily find any place within the traditional platforms for art, and that they will
not necessarily share traditional artistic
concerns.
The core idea that makes such collaborations and intermediate zones interesting is that art and science can both be
considered as types of exploration, and
that they are regarded as complementary
in many ways. Whereas science maintains an aura of objectivity and detachment, art tends to favour subjectivity
and critical engagement. Whereas peer
review is the norm in science, artists are
expected to be iconoclastic and original.
Whereas science is expressed in formulas and text, art often exists in non-verbal experiences. Ultimately, however, art
and science share the aim of enlarging
the scope of our ideas about the world.
By inventing new media and new artistic
languages, art can create new worlds of
experience. By widening our imagination,
it can also create new kinds of thinking, as
we are unable to think about things that
we cannot imagine. As written in 1956 by
Gyorgy Kepes, the founder of the Centre for Advanced Visual Studies at MIT,
‘The images and symbols which can truly
domesticate the newly revealed aspects
of nature will be developed only if we use
all our faculties to the full - assimilating
with the scientist’s brain, the poet’s heart
and the painter’s eyes. It is an integrated
vision that we need; but our awareness
and understanding of the world and its
realities are divided into the rational - the
knowledge frozen in words and quantities – and the emotional – the knowledge
vested in sensory image and feeling’. 2.1.3 An overview of the
ArtScience Interfaculty
At the ArtScience Interfaculty, students
and teachers are developing new forms of
interdisciplinary art. The goal of the Interfaculty’s teaching programme is to investigate and possibly shape the intersection between artistic concepts and recent
developments in science and technology.
Each year, a part of the programme
of courses and projects is updated
according to current themes from the
intersection of art, media, science and
technology. Possible artistic responses
to recent developments are formulated
by experimenting with new contexts and
forms in which art can play a role. This
discussion is continually related to an
interdisciplinary base in which the continuity between media art, music, theatre,
film and visual art is regarded as selfevident. The Interfaculty is a collaborative
effort of the Royal Academy of Art (KABK)
and the Royal Conservatoire (KC). Staff
members come from a variety of artistic cultures and disciplines that is unique
in its scope. The ArtScience Interfaculty
collaborates closely with the Master’s
programme in MediaTechnology at the
Leiden Institute of Advanced Computer Science (Leiden University) . Within
the Royal Conservatoire, the Interfaculty
maintains close ties to the Composition
department and the Institute of Sonology. Within the Royal Academy of Art, the
Interfaculty collaborates primarily with the
departments of Fine Arts and I/M/D.
The Bachelor’s programme aims
to guide students towards an ‘auto-disciplinary’ art practice. Students acquire
the skills, research methods and conceptual background that they need in order
to develop their personal artistic work
within the broad field of the arts and sciences. The ArtScience Interfaculty has an
‘open’ curriculum from the second year
onwards. During most of the study, students navigate individually through the
teaching modules offered within the Interfaculty and its affiliated departments and
institutions. At the Interfaculty, there are
four forms of group activities: research
projects, labs, theoretical courses and
workshop-style courses. With the other
Creative Departments of the Conservatoire (Composition and Sonology) the
Interfaculty organises four weeks of
exchange courses each year. Several
Academy-wide courses and labs are
organised with the KABK.
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In addition to the collective activities,
students are expected to conduct their
own research and to develop individual
work, which is assessed by all teachers
in two presentations each year. Beginning in the second year, each Bachelor
student chooses two personal coaches
who will provide advice regard to study
choices and who will reflect on the student’s individual work.
These competencies form the foundation for the assessment by the teachers
at the end of each course module, and
they are used to evaluate the presentations at the end of each semester. In addition, evaluation sessions are held twice
each year, in which students evaluate the
programme and suggest improvements.
Final qualifications of the
Bachelor’s programme
2.1.4 Goals of the programme
During the final examination, students
present works that demonstrate their abilThe Bachelor’s programme aims to guide ity to work as professional artists and that
students towards an ‘auto-disciplinary’ convincingly communicate an articulated
art practice. Students acquire the skills, and authentic vision on the arts. Graduresearch methods and conceptual back- ates are expected to have the following
ground that they need in order to develop final qualifications:
their personal artistic work within the
broad field of the arts and sciences.
++ Students create authentic works
The courses provide a theoretical
emerging from their own artistic visions
and practical foundation, but the core of
that contribute to the fulfilment of their
the education offered at ArtScience conpersonal ambitions as artists (creative
sists of practice-based research. Knowlability)
edge is acquired through the concep- ++ Students are able to consider, analyse,
tion and realisation of projects. In these
interpret and assess their own work
projects, students work together with their
and that of others, and they are able to
teachers and primarily with other stuconsider their findings constructively in
dents, thereby learning to collaborate and
relation to their own work (capacity for
organise projects on various scales. The
critical reflection)
open curriculum and the individual study ++ Students are able to achieve further
tracks help students to develop a strong
development in the breadth and depth
sense of independence, self-organisation
of their artistic practice in an ongoing
and critical thinking during their studies.
process, thereby contributing to develBecause many study projects are preopments in their artistic disciplines
sented outside the walls of the school,
(capacity for growth and innovation)
students are expected to be active and ++ Students are able to establish and
well connected in the field at the time of
maintain an inspirational and functheir final examinations.
tional working environment and organise their research, work and practice
Professional competencies
(organisational ability)
Students are challenged to develop a ++ Students are able to present and disrange of professional competencies in
cuss their artistic visions, research and
three domains: work in an effective manner (communicative ability)
a.the artistic-technical domain
++ Students are able to relate their artistic
b.the professional domain
practice to both the artistic and social
c.the theoretical domain
context (external awareness)
++ Students are able to make independent
Within each of these domains, students
contributions to collaborative products
are expected to develop competencies
or processes (capacity for collaborawithin the following areas: tion)
1.creativity 2.critical reflection
3.innovation and growth
4.organisation
5.communication 6.contextual awareness 7.collaboration
2.1.5 The structure
of the programme
(The competencies are also published in
the table at the end of this chapter.)
With the exception of some introductory
and theoretical courses, the ArtScience
Interfaculty has an ‘open curriculum’.
Within constraints, students navigate
individually through the modules offered
within the Interfaculty and its affiliated
departments and institutions. At the Inter-
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faculty, there are five forms of instruction:
research projects, labs, individual coaching, theoretical courses and workshopstyle courses. With the exception of the
first-year courses and theory courses,
students always have a choice between
several options. For additional information and the complete schedule, please
refer to the ArtScience website (www.interfaculty.nl).
Theoretical Courses
From the first until the third year of the
Bachelor’s programme, students follow a programme consisting of theoretical courses. After an introduction to
ArtScience, subjects covered in these
courses include the theory and history
of the senses, media archaeology (and
anarchaeology), the philosophy of technology, science and art, and the theory of
interaction in art and nature. Each of these
courses runs for five or six mornings and
consist of lectures, reading assignments,
group discussion and the preparation of
written and verbal presentations by the
students.
These courses are intended to provide a theoretical and historical context to
the research activities taking place within
the Interfaculty. They also teach students
to conduct theoretical research, to articulate their thoughts in writing and to give
oral presentations on their work in relation to the work of others.
First-year Bachelor students follow
a specific set of introductory theoretical courses. This set includes courses
offered exclusively to ArtScience students, as well as first-year theoretical programmes of the KABK (Studium Generale) and the KC (New Theory).
Workshop-Style Courses
A large number of short, practical workshops are offered in four periods of three
weeks, two for each semester. Each of
these courses consists of two full days a
week over a period of three weeks. Some
of these short, intensive courses focus
on specific techniques, skills and practical awareness (e.g. light, sound, editing, electronics, programming and form
studies). Each year, one or two of these
courses focus on subjects that are still
experimental and speculative, and which
could potentially become the subject of
a research project in the following year.
About a third of these short courses are
changed each year, thus making it possible to cover more ground during the
four years of the Bachelor’s programme.
First-year Bachelor students are
offered a separate programme of these
practical workshops. Each of these modules focuses on several medium-independent concepts, basic skills and sensory training that are essential to the
ArtScience approach.
Labs
Many of the activities at the Interfaculty
have been clustered around six studio
labs, which are defined by output media.
These labs do not claim to cover
everything in the field of ArtScience, and
there are no hard boundaries between
the labs. They are intended as support
structures and groupings of people who
are involved in creating similar output.
Each of these labs is a combination of
a laboratory, a production facility and an
ensemble of teachers, students, alumni
and guests working in one place. Each lab
is also a platform offering coaching and
space for projects by individual students,
as well as a channel through which they
can accumulate, document and disseminate the results of their research and artwork. Every few years, the focus of each
studio lab is re-evaluated in order to keep
abreast of developments in the field and
developments within our research interests.
Bachelor students are expected
to join one or two of these studio labs.
Although they are free to switch labs during their study programmes, they may
not do so during a given semester. Students should document their own work
that they do in the lab over the course of
the year, and they are expected to write
a research report each semester. Each
lab has a weekly working session of three
hours, during which students work on
their projects together with the lab coach.
In some of the labs, these sessions are
a form of group coaching, while in other
cases (RecPLay and StageLab), they tend
to resemble group rehearsals.
Some of the labs are facilities that
are also open to lab members outside
of the coaching sessions, and participation in all labs is open to students from
other departments within the KABK and
KC. Furthermore, each lab initiates group
projects that result in presentations outside the walls of the school. Some of
these projects are group projects, while
other labs usually focus on presentations
in the form of group exhibitions of individual works. Each lab also organises
excursions and visits to performances,
exhibitions and symposia. In time, every
lab will publish its results in the form of
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books, DVDs or other media. The labs
are as follows:
the CodeLab are Marcus Graf and Nenad
Popov.
RecPlay
This studio lab is an extension of the RecPLay group that has existed since 2001.
It addresses a range of subjects including audiovisual improvisation, improvised
electronic music, real-time visuals and
freestyle video, with a practical focus on
developing strategies for ensemble playing. The lab coach for RecPlay is Robert
Pravda, complemented by Kasper van
der Horst.
Research projects
The field covered by the ArtScience programme is quite broad and dynamic.
In order to avoid freezing our current
approach in a fixed curriculum, we have
chosen to adopt an ‘ink-blot strategy’ to
cover this territory. Each year, the ArtScience team chooses a number of topics to be explored in research projects
that will be carried out over a period of
six weeks, at least three days a week.
Some research projects are collective
projects emphasising the production of
art works and leading to a public presentation, outside the school walls. Other
research projects focus less on the final
result and more on the process of artistic investigation of the topic in question,
producing artworks, prototypes and documentation in the form of papers and
audiovisual registrations. In the research
projects, students also learn to develop
ideas collectively and become involved
in the organisational aspects of preparing a public presentation. The following
are examples of recent research projects:
Foddering the Future: Exploring the Culinary Underground of Veghel’s Former
Fodder Factory; Space Science in the
Arts; The Theatre Machine; Life Live, Live
Life on Bio-Art, and European Affairs on
location in Belgrade and Krakow.
StageLab
This lab investigates the aesthetic and
technical qualities of materials and instruments in relation to the body, with the aim
of developing hybrid performance practices. Practical work includes body training, work with light and sound on stage
and the development of performances.
The lab coach is Michiel Pijpe.
Spatial Interaction Lab
This lab concerns the composition of
interactions involving audiovisual interfaces, interactive spaces, robotics, physical computing, extra senses and interactive architecture. Its practical focus is on
hardware controllers, sensors, actuators
and spatial use of sound and light. The
lab coach for the Spatial Interaction Lab
is Edwin van der Heide.
Performative Instruments Lab
The focus of this lab is on developing
media-performance tools, interfaces and
performative installations. Research is
conducted on existing practices and technologies, with an emphasis on developing
new works through a series of hands-on
experiments. The lab coach for the Performative Instruments Lab is Kasper van der
Horst, complemented by Robert Pravda.
Tactile Research Lab
This lab addresses wearables, inflatables
and new, active and responsive materials. Its practical focus is on the skills that
are necessary to create physical environments out of lightweight materials. The
lab coach for the Tactile Research Lab
is Cocky Eek.
c0d3l4b
This lab concerns the development of
software for generative composition and
generative art. Its practical focus is on
work in software environments, including
Max/Msp/Jitter, Processing, OpenFrameworks and LuaAV. The lab coaches for
Self-study, coaching
and presentations
We expect our students to start developing their personal domain within the field
of the arts and sciences during their studies. Therefore an important part of the
education consists of self-study, understood as time for creating personal work
and pursuing personal research.
Beginning in the second year of
the programme, each student has two
teachers who coach this personal work,
reflect on it together with the student,
offering a context for it, suggesting literature and other sources of information
and often assisting in solving practical
problems. As they advance in their studies, we expect our students to start showing their personal work outside the school
walls and to start building their own networks. Instead of creating work specifically for the semi-annual presentations,
this allows students to develop towards
a situation in which their work has been
shown and developed outside the school
before being shown at the presentations.
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The students’ personal research
is evaluated twice a year during the collective presentations at the end of each
semester. At the end of the first semester, students are asked to present their
research, explaining their topic, progress
and methodology and illustrating it with
documentation of experiments or finished
works. At the end of the second semester, they are asked to present a finished
work, together with a short, verbal explanation. Both presentations are evaluated
in a discussion between the student and
all of the core teachers, during which also
the student’s general progress in the programme is discussed. The evaluations
are based on five criteria and five student
qualifications. The criteria for evaluating
the research and presented work are as
follows: the artistic quality of the core concept, the quality of the research process,
the consistency of the work, the quality of
the presentation or the quality of execution of the work and, finally, the poetry of
the result. The progress of students is
evaluated according to five student qualifications: the visibility of their artistic identity, their ability to reflect on their own processes, their ability to innovate, their ability
to communicate and their awareness of
context and current developments related
to their research topics.
Creative Departments
Workshops at the Royal
Conservatoire
The Creative Departments of the Royal
Conservatoire (Composition, Sonology,
ArtScience and the Master T.I.M.E.) offer
two weeks of full-time courses each
semester for each other’s students. During the two weeks following the Autumn
break and the two weeks following the
Spring break, students can choose
between intensive courses, each lasting
one week each.
Public Toolkit
This course focuses on professional
preparation and the extended artistic possibilities of the development of a public
existence. Curators and organisers from
different artistic realms are invited to elucidate practical and organisational aspects
specific to their fields. Practical aspects
(e.g. the writing of project proposals and
business plans, publicity and documentation) are discussed. Students are encouraged to develop an artistic view on their
public image in the media and their body
of work as a whole, composing them in
relation to the individual artworks that
make up their practice.
Related to this course is the Academy-wide course in Entrepeneurship,
which is part of the ArtScience curriculum.
Thesis
Bachelor students are expected to write
a thesis, to be finished at the beginning of
the first semester of their final year. The
aim of the thesis is to articulate a theoretical and historical context for the students’ own work by investigating a topic
that relates to it. Students are encouraged to develop personal forms of writing
that fit their research topic, while demonstrating their ability to conduct theoretical
research, find good sources and discuss
work by other artists that is related to their
own work.
Individual Study Track
and portfolio
Many kinds of individual activity can be
part of the Individual Study Track, including
personal research projects, internships,
international exchange, participation in
productions, attending symposiums, initiating productions, organising festivals or
writing research papers. When approved
by the individual coaches, such activities
can be awarded credit points. A written
report and documentation of any such a
project should be included in the portfolio.
Part of the Individual Study Track
consists of courses outside the ArtScience Interfaculty. Likely choices
include the Introductory Courses offered
by the KABK, the Royal Conservatoire
and the courses offered in the Master’s
programme in MediaTechnology at Leiden University.
In addition to the options listed
above, the Royal Academy, the Royal
Conservatoire and Leiden University
offer a very wide spectrum of courses.
In the past, students have taken courses
in such areas as Sonology, Singing, Percussion, Photography, Print Making, Art
History, Philosophy, Electronics, Sociology, Bio-informatics, Art and Genomics
and Medical Anatomy. We encourage
future students to surprise us by exploring the many other possibilities. Points for
elective courses are awarded based on
examinations passed, certificates earned,
written reports or other forms of documentation, which students should include
in the portfolios that they compile over the
course of the study year. Before the presentations in June,
the teachers review the portfolios of all
students and discuss their participation
in classes and additional activities. Based
on the portfolio and their own experiences,
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the teachers then evaluate the student’s
year and confirm the credit points for
courses followed outside the Interfaculty
and for extracurricular activities.
2.1.6 Credit Points Overview
Credit Points (EC points) are assigned
twice each year, at the end of each
semester before the presentations. Each
credit point represents 28 hours of study,
and students are expected to earn a total
of 60 credit points each year. Credit points for participation in
courses, labs, research projects, KABK
introductory courses, MediaTechnology
courses and other KABK and KC courses
are assigned according to the evaluations
made by the teachers of those courses.
The credit points for the Individual Study
Track are assigned according to written
reports or other forms of project documentation. Each student is expected to
compile a portfolio containing documentation for individual projects and for activities performed in research projects, labs
and other courses. The points for extracurricular activities are assigned during
the assessment of the portfolio at the end
of May. Successful presentations of individual work earn eight credit points. Failed
presentations must be repeated one or
two months later, or at the end of the following semester. In order to pass the propaedeutic
examination, a student must have earned
enough points, in addition to passing both
presentations, all of the first year courses,
the Academy-wide and conservatory-wide
first-year courses and the Introduction
to Electronics. Students who fail to pass
the propaedeutic examination within two
years will not be allowed to continue their
studies. In the first year, students are
required to join two labs and two research
projects. In the second and third years,
they are expected to participate in at least
three labs or research projects. In the
fourth year, students must participate in
at least two labs or research projects, in
addition to being a member of at least
one lab.
NOTE: For the most current overview of
credit points please visit:
www.interfaculty.nl/programme/
curriculum
2.1.7 Admission to the
Bachelor’s programme
of the ArtScience Interfaculty
To be admitted to the Bachelor’s programme in ArtScience, applicants must
demonstrate artistic talent, intellectual
curiosity and affinity with many artistic disciplines. They are asked to show
examples of earlier work and explain their
motivation for studying at the ArtScience
Interfaculty.
In order to be admitted to the
entrance examination, candidates must
send a letter of motivation, a curriculum
vitae (resume), a portfolio and a number
of official documents. In addition, all candidates should submit their responses to
the assignment described below. All written materials should be in either Dutch
or English. Please refer to http://www.
interfaculty.nl for the most current information regarding the dates for entrance
examinations.
All candidates are asked to complete the online admission form at www.
kabk.nl or www.koncon.nl. They will then
be invited to contact the study coordinator ([email protected]).
Candidates will be invited to submit the application materials requested,
as described below, in order to receive
an invitation for an interview. European
candidates are expected to be physically present at this interview. For candidates outside of Europe, we will propose
a Skype conference.
Letter of motivation
In the letter of motivation, candidates are
asked to provide an overview of their current status in their artistic activities and to
describe their visions for the future. The
letter should cover the following points:
++ background information on the candidate’s artistic past; the motivation for
becoming involved in art and for making the artistic choices that have been
made thus far
++ a description of the artistic disciplines in
which the candidate has been involved
or interested in thus far
++ a description of the candidate’s main
topics of interest with regard to art, science and culture (e.g. this could include
specific art forms, subcultures, genres, styles, artists that inspire you, philosophical ideas, scientific research topics or developments in society)
++ an outline of what the candidate hopes
to achieve by studying at the ArtScience
Interfaculty
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s tudy guide
++ a description of how the candidate
expects to contribute to the learning
environment at the Interfaculty and
to the arts after completing the programme
++ a description of the artistic niche that
the candidate expects to develop during the programme
++ any questions that the candidate might
have about the ArtScience Interfaculty
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Official documents
Candidates should complete the online
admission form through the websites of
the KABK or KC. A copy of the candidate’s
passport, a visa (if applicable), a copy of
relevant diplomas, two passport photos
and email address should be included
with the materials sent for the entrance
examination.
2.1.8 Staff *
Curriculum Vitae (Resume) This should cover the following:
++ previous education
++ artistic past (see also portfolio, below)
++ musical instruments played (if applicable)
++ techniques mastered
++ work experience
++ languages
Portfolio
The portfolio should provide a good overview of the candidate’s past artwork and/
or artistic activities. We are interested in
all art forms (including music, visual art,
interdisciplinary art, media art, theatre, film
and literature). While the documentation
should include copies and/or documentation of the candidate’s work, we also
expect the candidate to write short texts
describing the individual works, illustrated
with photos, drawings, reviews and other
components.
In the case of time-based documentation (e.g. audio, video), candidates are
asked to indicate one piece (or part of a
piece) that they definitely would like to be
viewed or listened to by the admission
committee.
Digital documentation should run
on both Mac and PC. Candidates are
requested to use common file formats:
jpeg, gif, tiff, pdf, mp3, wav, aiff, flv, QuickTime (mov), avi, txt, rtf, Word (doc/docx/
odt), Powerpoint (ppt/pptx/odp).
Heads of department
++ Taconis Stolk
++ Edwin van der Heide
Coordinator
++ Leonie Zweekhorst
Lecturers
++ Arthur Elsenaar
++ Cocky Eek
++ Kasper van der Horst
++ Michiel Pijpe
++ Robert Pravda
++ Taconis Stolk
Guest lecturers
++ Pieter van Boheemen
++ Lex van den Broek
++ Evelina Domnitch
++ Lucas Evers
++ Bernard Foing
++ Dmitri Gelfand
++ Marcus Graf
++ Roel Heremans
++ Gideon Kiers
++ Eric Kluitenberg
++ Katinka Marac
++ Ine Poppe
++ Frank Theys
++ Lucas van der Velden
++ Caro Verbeek
Assignment
As part of the entrance examination, candidates are asked to submit a proposal
for a work of art that they would like to
make. The only requirement for the proposed work is that it should appeal to at
least two senses, in most cases, sight and
hearing. The proposal should consist of a
written description, and it should include
sketches in image, sound or other media.
For the entrance examination, candidates
are asked to bring a 3D scale model of
the work of art proposed (this does not
apply to non-European candidates).
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*
Please note that the list of lecturers and staff is subject
to change. For the most current information, please
visit www.kabk.nl.
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competencies
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Propaedeutic Year
Main Phase, Year 2
Main Phase, Year 3
Main Phase, Year 4
Creative ability
You are able to apply the
acquired skills and knowledge independently to the
production of your work,
and you are able to carry
out the assignments given
in connection with your
artistic ambitions.
You are capable of initiating
and sustaining a broad and
varied, inquiry-based production of visual objects.
Creative ability
You are capable of applying
thematic and formal coherence to the continuing production of visual objects.
You create authentic work
that emerges from your own
research and personal artistic vision and which contributes to the achievement of
your personal ambitions as
an artist.
Capacity for critical
reflection
You are able to reflect on
your own work and evaluate
its effectiveness and quality.
your own work and that
of others and evaluate its
effectiveness and quality.
reflection
You are capable of identifying both weaknesses and
potential when investigating
work in terms of its thematic
and formal coherence.
You are able to consider,
analyse, explain and assess
your own work and that of
others, and you are capable
of abstracting the outcomes
for the benefit of your own
work.
Capacity for growth
and innovation
You are able to acquire and
apply new knowledge, skills
and insights at a theoretical
and practical level.
You are able to apply newly
acquired knowledge, skills
and insights to the development and progress of your
own work.
Capacity for growth
and innovation
You are capable of achieving continual development
in your work, in part by
focusing on the coherence
of your work.
Through a continuous process of research you are able
to further develop your artistic practice in terms of both
breadth and depth, thereby
contributing to your discipline.
Organisational ability
You are capable of organising internal and external
factors in order to create
an effective and inspiring
research and working process.
You are able to arrange your
work processes and studios
in a manner that promotes
progress and depth in production.
You are able to arrange
your work and research
optimal thematic and
formal coherence.
You are able to create an
inspiring and functional
working environment and
organise your research,
work and practice effectively.
Communicative ability
You are capable of providing
verbal explanations of your
own work and development,
in addition to interpreting
your own positions in relation to the current artistic
situation, both orally and in
writing.
You are able to discuss
your work and production
processes, explaining these
using words and images.
You are able to discuss the
coherence of your work,
explaining it using words
and images.
You are able to present
and explain your visions,
research and work in a convincing manner.
Environmental orientation
You are able to demonstrate
a strong interest in historical
and current forms of art and
your social significance and
embeddedness. They can
actively participate in critical
assessments of your own
work and that of others.
You are capable of delving
into artistic and social settings in order to intensify
your production of visual
objects and your reflection
on these.
You increasingly relate to
artistic and social settings,
using these aspects to
intensify your investigation
of thematic and formal
coherence in your work.
You are able to relate your
own artistic practice to the
wider artistic and social context.
Capacity for collaboration
You are capable of making positive contributions to
group projects, excursions
and the educational climate
in your classes and at the
Academy.
You are capable of collaborating with fellow you and/or
external parties, applying the
experiences that emerge
from these collaborations to
enhance the progress and
depth of your research and
production processes.
from these collaborations
to enhance your investigation of thematic and formal
coherence.
You are able to make independent artistic contributions to collaborative products or processes.
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2.2
Fine Arts
s tudy guide
S TUDY GUIDE
F INE AR TS
2.2 Fine Arts
2.2.1 General description
of the discipline
History of the discipline
Until the mid -19th century, artists worked
primarily on behalf of monarchs, the
church and the upper middle class.
Around 1850, the idea emerged that art
should no longer be created on commission, but purely for the sake of art itself.
The autonomous artist was born.
Artists were forced to reconsider
and redefine themselves and their public function. The 20th century would thus
become the era of the self-aware modernist movement, which was characterised by a high level of appreciation for
experimentation and innovation. Concurrent with the far-reaching technological,
political and social developments of the
era, new types of artists were born and
old types, which had been thought to be
lost forever, were reborn. After the end of
the Cold War, the internationalisation that
had been manifesting itself everywhere
conquered the art world as well. The confrontation with previously unknown aesthetic cultures yielded hopeful amalgamations, although it also exerted pressure on
established western art notions of modernity and autonomy.
At the beginning of the 21st century,
artists started to draw upon a vast range
of artistic media, at times clearly distinguishable, at other times overlapping. As
a result, art has become multidisciplinary.
Once the primary discipline, painting continues to play an important role although
it is no longer dominant.
Most importantly, the fine arts represent a dynamic world where firmly rooted
traditions compete with fierce trends of
innovation. The result is a constantly
changing landscape in which few certainties exist. Boundaries are blurring, not
only between the various forms of art, but
also between the ‘high’ and ‘low’ arts.
Current state of the discipline
Traditional stylistic or thematic issues no
longer dominate contemporary visual art.
Although artists working on their oeuvres
in the privacy of their own studios will continue to exist, other artists have developed
a keen sense for the changes in society
and have decided to activate their work
in that field. The vast increase of mobility and means of communication have
led to the emancipation of cultural areas
that were hitherto considered relatively
obscure.
38
There is no longer a dominant western culture. Innovative cultural expressions can come from anywhere – even
from as far away as Africa, China, Korea
or Mexico – resulting in international art
and cultural production. New media (e.g.
video, internet) have resulted in the explosive expansion of the scope of art and the
artistic toolkit.
Artists no longer position themselves exclusively as traditional creators.
They are also establishing themselves as
researchers, entrepreneurs, commentators or engaged participants in social or
political processes. They reveal hidden
qualities, provide critical commentary on
or are actively involved in social phenomena. Women artists are increasingly setting the tone in the artistic discourse.
Today, photography, video and other
lens-related disciplines are flourishing like
never before. In the digital world, internet
users appropriate and process countless images and transmit them as new
works of art. While the current situation is
creating an enormous number of opportunities, it is also posing new challenges
for the arts and art education, which can
be addressed successfully only if they
are understood and accepted. The Fine
Arts department addresses these issues
with vigour.
2.2.2 Study profile
In this section, we describe the professional profile on which we have based
the programme of the Fine Arts department at the Royal Academy of Art (KABK)
in The Hague. Visual artists create art in
order to give significance and meaning
to their own lives, as well as to the lives of
others. In doing so, they fulfil an important
social function.
In the professional field, the work
of visual artists is appreciated for the
authentic way in which it expresses their
artistic vision and ambition in the public
domain, as well as for the innovative ideas
that it advances with regard to the discipline of fine art and how those ideas can
function in a social context. The work of
visual artists appears in many different
forms, from material objects to materialised processes (including thought processes), performances, business ventures,
lectures and other verbalised concepts of
a visual or theoretical nature.
International setting
The international setting has become
an important element in contemporary
professional practice. The playing field
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study guide
of young artists has grown immensely,
making them artistic nomads, who may or
may not travel the world to find hotspots
(or places that are on the verge of becoming hotspots) in which to present work
or proposals for new work. In addition to
producing work, it is becoming increasingly important for contemporary artists to be able to claim positions in artistic and social environments. Artists are
also researchers, producers, networkers,
organisers and administrators, employing
this combination of functions to achieve
their artistic ambitions.
Description of the
study programme
The propaedeutic year is specifically tailored to the fine arts, with orientation,
selection and reference as its objectives.
Specific to the department Fine Arts at the
KABK is the division of the programme
into four departments (i.e. ‘sections’) after
the propaedeutic year:
++ Reproduction/Distribution (R&D)
++ Painting
++ Interdisciplinary Attitudes
++ 3D
The identity and programme of each section depends upon the specific peculiarities of its disciplines.
The part-time programme involves
fewer contact hours and therefore consists of two sections after the propaedeutic year: 2D and Interdisciplinary Attitudes. These sections differentiate the
part-time programme from the full-time
programme.
After students have successfully
completed the propaedeutic year, they
choose to continue their studies in either
the two-dimensional or the three-dimensional domain. In the third semester, the
teams of lecturers from Reproduction/
Distribution (Free Graphics) and Painting partially merge to provide students
with an intensive exploration of the twodimensional domain, with the disciplines
of graphics and painting. In each block,
one of the disciplines is the subject of an
extensive assignment. The same takes
place in the three-dimensional domain,
with the teams of lecturers from Interdisciplinary Attitudes and 3D. At the end of
the third semester, students choose one
of the four sections as a specialisation
for graduation.
This structure creates the conditions that students need in order to work
in small groups, as well as for the organisation of specific workshops, external
activities and guest lectures in the various
sections. Within the sections, we create
a climate in which the boundaries of the
discipline are examined and transcended,
thus building the foundation that enables
interdisciplinarity.
In some cases, the process of
development can make it necessary for
a student to change sections. These students may change on their own initiative,
with proper justification, or on the advice
of their teams of lecturers.
Inspirational contacts between students of different sections are encouraged, and numerous cross-sectional
activities and projects take place during
the course of the academic year.
The fourth year, the year of graduation, is concluded with the final examination, in which individual students prepare
exhibitions and theses that demonstrate
their qualifications to enter the professional practice. Throughout the programme, students are reminded that the
programme is a foundation on which they
can further develop their personal artistic ambitions and abilities for their future
professional practice.
The programme is aimed at creating an understanding of the conditions
under which this process occurs, and it
stimulates the ambition to excel, thanks
in part to the presence of a teaching staff
consisting of artists with active international professional practices. The programme centres on the idea that artists
are part of the national and international
social mechanism, and that they have a
function within this mechanism. In this
context, artists define their significance by
discovering, developing and expressing
their own abilities and ambitions. Combined with their theoretical and practical
positions, the reservoir of knowledge and
skills from past and present artists plays a
critical and inspirational role in this regard.
The curriculum and associated
teaching methods are consequently
strongly orientated to the world around
us. The various teaching formats in the
curriculum challenge students to discover
and reveal their talents and ambitions.
They do this in a continuous process of
clarification, revision and renewal, with the
perspective of a lifelong artistic practice
and the prospect of building an oeuvre of
international stature. Students who have
successfully completed their studies with
a final examination are capable of conducting independent artistic research on
behalf of an authentic oeuvre. They are
able to articulate their work in public situations, and they are aware of the con-
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F INE AR TS
texts in which their art practices develop,
whether in autonomous or in commissioned situations.
Many alumni choose to continue
their studies abroad in such locations as
Glasgow, London and New York.
Final qualifications for Fine Arts
++ Students create authentic work emerging from their own artistic visions and
contributing to the fulfilment of their
personal ambition as artists (creative
ability)
++ Students are able to consider, analyse,
interpret and assess their own work
and the work of others, and they are
capable of considering their findings
constructively in relation to their own
work (capacity for critical reflection)
++ Students are able to develop the
breadth and depth of their artistic practices further in an ongoing process,
thereby contributing to developments
within their artistic disciplines (capacity
for growth and innovation)
++ Students are able to establish and
maintain an inspirational and functional
working environment, and to organise their research, work and practice
(organisational ability)
++ Students are able to present and discuss their artistic visions, research and
work effectively (communicative ability)
++ Students are able to relate their artistic practice to both the artistic and the
social context (external awareness)
++ Students are able to make independent
contributions to collaborative products
or processes (capacity for collaboration)
Admissions procedure
Candidates are first invited to an exploratory interview, in which they can ask questions about the programme and in which
they are questioned about their own artistic ambitions and social and cultural orientation. After this interview, candidates
who are deemed suitable to apply are
invited to take an entrance examination.
Candidates failing in only certain
aspects are given an additional assignment that will be assessed separately
during the entrance examination. During
this examination, candidates show a varied selection of their work (e.g. dummies,
sketches, blueprints, digital files, movies
and notes of ideas) to the admissions
committee of the programme. The admissions committee consists of teachers and
students.
Diploma
Graduates are awarded the Bachelor of
Fine Arts (BFA) degree, which qualifies
them to enter post-graduate programmes
in the Netherlands or abroad.
Postgraduate studies
After completing their Bachelor degrees,
graduates are eligible to enrol in a Master programme in design (MA Design) or
art (MA Fine Arts), or in other Master programmes at other art academies. Many
of our graduates have continued their
studies at internationally recognised institutions or programmes including MAR
(Master Artistic Research) at the KABK,
the Frank Mohr Institute in Groningen,
the Sandberg Institute in Amsterdam,
the Post St Joost Fine Arts in Breda, the
Piet Zwart Institute in Rotterdam and the
Dutch Art Institute in Enschede, or in socalled ‘third phase’ programmes at the
Rijksacademie or De Ateliers in Amsterdam and the Jan van Eijck Academy in
Maastricht.
Specific admissions
requirements
Candidates must fulfil the following
requirements:
++ have a constant tendency to transform
experience and imagination into twodimensional and/or three-dimensional
products (e.g. videos, DVDs) that testify
to an early sense of artistry
++ have a developing grip on the formal
issues related to the above
++ have the need to enter the public
domain with these works
++ have a developing awareness of their
artistic contexts
++ have an inquisitive, self-critical and
ambitious attitude
2.2.3 Study programme
overview: full-time/part-time
The Fine Arts programme at the KABK is
offered as either a full-time or a part-time
course, both of which must be completed
in four years. Applicants for the part-time
programme in the 2015-2016 academic
year will be accepted pending sufficient
registrations for the first year.
After the propaedeutic year, students choose either the two-dimensional
or the three-dimensional domain for the
third semester. For the fourth semester,
students must select one of the four sections.
In the part-time programme, students choose between the two-dimensional and the Interdisciplinary Attitude
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study guide
domains after the third semester. The various sections are represented in these
two domains.
Teachers provide advice and guidance to students with regard to their
choices. The four-year programme is
characterised by a strong and continuous line of learning. This means that most
of the teachers for the propaedeutic year
also teach in the main phase, adapting
their courses to the study programmes
of the higher years. This allows students
to make informed choices at the end of
the propaedeutic year. (Part-time students
choose between the two-dimensional and
three-dimensional domains in the fourth
semester.) During the course of the study
programme, there are several points at
which students can transfer to different
sections, if doing so would enhance the
development of their specific talents.
Propaedeutic year
The propaedeutic year consists of a study
programme of 60 EC. During this year,
the development of talent is linked to an
orientation to the main phase, the artistic practice of individual students and the
evaluation of their suitability for the programme. The propaedeutic year includes
elements featuring all disciplines of the
main phase, in addition to the courses
General Art History and Field Orientation.
These courses confront the students with
the very lively art practice through visits
to studios, galleries and museums. The
courses and credits are listed below.
Main Phase
During the main phase, the curriculum is arranged as a foreshadowing of
professional practice. Students work in
their studios on numerous assignments
designed to help them learn how to create a production flow of visual works, how
to investigate the works for weaknesses
and strengths and how to publicise their
work in the artistic and social contexts in
which they operate, while learning what
the business and professional aspects
of an artistic practice entail. The description of the main phase and courses can
differ for the full-time and part-time programmes, due to differences in structure.
The last two semesters of the main
phase form the graduation year. It is concluded with the final examination, in which
students are expected to demonstrate
that they meet the qualifications necessary to become professional artists by
presenting a coherent set of authentic
works in a convincing way, in addition
to preparing a thesis. Although the work
must speak for itself, students are also
expected to talk about their work and theses during their presentations. In the conversations that follow, they are questioned
about their motivations, manner of exhibition and ambitions for the future.
Graduation candidates from all sections organise a pre-examination exhibition at the end of the seventh semester,
in which they are responsible for handling
any problems associated with making a
group and individual exhibitions. The preexamination exhibition takes place outside of the Academy at a location chosen
by the students.
The main phase consists of three
academic years, or six semesters. For
courses and distribution of credit points,
see the overview below.
2.2.4 Educational and
professional goals
The programme is described according
to four partly overlapping areas of competence:
++ the Artistic domain
++ the Theoretical domain
++ the Professional social domain
++ Individual Study Track (IST)
Artistic domain
In the artistic technical domain, students
concentrate primarily on developing their
creative ability and the capacity for critical
reflection. These abilities or competencies
are considered the most characteristic
and important for students graduating
in fine arts education. All art and design
courses develop the students’ abilities in
this domain.
Theoretical domain
Creating art and designing is intellectual
and investigative work. Art and design are
evaluated according to artistic objectives
for their relevance to national and international standards of professional practice. This implies that artists and designers need to possess adequate theoretical
knowledge of the field.
Professional domain
This field touches upon most of the competencies or abilities addressed within the
programme: capacity for critical reflection, capacity for growth and innovation,
organisational ability, external awareness
and capacity for collaboration.
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F INE AR TS
Individual Study Track (IST)
The Individual Study Track (only for fulltime students) is a one-day weekly programme in which students develop their
own highly individualised programmes.
Anything is possible in this programme,
as long as it is related to their own artistic
research. The IST Officer is responsible
for IST-related tutoring and communication. All competencies are addressed.
Propaedeutic year
The competencies of the propaedeutic
year are activated by the courses offered,
as well as within the framework of the
orientation, selection and referencing
phases of the programme (see Description of Study Programme).
The ability to create is encouraged
in all practical courses through assignments in the two-dimensional, threedimensional, lens-related and digital spectrums of the visual arts. The same applies
to the capacity for critical reflection and
the capacity for innovation and growth,
given that the results of the assignments
are analysed by both teachers and students according to their formal and substantive qualities. The results of these
analyses are used to develop new assignments.
The organisational ability of students is activated as they learn to organise the formal problems that occur when
connecting content to form and it is inextricably linked to the process of creating.
Students begin by creating something,
followed by critical reflection and assignments for new work, which provides an
incentive to review the production process and adjust its formal aspects.
The theoretical aspects of organising are discussed in the course Field
Orientation, an intensive programme in
which students are confronted with professional practice and its organisational
aspects. In the second semester, students learn to document their development in the form of a portfolio.
Students also participate in an Inauguration Programme and maintain files in
which they keep track of and comment
on their developments.
The Inauguration Programme is a
cycle of exhibitions at various locations
in the Academy, in which students are
introduced to all aspects of making solo
or group exhibitions: setting up, designing
invitations, opening the show, documenting public discussions, cleaning. Their
communicative ability is developed in all
situations that force students to present
and explain their own work or that of oth-
ers: in the Inauguration Programme, in the
reports that they write for the course in
Art Orientation and during the presentation for the course in General Art History.
The external awareness of students is
developed through the course in Field, as
well as during excursions (e.g. the annual
trips to Berlin, the Venice Biennale and
Documenta).
The General Art History course
sheds light on the principles and factors
that have shaped art and culture from
the early days until Romanticism. During
the propaedeutic year, students develop
their capacity for collaboration by organising presentations for evaluations and
progress meetings together with their
peers, through joint ventures during the
Open Day and by making group proposals for the Academy-wide project week.
The didactic climate further encourages students to learn from each other’s
insights, ideas and problems.
Artistic domain
The general visual development in the
propaedeutic year focuses on the acquisition of skills associated with various
aspects of working in 2D through three
courses in Drawing. Drawing 1 covers
observational drawing, in which eye-hand
coordination is practiced in such aspects
as shape, size, plasticity, tonality, colour,
line, composition and materiality. Drawing
2 addresses observational drawing based
on the imagination. Drawing 3 approaches
drawing as a tool for research, idea development and processing. The courses in
Painting and Graphics cover watercolour, oil and graphic techniques. The Spatial course encompasses all aspects of
working with and in space, in the material
sense, as well as in the immaterial sense.
In the Optics course, the lens is used as a
search tool that is able to collect personal
topics and themes. The skills of cinematic
expression are taught starting from the
camera obscura, the analogue and the
digital camera, to the video camera and
digital imaging.
Idea development
Idea development is understood as the
organisation of a systematic process in
which an inspiring idea is revealed and
gradually conceptualised through theoretical and practical means. The process
starts with the visualisation of an inhibited idea. The idea is then captured in
sketches, followed by models, designs
and drafts. Finally, a suitable context for
the idea is researched. The course in
Meaning plays a central role in this proc-
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study guide
ess, supported by the Drawing 3 course.
One session of the second semester is
reserved for the ‘free space’, which anticipates the Individual Study Track in the
main phase.
The first year has no supporting
courses, other than the film programme,
which can be seen as an annex to the
General Art History course. The film programme PLAY/TIME presents monthly
screenings of film history classics, each
accompanied by an introduction.
Theoretical domain
The General Art History course covers
developments in art and architecture from
the early days to Romanticism, based on A
World History of Art by Honour and Fleming and various articles. Each semester
is concluded with an examination, and
students are given writing assignments,
in addition to giving presentations at least
once a year. In the first semester of the
second year, students go on excursion
to Berlin. Preparation for this excursion
includes attending a lecture series on the
cultural state of the city in relation to historical, political, social and geographical
factors. This cycle is concluded with an
examination. The excursion includes visits
to institutions of classical and modern art,
artists’ studios, theatres and architectural
points of interest.
In the Field Orientation course, students investigate the tension between
artistic ambitions and the ways in which
these ambitions can function in the public domain by visiting places where this
tension is generated and/or expressed.
Examples include studios, artists’ initiatives, galleries and museums. Conversations and interviews are part of these
visits, and students document their findings in reports.
Professional domain
The career preparation in the propaedeutic year is taught in the Field Orientation
course, as described above. Students
gain additional experience by participating in the Inauguration Programme, by
designing a trophy in a simulated professional assignment, by organising the
assessment and progress meeting presentations and by assisting graduates with
the organisation of the pre-examination
exhibition and the graduation show. After
the first semester assessments, each student completes a one-week internship in
an art-related situation or institution.
Descriptions of the various courses are
available in separate dossiers.
Main Phase/Year 2
Section profiles
Section: Painting
The disciplinary domain is defined by all
conceivable forms of painting and drawing, and amalgamations thereof. The
best-known examples are the techniques
involving gouache, watercolour, oils, acrylics and tempera. Nevertheless, where the
transfer of images is largely determined
by colour, numerous other new means
of expression occur in this domain as
well, including photography, animation,
cinematic projections and digital media.
Section: Reproduction &
Distribution
This disciplinary domain is defined by all
conceivable graphic techniques, including
etching, lithography, woodcut, mezzotint,
silkscreen and offset printing, and photographic and digital techniques. Working with various graphic techniques creates the possibility of printing numerous
copies of a work. An interesting option
is then to create a unique work from the
copies. Another possibility is to produce
books, posters and artworks, to be published periodically through traditional or
digital means.
Section: Interdisciplinary Attitudes
The Interdisciplinary Attitudes section
is characterised by the absence of any
disciplinary concentration or limitation.
Students and teachers unite in an artistic ambition. By gradually revealing this
ambition, the most suitable discipline or
combination of disciplines is determined.
Social structures provide material for
research and productions. This section
results in theatrical productions, video
installations and photographic works,
as well as in drawings and/or paintings.
Section: 3D
The disciplinary climate of the 3D section is established in the second year.
In this section, the classical sculpture is
problematised in the ‘Large Model’ project,
and the significance of space and threedimensionality is researched in all its
facets. This confronts students with the
scope of contemporary ideas of sculpture and space. Students are guided by
research, assignments (some in the public domain) and presentations. In the past,
this process has led students to create
sculptures in the traditional sense of the
word, architecture or proposals to that
end, and video installations and photographic works.
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F INE AR TS
Students control a significant part
of their own study material by creating
works and reflecting on them. The primary learning objective for the second
year is therefore to start and maintain an
ongoing production of experimental and
investigative visual products. The second
year competencies are related to achieving this objective.
The sections described above are
imbedded into the part-time programme
in two modular directions: 2D and Interdisciplinary Attitudes. The 2D module
includes painting and free graphics, and
the Interdisciplinary Attitudes module also
includes the 3D section described above.
Differences may occur between full-time
and part-time study programmes.
Competencies for Year 2
Students are expected to master the following competencies during this phase
of the programme:
++ Creative ability: Students are able to
initiate and maintain the production of
a wide and diverse selection of investigative visual works.
++ Capacity for critical reflection: Students
are able to reflect on their own work
and that of others, and they are able to
evaluate its quality and effectiveness.
++ Capacity for growth and innovation: Students are able to use newly acquired
knowledge, skills and insights, as well
as the criticism of others to advance
the development of their work.
++ Organisational ability: Students are able
to create ideal work environments that
advance and enhance the production
of and reflection on their work.
++ Communicative ability: Students are
able to discuss and explain their work
and its production process through oral
and visual presentations.
++ External awareness: Students are able
to research artistic and social settings
in order to intensify their production of
visual work and the reflection process.
++ Capacity for collaboration: Students are
capable of collaborating with fellow students and/or external parties, employing the experiences gained through
these collaborations to progress and
intensify their production and research
process.
These competencies are applicable to all
sections. Although the competencies are
developed within the different disciplinary
frameworks, they are active for the entire
department in the Content/Form, Process/Research, Transferring and Theory
courses.
Creative ability, the capacity for
critical reflection and the capacity for
growth and innovation are developed in
the Content/Form and Process/Research
courses, in which the constant flow of
images is used as a study of the various
aspects of the formation of meaning in
an image, to investigate the articulation
of size and space, to determine weaknesses and strengths in form and content, and to analyse the consequences
resulting from these aspects, in relation
to the use of different media and disciplines. The theoretical component of the
Process/Research course stimulates the
search for a suitable context as a factor of growth and innovation. Students
also develop organisational ability in the
Process/Research course, in which the
source materials and work plan function
as documentation. Communicative ability and external awareness are part of the
courses in Content/Form and Process/
Research, although they feature most
prominently in the Transference and Theory courses. These courses emphasise
these skills in the making of exhibitions,
as well as in exercises in verbal and written communication about the students’
own work and that of others. The courses
also reveal historical and contemporary
artistic contexts and factors that have a
formative influence on these contexts.
The students’ capacity for collaboration
is stimulated by the fact that the students
work together with their peers in a large
studio space, organise internal and external projects and exhibitions, and prepare
a time and space planning for the evaluations and progress meetings.
Artistic domain
General visual development
General visual development in the second year manifests itself in four distinctive sections within the field of study, as
well as in relation to the most important
objective of the second year: the creation
of a flow of images that is employed for
numerous analytical and reflective interventions.
In the Painting section, students
paint and draw in all conceivable media,
and various workshops are organised
(e.g. a tempera workshop and a Photoshop course).
In Reproduction & Distribution, students are introduced to all graphic techniques, photography and animation. A
bookbinding workshop provides students
with the skills that they need to create a
publication.
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study guide
As implied by the title of the course,
Interdisciplinary Attitudes offers an interdisciplinary environment, also in addition to workshops in the fields of theatre,
sound and various sensory fields.
In 3D, students research materiality,
structure, design and meaning, as well
as spatial quality and status. They create images and objects in all available
materials, with primary emphasis on the
‘Large Model’, in which students work on
a sculpture based on a live model during the course of the year. This process
includes all stages involved in producing
a ‘classical’ sculpture. A bronze-casting
workshop is organised as well.
Idea development
Defined in the propaedeutic year, idea
development is also addressed in this
year, focusing on helping students to gain
control of their flow of images in order to
steer it in a recognisable thematic direction. Idea development is covered in all
practical courses, as students search for
their themes in all elements of the curriculum. In the Process/Research course,
students organise a functional work environment, in order to create an effective
foundation for increasing the depth and
breadth of their research into their themes
and/or artistic ambition.
In addition, the department-wide
Artistic Research course enables students to apply concepts of process and
research, along with methods of materialisation, to their own research based on
personal ideas and visual development.
Supporting courses
Supporting courses are available in the
form of various Academy-wide introductory courses:
++ electives and minors in collaboration
with Leiden University
++ optional activities within the framework
of the Studium Generale and ’t Hart
++ the film programme
++ guest lecturers contributing specifically
to internal and external projects
Theoretical domain
Even though all practical courses include
theoretical components (e.g. exhibition
theory in the Transference course; the
addressing of metaphors, symbolism,
style and stylisation in the Content/Form
course; and the theoretical component
in the Process/Research course) , the
Theory course continues to provide the
most important foundation for theoretical
knowledge and intellectual skills. The the-
ory programme for the entire department
is structured as follows: students gain
knowledge of art history from Romanticism to the present by attending lectures,
by taking day trips to exhibitions and by
having group discussions in relation to a
topic prepared by a fellow student. Students maintain a sourcebook with inspiring texts and images, writing a paper each
semester on a self-chosen topic from the
field of art, in addition to a statement about
their own work, including such aspects as
motivation, inspiration and relationships
with other artists.
Professional domain
Career preparation is structured in two
parts. The first part is integrated. For
example, aspects of professional practice are discussed during in-class group
conversations. This also takes place in
other classes when necessary and useful, according to the situations in the students’ studios. The second part of the
preparation is programmed. The following overview of this part is based on the
programmes of previous years. Collaboration with external partners in the field is
an important element of the programmed
part. Some of these collaborations take
place each year, while others vary from
one year to the next.
The following elements are offered
throughout the department: the Rhetorics course, the Inauguration Programme,
presentations in project spaces, studio
visits, and incidental internships with professional visual artists as part of the Individual Study Track.
The department collaborates on
projects, varying by section and study,
with a variety of partners:
++ Nest
++ The Hague Committee Room
++ Municipality of The Hague
++ Filmhuis, The Hague
++ Diligentia, The Hague
++ Tent, Rotterdam
++ Stroom, The Hague
++ Council for Culture
Second-year students of all sections prepare group exhibitions as a prelude to the
exhibitions in the third year.
Main Phase/Year 3
Upon completion of the second year, students have reaped a rich harvest of formal
and substantive questions. In the third
year, these questions are employed in all
sections for the purpose of researching
their interrelationships.
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F INE AR TS
of the programme.
++ Creative ability: Students are able to
create thematic and formal coherence
in the continuous production of visual
works.
++ Capacity for critical reflection: Students
are able to pinpoint weaknesses and
potential strengths in the process
towards thematic and formal coherence.
++ Capacity for growth and innovation:
Students are able to realise continuous
development in their artistic ambitions
by focusing on coherence in their work.
++ Organisational ability: Students are able
to organise their work and research
processes to achieve optimal advancement in the revelation of thematic and
formal coherence.
able to discuss and explain the coherence in their work through oral and visual presentations.
++ External awareness: Students increasingly position themselves in relation to
artistic and social settings, thus intensifying their research into thematic and
formal coherence.
capable of collaborating with their fellow students and/or external parties,
employing the experiences gained
through these collaborations in order
to advance their research into thematic
The students’ creative ability, capacity for
critical reflection and capacity for growth
and innovation are further developed in
the Content/Form course and in the practical and theoretical components of the
Process/Research course. Organisational
ability is developed in several components, including the practical component
of the Process/Research course. Communicative ability and external awareness
are developed in the Transference and
Theory courses. The students’ capacity
for collaboration is stimulated in a manner similar to that described above in
the second-year competencies. This is
accomplished in the Transference course
through several internal and external presentations and exhibitions.
Artistic domain
The description of general visual development in the second year applies to the
third year as well, with the difference that
all works produced are oriented towards
the research into the coherence of artistic production. Central to this research is
the continuing revelation of the students’
personal artistic abilities and ambitions.
All practical courses contribute to this
endeavour, including the Theory course,
in which students further develop their
insight and understanding of their own
situations by relating them to inspiring
and critical contexts.
Idea development
The description of idea development in
the second year also applies equally to
the third year, but with the addition of elements relating to the central objective of
this study phase. The concept development in the third year thus focuses
on structuring all formal and substantive questions that arise in the search
for coherence, and unveiling authentic
artistic practice. The Process/Research
course plays the most important role in
this development.
Supporting courses
Specific courses and workshops within
the framework of the career preparation
are described in the professional social
domain below. The other possibilities for
supporting courses are described under
‘Supporting courses’ in the section on
Year 2.
Theoretical domain
In the third year, students are intensively
confronted with various philosophical,
aesthetic and social models of thinking. The teaching material consists of
the book De Donkere Spiegel (The Dark
Mirror) by Frank Vandeveire and a wide
range of art historical literature, magazines and newspapers. Students learn to
identify artistic problems, concepts and
principles, while acquiring a grasp of the
theoretical issues present in their work.
Each semester, students write statements about their own work, in addition
to research papers. The topic of the first
paper is an art movement in relation to
social development, while the second
focuses on the question ‘What is art?’ At
least once a year, each student gives a
presentation on a theoretical topic. At the
end of the academic year, students determine their thesis subjects. For further
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study guide
information about the theoretical domain
in Year 3, please refer to the description
of Year 2.
Professional domain
The activities described for the second
year apply to the third year as well. In
addition, projects and collaborations are
organised each year especially for thirdyear students. These activities are specifically related to their stage of development.
Students in all sections participate
in the Documentation Workshop, which
consists of several sessions distributed
throughout the academic year. In this
workshop, students learn to:
++ document work for presentations and/
or grant or subsidy applications
++ compile and present a portfolio
++ give verbal presentations
++ write texts for presentations, grant or
subsidy applications, job assignments
and post-graduate studies
Students also take Finance and Business Plan courses, and they participate
in a Grant/Subsidy Application Writing
workshop and a workshop on presenting. Students in each section collaborate
to organise an exhibition. The projects
with external partners, as mentioned in
the description of the second year, are
employed in the third year in relation to
the students’ stage of development.
Main Phase + Graduation year
In the final phase, the learning objective is
the full development of the personal signature in content and form, as revealed in
the third year. All aspects of the research
process, including the process-based
structure in which it takes place, is tailored
to the unique convergence of content and
form. These aspects are addressed in the
courses in Process/Research and Content/Form. Furthermore, students master
the practical and theoretical aspects of
making their work public in the Transference course, in addition to learning about
the financial/administrative side of being
an artist. The competencies for this phase
are related to this learning objective.
personal ambitions to become artists.
++ Capacity for critical reflection: Students are able to analyse, interpret and
assess their own work and that of others, and they can apply the ensuing
outcomes to benefit their own work.
++ Capacity for growth and innovation:
Students continuously develop their
art practice in both depth and intensity,
thereby contributing to developments
in visual art.
++ Organisational ability: Students are
able to create and maintain their own
inspiring and functional work environments, and they are able to organise
all aspects of their research and production processes.
able to present and explain their artistic visions and work.
++ External awareness: Students are
able to relate their own art practice to
the practice of artists in the past and
present, drawing connections between
different public and social contexts.
able to make independent artistic contributions to collaborative products or
processes.
Artistic domain
All painted, graphic, sculptural and other
disciplinary works are employed in order
to sharpen the merging of form and content. This represents a process of refinement in the already acquired visual idiom,
to which the practice courses and the
Theory course contribute. The Theory
course addresses inspiring and refining
contexts through the theory lessons, in
which students are encouraged to personalise their work further.
Competencies for the final year
The competencies of the final phase correspond to the final qualifications of the
programme:
Idea development
As defined above, idea development
focuses on structuring all formal and
substantive questions that occur when
students make the final decisions (within
the framework of the programme) concerning their themes and the forms they
will take. The Process/Research course is
importance in this phase, as is the Transference course, as the work is more likely
to reveal itself in all its formal and substantive peculiarities in public situations
than it is in the studio.
++ Creative ability: Students create authentic work that originates from the pursuit
of their individual artistic visions and
that contribute to the realisation of their
Supporting courses
Supporting courses are not part of the
final phase of the programme, except in
the professional practice workshops and
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F INE AR TS
activities. These activities are described
in the section on the professional social
domain.
Theoretical domain
In the final phase of the programme, the
Theory course focuses primarily on the
writing of the thesis, the subject of which
was decided by the student at the end of
the third year. The thesis is a report of the
student’s comprehensive investigation
conducted within the framework of the
student’s work. It should show the student’s ability for reflection, an extensive
understanding of the history of art and
insight into the context of the student’s
own work. The theses are discussed in
groups during the first semester, and they
are supervised individually during the second semester. The minimum length for a
thesis is 25 pages of typed text, excluding images. The sourcebook is again a
means of inventory, inspiration and documentation that is directly related to the
student’s stage of development.
Graduating part-time students are able
to use studio space at the Academy during their final two semesters. Other parttime students follow the programme by
attending classes or through individual
talks. Part-time students may also attend
guest lectures, workshops and lectures
that are scheduled during the day.
2.2.5 Organisation
of the department *
The head of department is responsible for
the department’s policy and all aspects
related to this policy. The team of lecturers reflects the content of the programme
and its professional structure.
All of the teachers have their own
professional practices. Because of the
diversity in experience and expertise,
students are confronted with numerous
aspects of and approaches to the discipline. Guest lectures are organised to
provide specific knowledge of the professional field.
Professional domain
Most of the external activities that are
available in the second and third years
are also available to fourth-year students.
The following activities are organised specifically for fourth-year students from all
sections:
Head of department
Editorial note: during the editorial process
the new head of the Fine Arts department
was not yet appointed.
++ Post-Graduate Studies Day: At this
event, Dutch institutions that offer postgraduate studies give presentations,
and international Master programmes
are discussed. Third-year students are
welcome to attend, as long as it does
not interfere with their schedules.
++ Day of the Future: This event consists
of lectures on the local cultural policies
(Stroom), presentations by the Fonds
voor de Kunst (Fund for the Arts), lectures by various gallery owners and
artists’ initiatives, presentations by the
Chamber of Commerce, and talks by
alumni from different years about their
experiences after graduation.
++ Pre-examination exhibition: This exhibition, which is organised by students,
takes place outside of the KABK building. It also includes a publication.
++ Portfolio/networking day: At this event,
artists’ initiatives, galleries and curators
present themselves and view/evaluate
students’ portfolios.
++ Graduation show: The final show is
the masterpiece (in all respects) of the
newly launched professional practice.
Head of part-time course
++ Ernst Bergmans
Coordinator full-time course
++ Martijn Verhoeven
Coordinators part-time course
++ Willem Goedegebuure
++ Onno Schilstra
Lecturers
++ Marijke Appelman
++ Maura Biava
++ Channa Boon
++ Engelien van den Dool
++ Irene Droogleever Fortuyn
++ Marion Duursema
++ Wim van Eck
++ Paul van der Eerden
++ Pieter van Evert
++ Cecile van der Heiden
++ Eric Hirdes
++ Anja de Jong
++ Winnie Koekelbergh
++ Ton van Kints
++ Klaas Kloosterboer
++ André Kruysen
++ Frans Lampe
++ Alexandra Landré
++ Jeroen de Leijer
++ Frank Lisser
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study guide
++ Annemiek Louwerens
++ Tatjana Macic
++ Anna Moreno
++ Willem Moeselaar
++ Reinoud Oudshoorn
++ Femmy Otten
++ Maria Pask
++ Hans van der Pennen
++ David Powell
++ Ewoud van Rijn
++ Hester Scheurwater
++ Onno Schilstra
++ Els Snijder
++ Elly Strik
++ Pim Voorneman
F INE AR TS
++ Tomo Savic
++ Janwillem Schrofer
++ Barbara Seiler
++ Marleen Sleeuwits
++ Roland Sohier
++ Suzanne Somers
++ Arjanne van der Spek
++ Iva Supic Jankovic
++ Puck Verkade
++ Ruut Willems
++ Hanae Wilke
++ Yasmijn Yarram
++ Italo Zuffi
++ Ina van Zyl
++ Weronika Zielinska
Guest lecturers
++ Mendel Agterberg
++ Nel Aerts
++ BAR
++ Lorenzo Benedetti
++ Neil Beloufa
++ Jelle Bouwhuis
++ Bogna Burska
++ Coen Brasser
++ Stephan van den Burg
++ Eliska Cabalova
++ Sarah Campos
++ Vaast Colson
++ Jasper Coppes
++ Calin Dan
++ Josef Danek
++ Dina Danish
++ Roloff de Jeu
++ Jaring Dürst Britt
++ Marcel van Eeden
++ Sjarel Ex
++ Gertjan Forrer
++ Andrea Freckmann
++ Katinka van Gorkum
++ Kaleb de Groot
++ Henri Jacobs
++ Bram de Jonghe
++ Jacob de Jonge
++ Xander Karskens
++ Jean Bernard Koeman
++ Frank Koolen
++ Luk Lambrecht
++ Eelco van der Lingen
++ Anna Luppi
++ Adrian Mazzarolo
++ Alexander Mayhew
++ Ilga Minjon
++ Rinke Nijburg
++ Femmy Otten
++ Olphaert den Otter
++ Charles van Otterdijk
++ Dan Perjovschi
++ Philip Peters
++ Sybren Renema
++ Arno van Roosmalen
++ Jochem Rotteveel
*
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visit www.kabk.nl.
51
competencies
F INE AR TS
Propaedeutic Year
Main Phase, Year 2
Main Phase, Year 3
Main Phase, Year 4
Creative ability
You are able to apply the
acquired skills and knowledge independently to the
production of your work,
and you are able to carry
out the assignments given
in connection with your
artistic ambitions.
You are capable of initiating
and sustaining a broad and
varied, inquiry-based production of visual objects.
Creative ability
You are capable of applying
thematic and formal coherence to the continuing production of visual objects.
You create authentic work
that emerges from your own
research and personal artistic vision and which contributes to the achievement of
your personal ambitions as
an artist.
reflection
your own work and that
of others and evaluate its
reflection
You are capable of identifying both weaknesses and
potential when investigating
work in terms of its thematic
others, and you are capable
of abstracting the outcomes
work.
Capacity for growth
and innovation
You are able to acquire and
apply new knowledge, skills
and insights at a theoretical
and practical level.
and insights to the development and progress of your
own work.
Capacity for growth
and innovation
You are capable of achieving continual development
in your work, in part by
focusing on the coherence
of your work.
Through a continuous process of research you are able
to further develop your artistic practice in terms of both
breadth and depth, thereby
contributing to your discipline.
You are capable of organising internal and external
factors in order to create
an effective and inspiring
research and working process.
You are able to arrange your
work processes and studios
progress and depth in production.
your work and research
optimal thematic and
formal coherence.
You are capable of providing
verbal explanations of your
own work and development,
in addition to interpreting
your own positions in relation to the current artistic
situation, both orally and in
writing.
You are able to discuss
your work and production
processes, explaining these
using words and images.
You are able to discuss the
coherence of your work,
explaining it using words
and images.
You are able to present
and explain your visions,
research and work in a convincing manner.
You are able to demonstrate
a strong interest in historical
and current forms of art and
your social significance and
embeddedness. They can
actively participate in critical
assessments of your own
work and that of others.
You are capable of delving
into artistic and social settings in order to intensify
your production of visual
objects and your reflection
on these.
You increasingly relate to
artistic and social settings,
using these aspects to
intensify your investigation
of thematic and formal
coherence in your work.
own artistic practice to the
wider artistic and social context.
You are capable of making positive contributions to
group projects, excursions
and the educational climate
in your classes and at the
Academy.
from these collaborations to
enhance the progress and
depth of your research and
production processes.
from these collaborations
to enhance your investigation of thematic and formal
coherence.
You are able to make independent artistic contributions to collaborative products or processes.
52
53
credit points overvie w
f ine ar ts
Fine Arts full-time
Fine Arts part-time
1
Year
2
Semester
1
2
Drawing 1, Drawing 2 (*)
3
Conceptualization
7
8
3
3
Drawing
5
5
4
3
3
Spatial I
4
Space
3
3
Spatial II
Studium Generale (***)
1
1
Photography
3
3
2
Image Development/Art Orientation
4
4
3
Painting
4
4
3
Orientation 2D/Autonomous
3
Main Phase 2D/Autonomous
Graphics
Painting
3
3
Main Phase PAI/R&D/AUT/3D
6
2
2
3
5
1
Year
1
Optics
4
4
Semester
Free Space
3
3
12
2
2
4
4
4
3
3
Presentation Collective assessment
5
5
5
5
5
3
3
Integrated professional preparation
3
3
3
3
5
5
Final exam projects
1
Final examination
18
Art History
24
5
5
Docking Station
5
2
Research & Discourse
2
Philosophy and Research
2
Final Thesis
Theory
6
6
6
6
5
Total
3
5
5
5
6
30
30
30
6
IST
6
6
Thesis
6
6
6
6
6
6
Total
29
31
30
30
30
30
30
30
Total
29
31
30
30
30
30
30
30
(*)
(**)
(***)
12
5
Integrated professional preparation
3
3
12
4
3
3
Research and Discourse
12
8
5
4
Programmed professional
preparation (**)
2
7
4
12
Excursion to Berlin
6
4
12
General Art History
5
4
12
One week internship
4
2
12
Orientation to professional field
4
Programmed professional preparation
(incl. presentations)
12
ABPPW
3
Drawing 1 and 2 are spread across semesters 1 and 2
Incl. Writing a Business Plan in year 3
In the Fine Arts department, the academy-wide Studium
Generale programme is extended with additional assignments
Please note that the credit points overview is subject to change.
For the most current information visit www.kabk.nl.
54
55
30
30
30
30
30
gr aphic design
56
57
2.3
Graphic Design
s tudy guide
s tudy guide
gr aphic design
2.3 Graphic Design
of the discipline
Graphic designers are investigative
researchers. They look critically at their
profession and the world, and they reflect
on change. By continuously asking questions, they discover where information
is hidden, determine the form in which
it should be presented and decide how
it can be made accessible. In doing so,
the profession of the graphic designer is
strongly related to visual arts, science,
journalism and other creative disciplines.
Graphic designers work on commission, in addition to initiating their own
projects. They work with provided information, but also acquire it themselves. In
the latter case, they are no longer simply
designers, but take on the roles of initiator, editor, project manager and publisher
as well. The profession places strong
emphasis on the research and development of concepts that form the foundation of information transfer.
Designing is a combination of imagining, engineering and inventing. For
example, the design of a website is more
than the actual website; it is the process
of envisioning what the website will potentially look like and implementing how it will
finally work. The increasing availability of
technological means of production (e.g.
user-friendly software and affordable highquality printers) has allowed designers
to control the production process, thus
reducing the gap between design and
product.
In everyday work, the designers
have virtually infinite ways of expressing
ideas at their disposal: sketching with a
pencil, composing text with a design programme, drawing patterns in sand, experimenting with different materials, coding
on a computer, visualising data, organising photographs and many more. The
products they create are equally diverse:
websites, apps, games, books, magazines, newspapers, spatial experiences,
stationery, flyers, publicity campaigns,
signage, typefaces, logos, flags, fashion
items, packaging, money, and so much
more. When images prove insufficient
to tackle the addressed design problem, graphic designers will go beyond
visual communication and involve sound,
texture, and even smell and taste. As
with many other domains, the power of
graphic design grows when combined
with of other disciplines, for example fine
arts, architecture, film or theatre, but also
58
mathematics, biology or social sciences.
Their vocabulary, imagery and signatures
transcend the media in which they work.
What, then, is the discipline of
graphic design exactly? To keep it simple,
we define graphic design as the process
of developing and giving form to communication concepts by arranging, adapting
and visualising the available information.
The connotation with printed matter, as explicitly reflected in the name of
the discipline, is a relic of the pre-digital
era: the label no longer fully represents
the content. For this reason, some now
refer to the discipline as ‘visual communication’ or ‘visual design’.
Graphic designers practise their
profession in numerous ways. Some
work alone, while others work for small
studios and bureaus. Some of these initiatives have been established as cooperative efforts or collaborative ventures
of independent designers, while others
began as small businesses with staff and
a leading designer. At the other end of
the spectrum are large firms with many
employees. These firms focus primarily on strategic communication and the
development of identities and campaigns.
Whereas individuals and small bureaus
often specialise, large firms cover almost
the entire field. In addition, many companies (e.g. marketing firms, media corporations and multinationals) have in-house
graphic designers. The commissioning parties vary just as greatly, ranging
from individuals to large-scale corporations, from cultural institutions to ministries, from shop owners to broadcasting
houses. In summary, the discipline of
graphic design includes everything that
takes place with regard to graphic design
and everyone who plays a part in it.
What takes place within the discipline?
Many of the current developments in
graphic design are connected to three
comprehensive themes: information,
technology and the globalisation of
society.
It is impossible to escape from information in our contemporary information
society. Over the last few decades, the
amount of information and the speed with
which it is disseminated has increased
enormously. This has had major consequences for graphic designers. The
abundance of information is often not
recognised as a problem, and designers
are increasingly becoming responsible
for finding solutions to communication
problems. Contrary to the promises of the
59
s tudy guide
contemporary template culture (in which
everything is pre-designed by software)
the need to structure information is growing rapidly together with the increasing
amount of content that is created. In fact,
contemporary designers do not simply
apply the design tools anymore, but rather
develop them. The world needs to realise that computers never create value on
their own; only humans can do that. Any
piece of software is a result of a thought
process that happened at the time of its
implementation, in the brain of its maker.
If one conclusion can be drawn
from this, it is that graphic designers cannot avoid reflecting on their role in the
contemporary information society. One of
the main questions they ask themselves
is of a moral character: Do I wish to contribute to the dissemination of information, or are there limits to what I will send
out into the world?
Graphic design is founded on technique and technology. The message is
inextricably linked to the medium, as
reflected in the history of graphic design.
For a long time, the profession was connected to the art of printing, which gradually reinvented itself over time. The digital revolution led the profession into the
fast-paced world of bits and chips. It is
difficult to imagine that only 25 years
ago, designers did not use computers,
and hardly any designer designed for the
computer. Although paper will not disappear completely, almost all information
will eventually reach us through digital
systems. Graphic designers must therefore be knowledgeable about technological possibilities, and they should ideally be able to work with the technology.
In addition, they must understand how
technology transforms relationships and
practices. Technology enables interaction, thus encouraging meaningful input
from the public.
These new developments provoke
exciting reactions. Young designers seek
hidden treasures from the analogue era
and take on the challenges of the digital age. They research the concept of
manual labour in contemporary society,
as well as the ways in which automated
processes influence design results. They
give new life to vintage design traditions,
while inventing new applications for existing technologies.
Social ideals were once a driving
force behind the emergence of graphic
design. Designers desired better living conditions for all. Particularly in the
period between the two World Wars, this
social commitment was strong. At that
time, the Royal Academy of Art (KABK) in
The Hague was a bastion of progressive
modernists. Today’s designers resemble
their colleagues from the past, in that they
are fully engaged with the world, although
the conditions are different. Whereas the
socialists in the 1930s advocated the
international, internationalisation is currently very much underway, and it is no
longer the concern of pioneering designers. In today’s global society, everyone is
in touch with everyone. This has far-reaching consequences for graphic designers.
A design does not simply remain in the
Netherlands; it travels into the world, especially through internet. Designers must
know the codes of the new international
visual culture that has emerged. At the
same time, we want them to use their
own codes.
Being an investigative researcher
means looking critically at the world and
becoming an active participant in it. This
can take many forms. For example, when
designers distance themselves from the
deceptive rhetoric of the commercial field.
Or when they become advocates for a
humane information society, in which
people are not crushed by a torrent of
superficial images. Ultimately, graphic
design at the KABK could be called
‘involved design’ since it proposes new
models of social intervention.
In the daily work of the department,
this social engagement is being practised
through close cooperation with many distinguished entities, including not only cultural organisations such as Stroom (Centre for Visual Arts and Architecture), Open
(Platform for Art, Culture & the Public
Domain), De Affiche Galerij, but also governmental institutions like the Supreme
Court of the Netherlands, the Ministry of
Finance and the Court of Audit.
2.3.2 Study Profile
Professional Objectives
Graphic designers are increasingly working on the boundaries of the discipline.
The department therefore strives to arrive
at a broad definition of the discipline and
to encourage students to explore those
boundaries, crossing them when necessary.
In general, the design process can
be divided into four major phases: collecting, examining, visualising and publishing information.
This methodology enables designers to appropriate the following attitudes
and skills:
60
gr aphic design
++ developing concepts for the transfer
and exchange of information, shaping
them with the use of image, typography
and other means
++ examining, organising, editing, visualising and managing information
++ working on commission and/or initiating projects
++ identifying socio-political problems and
making statements about the profession and the world
++ triggering new developments in the discipline or advancing existing developments
++ in addition to meeting the needs of user
and/or clients with their work developing and adding depth to their personal
visions and work
++ and, above all, questioning the world
and taking nothing for granted
Description of the
study programme
The Graphic Design department educates
students to become critical thinkers and
versatile practitioners who develop outstanding concepts for visual communication. Ideal graduates are investigative
designers who are fully aware of current
affairs, choose their media wisely and
master both traditional and new media.
Graduates excel in their professional
careers through their extraordinary conceptual and visual abilities, extensive
knowledge of the profession and the
world, strong technological curiosity and
highly developed social engagement.
The department offers an extensive curriculum. The programme is built
around four main courses: Design, Interaction, Image and Typography. The excellent quality in the field of typeface design
and typography distinguishes the programme from other graphic design studies. The type design education starts in
the first year, in combination with typography. In the second year, students can
choose to pursue this topic in the Letterstudio elective. The electives Playlab and
Design Office are equally unique. Playlab
is fully dedicated to avant-garde research,
while Design Office focuses, with its external assignments for real clients, on the
practical aspects of the discipline. Furthermore, these courses are backed up
by additional theory and coding classes.
Each year, the department uses the
strong content of the programme and
the composition of the teaching staff to
achieve actuality, versatility, depth and
interaction between theory and practice.
Students work towards general or
specialised graduation profiles. The social
dimension of the programme is reflected
in the assignments, projects and teaching
philosophy. A pioneering and questioning attitude prevails in relation to the discipline. On top of that, the department is
well known internationally and the study
environment is remarkably international,
with foreign students, guest lecturers, field
trips and collaborations with academies
abroad.
As described above, we regard the
notions of image, interaction and programming as important points of interest in contemporary design, and they
therefore occupy a prominent place in
the programme.
Final qualifications
for Graphic Design
The final qualifications have been summarised in seven competencies. The
KABK has established these competencies according to the national final qualifications for Graphic Design programmes.
The competencies can be found at the
end of this chapter.
Diploma
Design (BDes) degree, which qualifies
them to enter postgraduate programmes
in the Netherlands or abroad.
After completing their Bachelor’s degrees,
graduates may enrol in a Master programme in design (MA Design) or art (MA
Fine Arts), or in other Master programmes
at other art academies. In addition to
our own Master programme in Type and
Media, graduates have gone on to pursue Master’s degrees at many renowned
institutions, including the Royal College
in London, the Yale School of Art in New
Haven, ECAL – Ecole cantonale d’art de
Lausanne, the Typography Workshop at
ArtEZ in Arnhem, the Sandberg Institute in
Amsterdam and the University of Leiden.
overview
The Graphic Design programme is offered
in a full-time and a part-time variant. The
structure of the two programmes is similar in content. Both programmes have a
curriculum focusing on three domains
of knowledge and ability: an artistic
domain, a theoretical domain and a professional-social domain. In some cases,
the domains are directly recognisable
in the courses (e.g. theory and professional preparation). Other courses focus
61
s tudy guide
on more than one domain. For example,
Design and Typography both have an
artistic and a theoretical dimension, which
are inextricably linked together.
Artistic technical domain
The four pillars of the programme (Design,
Interaction, Image and Typography) are
of a conceptual nature. Design centres
on the examination, organisation, editing
and visualisation of information and controlling processes of information transfer. As the name implies, the discipline of
Interaction focuses on interactive processes designed for new media and other
contexts. Image focuses on the creation,
editing, deployment and organisation of
images and the creation of concepts in
which images play a role. The visual form
of texts plays the central role in Typography, both independently and in relation to
image. In Coding classes, students gain
basic knowledge in programming and
technical competences. They are introduced to the characteristics of algorithms,
functions and loops and the possibilities
for applying them in the design process.
At the beginning of the second year,
the notion of ‘courses’ is gradually abandoned, and supervision in the completion of assignments in various specialisations becomes more important. From
this point on, there is a strong relationship
with the professional social domain. In the
second and third year, students choose
between two electives at the beginning of
each year. In the Letterstudio, letters are
researched in relation to typography. Playlab includes an experimental research
programme that searches for the boundaries of the discipline. The Design Office
was created as a studio in which students
work in teams on special assignments for
actual clients, often in the cultural field.
Theoretical domain
The department’s theoretical programme
establishes an exchange between the student’s work and the acquisition of knowledge and understanding of the current
graphic design within its artistic, historical and social context. The first year
focuses on contemporary graphic design
as a significant part of visual culture and
new media. The second year is devoted
to theory in the history of design. Philosophy is the focal point of the third year,
with attention to the relationship between
graphic design and social issues. In the
fourth year, the theory teacher provides
guidance to students as they write their
theses, which are linked to their graduation projects.
One important goal of the theory
programme is to teach students to position themselves in relation to the work
of others, to form opinions and to admit
when personal feelings and taste are
involved.
The Reading Group forms another
part of the domain. It is organised once
a year with the goal of engaging students
intellectually with challenging texts. The
topics discussed cover everything from
design and media theory to anthropology and ethics.
In addition to the theoretical programme offered by the department, students take Academy-wide courses in
art theory and academic skills, and they
can participate in the Academy’s Studium Generale. Students may also take
courses in other departments or at Leiden University, within the framework of
the Individual Study Track (IST).
Professional social domain
What is the social significance of graphic
design? What are your ambitions as a
graphic designer in society? What do you
need to do in order to achieve it? These
questions are discussed throughout the
programme, with the goal of preparing
students for their future profession. During the propaedeutic year, this is accomplished in a playful and explorative way.
In the subsequent years, assignments
mimic realistic situations. There is contact
with the professional field, the public and
clients. Some projects take place outside
the Academy, while others are derived
from professional practice. In addition, all
students are required to complete internships.
In the fourth year, the focus is very
explicitly placed on the students’ future
professional practice, with a Career Orientation course, assistance in compiling a
portfolio and the graduation projects. During these activities, the consequences of
the students’ choices are examined. For
example, students must ask themselves
questions concerning the type of designers they would like to become, whether
they would like to work for firms or independently, and what would suit them best.
Possibilities for postgraduate education
are also discussed. In the final year, students are expected to present themselves
during evaluations as designers and justify their personal opinions.
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gr aphic design
Full-time programme
Propaedeutic year
The first year is an adventurous exploration of the student’s qualities in various
aspects of graphic design. These qualities are explored with challenging assignments that appeal to the student’s curiosity and creativity. Smaller assignments are
alternated with larger assignments, taking the students to the far corners of their
field. Considerable emphasis is placed on
open-mindedness and the joy of working.
Students try out different ways of working
and acquire an initial indication of their
visual abilities and the value of their ideas.
In this way, students gradually move
towards the development of their own visual language and visions. In the first year,
it is important to create a large body of
work that provides confidence and creates resilience that will be useful during
the rest of the programme.
Throughout the year, students complete assignments for which they must
make use of the workshops. In the final
assessment, students must answer the
question of whether graphic design is
suitable for them, and if they are suitable
for the profession. They should be able to
specify clearly the elements of the profession that are of primary interest to them.
Points of departure
++ The introduction to the field is both
practical and theoretical.
++ The creative and intellectual development of the student is central.
++ Scheduled courses are offered parallel
to each other. They focus on particular aspects of the profession and the
culture, both substantively and technically, and they broaden the frame
of reference. In addition to scheduled
courses, two project weeks take place
in the propaedeutic year: a departmentwide week for all years, an Academywide course for all first-year groups and
an excursion week.
Year 2
In the second year, students work on
a series of challenging design assignments. The emphasis is on expanding
their understanding of the profession and
strengthening their qualities as designers.
Ample space is reserved for research.
The assignments address a variety of
issues, including the concepts of public
space and audience groups. There are
realistic and fictional, optional and compulsory assignments. During the year, the
courses taught are replaced by supervision by different teachers in joint assignments. Each teacher covers a specific
area of expertise: Design, Image, Typography or Interaction. Students have the
opportunity to discuss their work with different teachers. They also take the Letterstudio, Playlab or Design Office course,
and they formulate their own Individual
Study Trajectories. The theory programme
is devoted to the history of graphic design
within its cultural and social contexts,
establishing a relationship with the work
of the students. The students also focus
on the presentation and exhibition of their
work.
Points of departure
++ Expanding the understanding of the
discipline
++ Strengthening the students’ personal
qualities as designer
++ Greater focus on research
++ Supervision by teachers with different
specialisations in joint assignments
++ Choice between Letterstudio, Playlab
and Design Office
++ Individual Study Track as a tool to add
breathing space or depth to the study
programme
++ Career preparation projects, in the context of classes, as well as the Individual
Study Track
++ Organisation of exhibitions and presentations
Study programme components
Design Assignments with supervision in
++ Design
++ Image
++ Typography and Letters
++ Interaction
++ Drawing
++ Theory: Current Visual Culture
++ Academy-wide: Art Theory and
Introduction to Science
++ Design
++ Image
++ Typography
++ Interaction
++ Design Theory
++ Elective: Letterstudio,
Playlab or Design Office
++ Technique: Coding
++ Individual Study Track
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s tudy guide
Year 3
The third year also focuses on complex
design assignments. In this year, the
emphasis is placed on the relationship
between graphic designers and society.
This is reflected in the theory programme,
the assignments and the internship. One
of the points of departure for the course
is that students gain increasing control over their tracks as the programme
progresses, and much is expected
of them in the third year. Students are
largely responsible for organising their
own supervision, and they have considerable freedom in how they approach
the assignments. For example, they can
decide to increase their focus on designing for new media, to centralise the unification of text and image or to approach
assignments typographically. The curriculum emphasises interdisciplinary collaboration and multidisciplinary knowledge.
By making optimal use of Playlab, Design
Office, the Letterstudio and the Individual
Study Track, students can broaden their
knowledge, specialise and acquire additional skills and techniques. The thirdyear theory programme teaches philosophy, and it is devoted to reflection on
current social themes. Its aim is to help
students develop a vision on their personal responsibility as a designer and to
support their ideas of designing according to their social visions.
Design Assignments with supervision in
++ Design
++ Image
++ Typography
++ Interaction
++ Theory: Philosophy
++ Elective: Letterstudio,
Playlab or Design Office
Year 4
This year is entirely focused on the final
examination and the internship. The first
semester is exploratory in nature, with students working on various design assignments involving both visual and contentbased elements, which could serve as
precursors for the central theme of the
graduation project. The final phase commences in the second semester.
Students are motivated by deadlines, and they must work hard to be able
to present enough work of a sufficient
level to pass to the final phase.
The theoretical part of the final year
comprises the thesis, which provides the
theoretical preparation for the graduation
project. Students also prepare for the final
examination and their future professional
practice, and they are assisted in constructing their portfolios.
Points of departure
Points of departure
++ After the first year’s emphasis on the
discovery of student’s qualities, and
the second year’s focus on deepening their understanding of the discipline,
the third year concentrates on the relationship with society.
++ The courses continue to fuse together.
In the second semester, the assignment teachers supervise a large
assignment with a socially relevant
theme.
++ The students choose Letterstudio, Playlab or Design Office.
++ The Individual Study Track serves as
a tool for adding breathing space or
depth to the study programme, and
career preparation projects take place
within the framework of the Individual
Study Track.
++ The focus of the final year is on the
position and positioning of students
as graphic designers within their disciplines and society.
++ The entire year is devoted to the final
examination; from the start of the year,
students work on projects with which
they can graduate.
++ The Individual Study Track serves as
a tool for adding breathing space or
depth to the study programme.
++ Students graduating with letter projects
make use of supervision from the Letterstudio.
Graduation projects with supervision in
++ Design
++ Image
++ Typography
++ Interaction
++ Theory: Thesis
++ Career Preparation
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gr aphic design
Part-time programme
2.3.5 Organisation
of the department *
The structure of the part-time programme
is very similar to that of the full-time programme, with the exception of the Individual Study Track and the compulsory
internship. Electives like Letterstudio and
Playlab, as well as the Coding classes
have just been implemented into the curriculum.
professional objectives
Throughout their study students are
expected to master the competencies
stated in the competencies table at the
Propaedeutic year
The assessment in the second semester,
the propaedeutic year assessment, may
result in a ‘negative binding recommendation’ on continuation of studies. Referrals
indicate that student may be advised to
enrol in another study programme within
or outside of the Academy.
The propaedeutic year competencies are achieved according to the previously described study programme elements.
The heads of the Graphic Design department are Roosje Klap and Niels Schrader.
They are responsible for the department’s
policy, as well as for every aspect that
directly relates to this policy. The team of
lecturers reflects the content of the programme and its professional structure.
Many of the teachers have their own
professional practices, in which they work
independently or in teams. Because of
the diversity in experience and expertise,
students are confronted with numerous
aspects of and approaches to the discipline. Guest lectures are organised to
provide specific knowledge of the professional field.
Heads of department
++ Roosje Klap
++ Niels Schrader
Coordinators
++ Pauline Schep
++ Ingrid Grunwald
Team of lecturers
Graphic Design
++ Bart de Baets
++ Susana Carvalho
++ Frits Deys
++ Gert Dumbar (éminence gris)
++ Matthias Kreutzer
++ Richard Niessen
++ Ruben Pater
++ Niels Schrader
++ Esther de Vries
Image
++ Michel Hoogervorst
++ Merel van ’t Hullenaar
++ Katrin Korfmann
++ Reinoud Oudshoorn
++ Simon Wald-Lasowski
Interactive Media Design
++ Lauren Alexander
++ Kees van Drongelen
++ Dennis Flinterman
++ Jan Robert Leegte
++ Henrik van Leeuwen
++ Lizzie Malcolm
++ Olivier Otten
++ Dirk Vis
Typography & Letters
++ Erik van Blokland
++ Thomas Buxó
++ Paul van der Laan
65
s tudy guide
++ Adriaan Mellegers
++ Rob van den Nieuwenhuizen
++ Diana Overzea
++ Donald Roos
++ Just van Rossum
gr aphic design
++ Ben Schot
++ Susan Schüppli
++ Jorinde Seijdel
++ Pot van der Velden
++ Richard Vijgen
Drawing
++ Willem Moeselaar
++ Jordy van den Nieuwendijk
Letterstudio (elective)
++ Frank Blokland
++ Donald Roos
++ Just van Rossum
++ Peter Verheul
Design Office (elective)
++ Gijsbert Dijker
++ Chantal Hendriksen
++ Pawel Pokutycki
PlayLab (elective)
++ Kévin Bray
++ Roosje Klap
++ Job Wouters
Coding
++ Frederic Brodbeck
++ Pascal de Man
++ Eric Schrijver
++ Jochem van der Spek
Theory
++ Marjan Brandsma
++ Maarten Cornel
++ Els Kuijpers
++ Ellen Schindler
++ Dirk Vis
Coordinator final exam exhibition
++ Ewoud Traast
Coordinator internships
++ Gijsbert Dijker
Coordinator IST/electives
++ Frits Deys
Guest lecturers
++ Hannes Bernand
++ Bits of Freedom
++ Remco van Bladel
++ Sandra Kassenaar
++ Max Kazemzadeh
++ Silvio Lorusso
++ Rosa Menkman
++ Moniker
++ Sjoerd van Oevelen
++ Polak van Bekkum
++ Dirk Poot (Pirate Party)
++ Gabrielle Provaas
++ Lex Reitsma
++ Sanne Rovers
*
66
visit www.kabk.nl.
67
competencies
gr aphic design
Propaedeutic Year
Main Phase, Year 2
Main Phase, Year 3
Main Phase, Year 4
Creative ability
You are able to develop
designs, images or spatial
works in which they explore
new directions, based on
the insights and experiences they have gained
in the course of the programme.
You are able to work on
design problems, drawing upon your own ideas
and artistic ambitions and
according to a personal
method.
Creative ability
You are able to formulate
design problems and apply
research in order to develop
design solutions.
innovative concepts arising
from your artistic ambitions,
using research to elaborate them into distinctive
images, products, means
of communication or spatial
designs, and contextualising
them in a meaningful way.
reflection
others, evaluating its effectiveness and quality.
reflection
work to developments
within the field and within a
cultural and social context,
and to take a position in this
regard.
others, and are capable of
abstracting the outcomes
work.
Capacity for growth
and innovation
You are able to acquire
new knowledge, skills and
insights on a theoretical and
practical level.
and insights to the development of your own work.
Capacity for growth
and innovation
You develop personal
visions on design based
on an open attitude.
Through a continuous process of research You are
able to further develop your
vision, work and working
process, broadening and
deepening these, thereby
contributing to your chosen
discipline and to society.
You are able to develop your
own work processes, and
they are capable of documenting and archiving your
work.
You are able to adopt an
inspiring manner of working and manage your work
processes effectively in
terms
of time management and
prioritisation.
You are able to find balance
between subjects, facilitation and production-aimed
activities.
You are able to support
your choices with regard to
sources, materials and/or
design solutions.
You are able to interpret
assignments and provide
debriefings in words and
images.
You are able to present and
explain your work and methods in a convincing manner.
You are able to present your
vision, research and work,
engaging in dialogue about
it with clients and other
interested parties.
You have broad interest in
social and cultural developments, and they are able to
recognise different visions
on design.
You find inspiration in social
and cultural developments,
and they are able to identify
them in your own work.
They are also able to identify the target group for your
work.
You are able to make connections between your own
work and that of others, and
between your work and the
public. You are able to adapt
your work appropriately to
your target group.
own design practice to the
artistic and social context.
You are able to realise your
goals in consultation with
others.
You are able to engage in
collaborative partnerships
with others, and they are
able to employ your talents
in collaborative projects.
You are able to effectively
operate in different roles
and with different responsibilities within the design
process.
You are able to make an
independent artistic contribution to collaborative
products or processes.
68
69
gr aphic design
Graphic Design full-time
Graphic Design part-time
1
Year
2
Semester
1
2
Design
5
Image
3
3
8
5
Images 1
4
5
5
Images 2
Typography and Letters
6
6
Design 1
Interaction Design
6
6
Design 2
Drawing
2
6
7
1
Letterstudio, Playlab, DO. (choice)
5
1
Year
Semester
Design Cluster Assignments
4
4
14
14
14
14
4
4
4
4
2
2
2
Final Exam Projects
Internship
1
1
Entrepreneurship
2
7
16
3
3
7
5
6
5
3
4
5
3
Studium Generale
1
6
5
4
Typography / Letters
4
6
5
6
5
3
5
5
4
Letterstudio
4
Docking Station
4
5
5
5
5
5
5
5
4
20
2
4
Theory: Current Image Culture
5
1
5
5
4
Philosophy
3
Final thesis
3
30
8
4
Theory: Design History
3
Theory: Thesis
30
3
6
Professional preparation
(incl. entrepreneurial skills)
3
3
240
5
Final Examination
Theory: Philosophy
3
4
4
Writing a Business Plan
2
3
3
Integrated Professional Orientation
10
3
Theory: Design History
Total
1
3
4
1
3
3
Play Lab
2
2
Theory: Contemporary Design
2
Typography
Coding
Academy Broad Project Week
2
6
6
6
6
6
6
30
30
30
30
30
30
6
Collective Assessment Presentation
Total
240
5
5
5
5
5
5
5
30
30
30
30
30
30
30
Credits are awarded as a whole at the collective assignments.
Credits are an indication of the distribution of the study load.
Credits are awarded as a whole at the collective assignments.
Credits are an indication of the distribution of the study load.
70
71
30
inter ac tive /media /design
72
73
2.4
Interactive/
Media/Design
s tudy guide
s tudy guide
Inter ac tive /Media /Design
2.4 I/M/D
2.4.1 History of the discipline
In the brief history of interactive media,
there have already been a number of radical shifts in the general perception of the
discipline. During the rise of the internet
in the early 1990s, there were two major
streams of thought on how this medium
could develop. First, there was a strong
belief that the internet would play a vital
role in the expansion of individual freedom
and that it would make a major contribution to accelerating the media emancipation of attuned participants. Even as this
freedom was being celebrated, however,
most developments were highly clustered
around individual, immobile usage. Technical developments had not advanced to
the current level. Mobile communication
was still operating primarily in the professional domain; broadband internet was
accessible to only a few, and it was used
only for professional purposes, and the
costs of participation were still relatively
high. Most of the applications outside of
the professional domain were built for
operation on slow, stationary personal
computers with very limited access to
the internet.
We can now see that the rise of
interactive media has contributed to the
emergence of very different applications
than could have been predicted at the
beginning of this journey. Some of the
developments that have emerged sharply
contradict some of the concepts of the
earlier years. Examples include the perception of internet technology and mobile
telephony as two separate tracks, the
belief that peer-to-peer communication
would not lend itself to commodification,
and the assumption that every socialsocietal development would follow the
same, linear techno-economic path. We
know better now. The most explosively
expanding economy is currently that of
mobile communication, in which most of
the capacity is used for purposes other
than making telephone calls, despite the
fact that it is based on technology developed specifically for that purpose. The
fastest growing companies (e.g. Facebook, YouTube) are essentially re-sellers
of content generated by their own clients
– who have now been transformed into
prosumers (i.e. producers and consumers at the same time). This development
has proved that it is no longer necessary
to have a central core of production (or
any production capacity at all) in order
to generate streams of sellable content.
74
Observation of the techno-economic progression in most African countries reveals
that ‘new participants’ are now entering at
the most advanced level. In other words,
there is no need to go through all of the
intermediate stages (e.g. stationary computers, fixed telephone lines or even traditional television) in order to arrive at the
most advanced level of participation. Most
Africans have never seen their Facebook
profiles on a ‘normal computer’, but only
on their smartphones, and many of these
participants use the same phone to pay
for their daily purchases (e.g. through
apps like M-Pesa), not only in shopping
malls, but in the local market as well. This
type of usage is highly advanced in comparison to what is common in regions
with a longer history of usage.
Such examples illustrate the necessity of re-assessing our notions of how
and where new developments are (or will
be) taking place. Thinking about Interactive/Media/Design thus demands considerable flexibility and a keen awareness of social developments taking place
throughout the world. The awareness of
our own relationship to society (at large)
and the personal position of the designer
amidst the constantly changing field conditions of interactivity call for constant
monitoring and training. Their importance
is equal to that of developing the skills that
we need in order to express ourselves.
2.4.2 Current state
of the discipline
Given that the implementation of media
convergence has probably not yet
reached its full potential, and given that
the concepts and perceptions of what
interactive media are constantly undergoing rapid change, it makes little sense
to speak of a history of interactive media
as a separate part of its progress. Of all
of the disciplines identified at the Royal
Academy of Art (KABK) in The Hague,
Interactive/Media/Design is probably the
hardest to define according to what has
been. One common misconception is
that Interactive/Media/Design is synonymous with interaction design. Interaction
design focuses primarily on the development of software and computer-human
interfaces. Although it is an essential part
of Interactive/Media/Design, it is explicitly not comprehensive. In light of the
arguments mentioned above, we need
an over-arching perspective that covers all specific media. Designing in the
trail of ‘Moores Law’ under which effects
processing speed, computing and mem-
75
s tudy guide
ory capacity roughly doubles every eighteen months, new potential is unlocked
in a constant and predictable rate. Yet,
whatever possibilities this generates is not
a given. The designer stands in the middle and transduces notions from the virtual to the actual and vice versa, in which
media themselves play an affording role,
but not hold the key to expose the true
meaning of this future development. The
creation of new interaction can never be
separated from the designer or from the
conditions from which such interaction
emerges. New forms of interaction can
be self-referential, but they can never be
detached.
This meta-medial perception is
probably the hardest ‘skill’ that students
are expected to master during their studies in this department. Despite the constant demand for the production of physical products (which could obviously be
digital as well, the oxymoron of modern
media), there is a keen awareness that
true progress in media development
cannot be found by simply crafting a
new i-Phone app or another MMORPG.
Many years the developments in the field
of interactive virtual reality have been
focussed on ‘immersive’ experiences (like
Oculus Rift) , currently the progression
indicates tendencies towards ‘immerging’
experiences (like adaptive environments).
For these reasons, the central question must remain, ‘What is interaction?’ If
we were to have posed this question 20,
15 or even 10 years ago, we could have
expected a range of answers that were as
true as they were not. Today, few people
are aware of the role and importance of
such products as ATF-3, CD-i, Altavista
or Second Life (or even what they were at
all). Just a few years ago, however, these
products were regarded as highly innovative and exemplary in the field of interactive media. The quest for a definition
of interaction is essential to the involvement of all participants in this department:
scholars, teachers and students alike. At
the same time, all stakeholders are aware
that there is no single answer. The focus
must therefore be directed towards the
capacities of the media with which we
are confronted, rather than their properties. This is not because the properties of
these media are unlikely to persist over
time, but because interaction exists only
in relationships, and not in the objects
itself. These dynamic, energising and
agile conditions shape the ‘habitat’ of a
special breed of creator: the Interactive/
Media/Designer.
2.4.3 Department profile
Description of the department
Interactive/Media/Design (I/M/D) is the
youngest department at the KABK. It
trains students to become designers
of interactive concepts and processes,
establishing the link between people and
processes, as well as between people and
products. Ideas are our main product, and
we therefore teach our students to think
in terms that are not specific to particular
media, subsequently translating them into
concepts and meta-medial, multi-medial
or cross-medial applications.
Students work with real cases and
commissions, focusing on the international market. To strengthen the students’
expertise and their chances of reaching
an international audience, the department teaches all of its courses in English. Responding to the ever-increasing
demand for media designers, the department of I/M/D provides the education that
students need in order to become independent, social, conceptual, creative and
pan-medial designers.
Students learn to detect cultural,
social, technological and economic tendencies in society, transferring these inclinations into promising new concepts.
Throughout their studies, they learn how
to work with a variety of media techniques
that allow them to communicate with specialists at a professional level, in addition
to identifying the optimal level at which
these techniques can be applied. Of equal
importance are the methods that we use
to enable students to maintain an overview of the process, as well as the establishment and realisation of goals.
The study programme is structured
for the efficient engagement of numerous media typologies. At the start of the
programme, students are immersed in
a range of courses, including Interaction
Design, Graphic Design, Photography,
Sound Design and Visualisation. Following this extensive introduction, the focus
shifts towards individual development.
The I/M/D programme pushes the limits
of media. Concept Development, MetaMedial Thinking and Personal Leadership and other courses confront students
with the questions, ‘What can I do with
this knowledge and what role do I play?’
With these questions in mind student go
on to encounter courses in Multimedia
Artistic Development, Creative Leadership, Critical Media and Storytelling, in
addition to advanced levels of Interaction Design, Concept Development and
Moving Images.
76
Collaboration is an essential part
of the preparations for the professional
circuit. In the I/M/D programme, students
learn to assess their own expertise, as
well as that of their colleagues – a key
skill for successful collaboration. Many
projects are executed collectively, often
in teams consisting of students from different years. This working method introduces students to a studio setting during
their studies.
The I/M/D department maintains
close contact with the professional field,
in order to stay informed and to deepen
existing insight. Students are involved in
this process through dialogue with their
teachers, collective attendance at conferences, co-organising symposiums,
creating new knowledge and inspiring
networks, in addition to organising challenging internships in the Netherlands
and abroad.
After graduation, students will be
able to manoeuvre within intricate networks at different levels and search for
knowledge with the broad perspectives
that they need in order to become independent communication specialists. Our
graduates will thus be able to compete
for positions at large commercial or nonprofit communication agencies throughout the world. The I/M/D department is
for students who aim to influence society
through interactive media.
Professional profile
Graduates of the Interactive/Media/Design
programme have a variety of potential
careers to consider. The fact that I/M/D
does not focus on or specialise in any
specific medium often leads to the mistaken impression that it is not a specialisation in itself. The department was
started in response to the increasing
demand from the professional field for
a type of designer who would be knowledgeable enough to communicate about
media-specific issues with various media
specialists, while maintaining enough distance to be able to translate the demands
and preferences of clients into media
expressions. At the same, these designers are expected to have a keen understanding of the rapidly changing field of
media and their usage. This demands an
attitude that embraces change and finds
substance in instability. Conceivable positions for such designers include those
of art director, concept developer, communication strategist and senior media
developer. Despite the programme’s brief
history (the first I/M/D graduates received
their diplomas in 2010) , most alumni
have found professional positions within
the category described, or those closely
resembling it. They are now located all
around the globe (e.g. Berlin, Hong Kong,
Los Angeles) , working for commercial
and non-profit organisations.
Final qualifications for
Interactive/Media/Design
The final qualifications for the I/M/D
study programme are expressed in
terms of seven competencies within
three domains. The KABK has established these competencies according
to the national guidelines for design programmes. During the four years of study,
our students are tested on the development of these competencies, each time
at a more challenging level. The competencies are as follows:
++ creative ability
++ capacity for critical reflection
++ capacity for growth and innovation
++ organisational ability
++ communicative ability
++ external awareness
++ capacity for collaboration
These competencies form the foundation for the assessment by the teachers
at the end of each course, and they are
used to evaluate the presentations at the
end of each semester. In addition, evaluation sessions are held twice each year, in
which students evaluate the programme
and suggest improvements. Additional
details with regard to the requirements
are provided at the end this section of
the study guide.
Students are tested on their development within this range of professional
competencies in three domains: ++ the artistic-technical domain
++ the theoretical domain
++ the professional-social domain
The parameters for the development of
innovative departments like Interactive/
Media/Design are reflected in the development of an enriched and relevant set
of competencies. We adopt a projective
approach to the educational goals, meaning that we attempt to remain as close
as possible to our original set of parameters without focusing excessively on outcomes. This allows us to remain flexible,
participatory, creative/reactive and able
to adjust our course swiftly, if necessary.
77
s tudy guide
The parameters of I/M/D are as follows:
++ Creativity and innovation
++ New thinking
++ The I/M/D staff and students must work
with real problems, real people and real
conflicts
++ Never out of touch with what is happening in society
++ Courageous and risk-taking
++ Creative, ambitious, curious, risk-taking,
socially engaged
++ Unique educational programme for
young people seeking to make a positive difference in society
++ How can we best unlock the creative
and innovative forces in each individual
and in society as a whole?
++ The programme has always had and
should always have a direct link with
the private, public and voluntary sectors
++ Help organisations and individuals
maximise their capacity for innovation
and creativity, leveraging the I/M/D philosophy and methodology
++ Creating, testing, displaying, unfolding
great ideas, products, services and
learning Diploma
Design (BDes) degree, which qualifies
them to enter post-graduate programmes
at the Master level.
Post-graduate studies
After completing their Bachelor
degrees, graduates may enrol in Master programmes. Several interesting
programmes are offered in the Netherlands, including the Master programme
in Artistic Research (KABK), the Master
programme in Media Design and Communication (PZI), the Master programme
in Interactive Media and Environments
(FMI) and the Master programme in Media
Studies (UvA).
Candidates apply online by completing
the application form. They will then receive
a document listing the documents they
must to submit before the admissions
interview. After these documents have
been examined, candidates are invited to
the admissions day, during which they will
be asked to work on a task specifically
designed to test particular qualifications.
They will also be interviewed by a panel
consisting of a coordinator, several teachers and, in some cases, students. Both
the panel and the candidate may pose a
wide range of questions during the inter-
view. The admissions day is intended to
determine whether individual candidates
are suited to the department and whether
the department is suited to the candidate.
It is in no way an examination.
Specific admission
requirements
1. Letter of motivation
In the letter of motivation, candidates
should describe the following:
++ their creative past (see also portfolio)
++ forms of interactivity, media and design
in which they are interested
++ techniques mastered
++ software mastered (basic knowledge
of Adobe Photoshop is an important
advantage; some experience with
Adobe Illustrator, Adobe InDesign,
Flash and After Effects is helpful)
++ prior education
++ what they would like to achieve in their
studies
++ general interest in culture, society, communication and technology as a whole ++ specific interests in genres, styles,
other disciplines and technology
++ what they would like to contribute to
the learning environment
++ questions they have regarding the
study programme (reflecting an ability to transform opinions into questions is important, given that exploration, research, clear communication
and understanding are basic elements
in the programme)
++ curriculum vitae (resume)
++ the new niche they would like to create in the design practice of creative
industries
2. Portfolio In the portfolio, candidates provide comprehensive descriptions of earlier works,
performances, interactive, media or
design projects, or other contributions
to the field of communication, illustrated
with photographs, drawings, reviews and
other documentation. The portfolio may
be also be illustrated with recordings on
CD-ROM, video DVD, audio CD, any commonly used data carrier that works on a
modern computer or web links. Candidates should mark a maximum of three
minutes that they would definitely like to
be viewed or heard by the selection committee. (As a general note, we recommend
making a selection of no more than three
relevant projects. The best project should
always be the first project to be shown. We
prefer to receive at least a selection of the
78
portfolio by e-mail, accompanied by the
letter of motivation. Attachments should
not exceed a maximum file size of 5 MB
per email. If necessary, applicants may
send multiple e-mails, numbered, and
with a clear indication of the subject. The
portfolio may be made available online.)
3. Official documents
Candidates should send or bring to the
interview copies of their passports, visas
(if applicable) and diplomas, along with
two passport photos and their e-mail
addresses. Note that some of these documents (e.g. visa, diploma) may be submitted later if they are not available at the
time of application, although they must
be available for submission upon acceptance to the Academy.
school. Alternatively, it could consist of
taking classes in other departments or at
Leiden University, varying from the very
practical to the very philosophical.
The development of the competencies through the five phases can be
divided as follows over the three major
domains:
Artistic technical domain:
++ Skill development
++ Advanced skill application
Theoretical domain:
++ Research development
++ Self-development
Professional social domain:
++ Exploration of the professional domain
++ Self-development
overview
Programme
Interactive/Media/Design is offered as a
full-time programme that emphasises
research and self-development. The
courses are structured according to a
logical pedagogical line of development,
which does not recognise sharp boundaries. It is unlikely that students would ever
be able to stop learning or disregard anything that might be useful in the development of their interests. The programme
resembles a relatively fluid scale, allowing
for acceleration of the learning curve at
almost any stage.
The structure of the programme can
be divided into five major phases:
++ skill development
++ advanced skill application
++ research development
++ exploration of the professional domain
++ self-development
These phases are distributed across the
four-year programme. As indicated above,
however, they are not always distinguished by sharp boundaries. For example, while working to master a given skill,
a student could already be working with
another skill at a much more advanced
level, or a particular research interest
could make it necessary to master yet
another set of skills. This situation is translated into a clustering of courses, allowing
room (beginning in the second year) for a
fully personalised, Individual Study Track
(IST), which allows for in-depth exploration in a specific field of interest. The IST is
constructed by the students themselves,
and it could include the development of
an original project within or outside the
Propaedeutic year/Year 1
Skill development
In the first year, students are introduced
to a range of skills, and they construct a
set of mental models that will allow them
to gain control over the newly discovered
domains of this department. The goal is
to provide students with enough knowledge to be able to produce media expressions independently, using the skill sets
that they have mastered, thereby laying
the foundation for the advanced development of those skills. Many students have
preferences for working with particular
media, and these selections are usually
made during the first year. Students who
have successfully completed the first year
receive a certificate that entitles them to
enter the second year of the same programme, in addition to the option of entering the second year of other programmes
with similar requirements.
The courses in the first year are as follows:
++ Concept Development
++ Interaction Design I
++ Moving Images I
++ Graphic Design
++ Art Theory
++ Visualisation
++ Sound Design
++ Connecting the Dots
++ Introduction to Science
++ Academy-wide Propaedeuse Project
Week (ABPP)
79
s tudy guide
These courses can be roughly divided
over the three major domains as follows:
++ Interaction Design I
++ Moving Images I
++ Graphic Design
++ Visualisation
++ Sound Design
Theoretical domain:
++ Art Theory
++ Introduction to Science
++ Academy-wide Propaedeuse Project
Week (ABPP)
The following detailed description of Interaction Design I provides an example of
the courses offered:
How can we create intelligent,
responsive media environments and
shape the two-way communication
between humans and machines? Which
factors are essential in the design of interactive applications that appeal to our
senses, trigger our emotions and influence our behaviour and way of thinking?
Interaction Design focuses on mastering
elementary conceptual, visual and technical skills that are required in many interactive media productions. Students work
on projects based on individual concepts
and create their own visuals and animations, although they focus primarily on
developing one of the most challenging
and fundamental elements underlying the
structure of interactive systems: the code.
Exercises in scripting graphics, programming feedback and coding interfaces are
evaluated in terms of beauty, functionality,
usability and other issues related to the
user experience.
Main phase/Year 2
Advances skill application and
research development
second year is relatively special, in that
it places much greater emphasis on the
why than it does on the how and the what.
The work accomplished in this year lays a
personal foundation for the rest of the programme, and it is generally not regarded
as easy. The identification of personal
strengths and weaknesses and relating them to a set of important decisions
is no light task. Students are not left to
their own devices, however, as guidance
is integrated into the courses, and special assistance is provided for preparing
the IST. Given that writing is an essential
part of modern communication, a special
course is designed to improve the students’ capacities to express themselves
in the written word, obviously using the
English language:
Writing Life is designed to help students achieve fluency in the art of written
communication. English language skills
are essential to reaching an international
audience. Much of today’s information
is exchanged through the written word,
whether on the internet or through more
traditional means. Although an artist’s
work is based on images, artists must use
written communication in order to provide their audiences with deeper insight
into their expertise. Through various writing exercises, critique and assignments
involving commercial, academic and creative writing, students acquire knowledge
and skills that will give them confidence
in world of written interaction. The courses in the second year are as
follows:
++ Interactive Architecture/3D
++ Interaction Design II
++ Moving Images II
++ Photography
++ Writing
During the second year, the emphasis
of the programme shifts more towards
the application of the skill sets that have
been acquired and the development of a
more distinct personal interest in a specific direction. In this year, students may
also start the Individual Study Track (IST),
which allows them to devote one entire
day each week to a particular topic or
course. Although all of the years in the
programme are obviously important, the
++ Interaction Design II
++ Moving Images II
++ Photography
Theoretical domain:
++ Writing
++ Interactive Architecture/3D
80
Main phase/Year 3
Research, self-expression and
exploration of the professional
domain
The third year consists of two very different parts. The first semester is devoted
to critical reflection on all of the knowledge and skills that have been acquired,
while the second semester is reserved
for the execution of the internship. The
courses in the first semester are aimed at
connecting the students’ personal, creative development to the possibilities and
demands of the outside world, not only
as a preparation for the internship, but
also as a way of reflecting on trends and
considering overly celebrated gadgetry
as being almost circumstantial, rather
than essential. Internships vary considerably in execution. Past internships have
ranged from commercial jobs in highly
competitive international environments
to fully research-driven ecological awareness programmes for large International
non-profit organisations, and everything
in between. Nevertheless, one common
feature of all internships is that they have
been perceived as very satisfying collaborations, in some cases leading directly
to job offers.
The following course description clearly
reflects the critical standpoint:
Critical Media: Engaging critically
with contemporary society
The Critical Media course has the ambitious goal of examining contemporary
society from a critical perspective. Such
critique can be honest and prolific only
if it is based on introspection. The students of Interactive/Media/Design are first
assigned to revise their working methodologies, sources of information and inspiration in a critical manner. Grounded in
the importance of information and knowledge for contemporary society, questions
of control and power are fundamental to
understanding and actively engaging in
society. Drawing on insights from such
contemporary philosophers and thinkers
as Noam Chomsky and Jean Baudrillard, this course addresses important
questions, including ‘Who controls the
information flow?’ and ‘How is knowledge
produced and distributed?’. Once critical thinking has been cultivated, the next
step is to direct it towards creative experiments involving the questions that have
been asked. Tactical media and ‘hacktivism’ are two possible approaches that
include such art organisations as The
Yes Men, Jodi, HeHe, Ubermorgen, or
such art projects as ‘Google will eat itself’,
‘Image Fulgurator’ and ‘anti-social networking’. Finally, and most importantly,
critical projects are developed during the
course in order to experiment and test
some of the concepts discussed. The
course concludes with a public event in
which the outcomes are discussed with
a larger audience.
The courses in the third year are as follows:
++ Writing Life
++ Multimedia Artistic Development
++ Cultural Hacking
++ ALEPH
++ Internship
++ Workshop 3D
Theoretical domain:
++ Writing Life
++ Multimedia Artistic Development
++ Cultural Hacking
++ ALEPH
++ Internship
++ Workshop 3D
Main Phase/Year 4
Self-expression
The final year of the programme provides many moments of excitement
and joy, although it obviously demands
a long period of hard work as well, and
many difficult decisions must be made.
In addition to being the capstone of the
programme, the final examination marks
the start of the student’s career as an
Interactive/Media/Designer. The Academy
takes considerable pride in organising the
exposition of the final projects, because
it is aware this could serve as a catalyst
for individual designers to distinguish
themselves within the professional field.
During the final year, several important
issues must be addressed, and several
tasks must be completed. Students are
expected to produce a thesis based on
research within a field of interest that is
closely related to their final examinations.
They are also required to draft a business
plan, thereby ensuring a proper introduction to the legislative and financial sides
of their practice as independent design-
81
s tudy guide
ers. In addition, each student is expected
to produce a spectacular and innovative
venture that will serve as the graduation
project. To ensure that students direct
all of their attention towards this project,
they are guided by several experts. During
individual and/or collective meetings students gradually progress towards the final
stage: the exhibition of final examinations.
The courses in the fourth year are as follows:
++ Senior Seminar
++ Examination and Concept Guidance
++ Thesis
++ Business plan
++ Final Examination
++ Concept Development 3
++ Interactive Architecture
Theoretical domain:
++ Thesis
++ Business plan
professional goals
Interactive/Media/Design does not focus
on any particular medium. In this study
programme, the development of conceptual and theoretical skills is just as
important as the development of practical skills. The programme realises these
core values by adhering to three specific
parameters:
Integrated theory:
In addition to the clearly theoretical driven
courses (e.g. Art Theory), most courses
have an integrated theoretical component. This means that skills are not presented without their context and history;
personal development is connected to
larger systems in society, and methods
are always subjected to critical testing.
This ensures that all students acquire a
structural layer of theory, which they cannot always identify, but which will become
visible once they start to put their accomplishments in practice.
Intrinsic professional bonding:
Intrinsic bonding with the professional
practise is reached through the expertise
and connectedness of our teaching staff.
Almost all staff members have their own
professional practices, and they draw as
many connections as possible between
the educational goals and actual practice.
This provides students with a high percentage of actual case studies with which
they can work, in addition to several integrated projects undertaken in collaboration with the professional field.
Self-development:
Although the Interactive Media Design
department explicitly operates within the
realm of design, we are very much aware
of the opportunities offered by the fact
that we are part of an art academy, as
opposed to being embedded in a more
technical or skills-driven environment. We
take the legacy of the fine arts tradition
very seriously, and we strive to embrace
total conceptual freedom, even though
the products produced are likely to be
designed with concrete and pragmatic
roots. In order to help individual students
reach their full potential, we invest considerable time in developing their artistic
and conceptual qualities.
Within the three major domains in
which students master their sets of competencies, I/M/D has attached several
specific qualifications, in order to manifest its key values.
As argued above, our department
attaches considerable value to the development of the artistic domain as a ‘freestanding’ quality. We engage in open and
constructive dialogue with our students
from the very start of the programme. In
our particular field, we can never be sure
of the effects of new developments. We
therefore believe that it is instrumental and
essential to maintain an open vision, in
which the practical research conducted
by all participants (scholars, lecturers and
students) delivers crucial information that
enhances our understanding of future
developments, in the practical realm, as
well as in the artistic domain.
occurs when the connection between
theory and practice is not made clear or
when theory is superimposed onto the
reality of practice, rather than being made
an integral part of it.
Modern designers cannot afford to adopt
a go-it-alone attitude. The professional
domain brings a wide variety of collaborations and hybrid forms of authorship.
By the integral inclusion of haptic, virtual and actual communication and by
constantly working with real-world commissions and projects, we endeavour to
connect our students to the emerging
network of co-designers and professionals, which is of essential importance to
the design industry. From the day they
enter the Academy, students start building
the valuable networks that will ultimately
become essential in their professional
careers. We help them understand the
importance of these networks, and we
support any kind of expansion by connecting and interlinking networks of all
stakeholders, both within and outside the
Academy.
4.4.6 Organisation
of the department*
The head and coordinator are responsible for the department’s policy, as well
as for all aspects that are directly related
to this policy. The staff members reflect
the content of the departmental policy
and a broad professional structure. Many
staff members are employed in the professional field, where they work either
individually or collectively. By confronting students with a wide variety of individual viewpoints and values, we help them
to develop a positive yet critical stance
towards the profession. Specific knowledge is offered through masterclasses,
workshops and conference attendance.
Head of department
++ Marc Boumeester (until 1 Sept. 2015)
Editorial note: during the editorial
process the new head of the I/M/D
department was not yet appointed.
Coordinator
++ Dave Willé
[email protected]
Lecturers
++ Mendel Agterberg
++ Anna Arov
++ Coen Brasser
++ Renske van Dam
++ Wim van Eck
++ Arthur Elsenaar
++ Nick van ‘t End
++ Maartje Fliervoet
++ Johan Gustavsson
++ Anja Hertenberger
++ Remus Ockels
++ Gitta Pardoel
++ Pawel Pokutycki
++ Shayna Schapp
++ Lena Shafir
++ Raymond Taudin Chabot
++ Jan Treffers
Theoretical domain:
The integration of theoretical components
through the application and connection
of these notions to very concrete course
goals lays the groundwork for a fundamental understanding of the need to contextualise the work, and it leads students
to investigate their own positions in within
the professional field. Theoretical concepts cannot be considered separately
from their application, and theory and
practice are inextricably bound to each
other. By deliberately steering away from
the classical models of theoretical input,
we strive to prevent the ‘airlock’ that often
82
*
83
visit www.kabk.nl.
competencies
Propaedeutic Year
Main Phase, Year 2
Main Phase, Year 3
Main Phase, Year 4
Creative ability
method.
Creative ability
design solutions.
reflection
reflection
regard.
work.
Capacity for growth
and innovation
practical level.
Capacity for growth
and innovation
work.
terms
prioritisation.
activities.
design solutions.
images.
interested parties.
on design.
work.
your target group.
others.
process.
84
85
I/M/D full time (part 1)
I/M/D full-time (part 2)
1
Year
2
2
3
3
4
5
4
6
7
1
Year
8
2
2
3
3
3
4
5
6
7
1
Sound Design
5
Visualizing
4
4
Project Week (ABPPW)
Graphic Design
4
4
Studium Generale
1
Concept and Presentation
4
4
Entrepreneurship
1
Interaction Design
5
8
1
5
Moving Image
4
4
Connecting the Dots
5
5
Photography
5
Interactive Architecture
5
Subtotal
EC Academy-wide Program
Total
240
3
4
0
0
0
0
2
0
30
30
30
30
30
30
30
30
5
Art Fundamentals
5
Writing Life
4
4
IM3D
5
MAD
5
Cultural Hacking
5
Internship
24
Senior Seminar
5
Philosophy of Design
5
Thesis writing
5
Final project
24
Individual Study Trajectory (IST)
Subtotal
EC I/M/D
1
4
Semester
Collective Assessment
Semester
3
6
6
6
5
5
5
5
5
27
26
30
30
30
6
6
6
7
30
28
30
86
87
Interior Architec ture and F urniture Design
88
89
2.5 Interior
Architecture and
Furniture Design
s tudy guide
s tudy guide
2.5 Interior Architecture
and Furniture Design
“No matter.
Try again.
Fail again.
Fail better.”
–Worstward Ho,
Samuel Beckett 1983
The department of Interior Architecture
and Furniture Design (IAFD) at the KABK
focuses on the entire breadth of the spatial domain by concentrating on the spatial conditions that determine the ways
in which we experience our day-to-day
living environment.
The core goal of the education
offered within the programme is the personal development of each individual student into a creative, inquisitive, autonomous and well-rounded designer. The
department devotes considerable attention to exploring the students’ possibilities and potential. Its curriculum strikes
a considered balance between attention
for the conceptual and for the empirical
aspect: developing abstract thought versus embedded within a pragmatic, professional process. The curriculum is based
on experimentation and research, the aim
being for students to develop an inquisitive, autonomous design attitude that generates unexpected, surprising results and
visions, making the impossible possible.
The underlying didactic principle is
‘learning by doing’. The development of
skills, knowledge and competencies is
coupled with relevant assignments, preferably ones with a direct connection to
design practice. The study programme
places a heavy emphasis on the personal
positioning of students, and the department assigns considerable importance
to the manner in which they approach
their identity from a professional perspective. It therefore encourages students
to develop an independent mentality, a
reflective design attitude and a capacity for empathy. Designers leaving the
department with a Bachelor of Design
are well-rounded designers, each with
a unique, personal approach. They are
good observers with a strong conceptual
and empirical foundation and designers
who can approach any conceivable spatial project with an open mind.
After the first year, the study programme and the curriculum offer a
choice between a specialised major in
Interior Architecture (full-time/part-time)
and a specialised major in Furniture
90
Design (only full-time). The programme
comprises four years. The new Bachelor
of Design corresponds to the educational
vision of the KABK and the national final
qualifications for design graduates. After
completing the Bachelor degree, graduates are eligible to enrol in the Master
Interior Architecture at the KABK.
You can find the specific options
and rights that graduates have with regard
to registration with the Architects Registration Board, in accordance with the
Academic Titles (Architects) Act (WAT),
on the websites of the KABK and Dutch
Register of Architects:
www.architectenregister.nl
The WAT was revised in January 2011.
On 1 January 2015 the compulsory regulations for the Professional Traineeship
will take effect.
A comprehensively revised curriculum was implemented for the Bachelor
programme, starting from the 2011-2012
academic year. These revisions were
accompanied by the introduction of the
INSIDE Master programme. The revisions
for the fourth study year were successfully implemented in 2014-2015. The first
students in the new Bachelor curriculum
graduated in 2015.
of the discipline
Interior Architecture
and Furniture Design
The department of Interior Architecture
and Furniture Design is populated by
product designers and spatial designers in the making. who regard space, in
the broadest sense of the term, as their
field of work. Their working area covers a
domain that goes beyond designing interiors or the a piece of furniture. Our assignments therefore deal with design also
focus on other objects and products, as
well as private on and public and indoor
and outdoor spaces. Today’s designers
are increasingly transcending the classic
boundaries of their discipline to explore
other domains. Their thinking is cross-disciplinary and they forge interconnections,
always trying to see the larger picture. By
cultivating an attitude of curiosity, they
constantly challenge and question their
own position and that of the profession.
These designers are increasingly creating their own contexts and the working
conditions for an ever explorative working process. In addition to relating to their
clients, they develop their own questions
91
s tudy guide
and define their own projects, communicating their own vision in the process. The
issues and questions facing current-day
society are relevant factors in this vision.
In their work, contemporary spatial and
product designers anticipate potential
future changes in order to improve the
quality of the living environment. Spatial
and product designers are well-rounded
designers, each with a completely unique
personal approach. They are empathetic
designers and keen observers with strong
conceptual and empirical foundations.
They are designers who can approach
any conceivable spatial project with an
open mind.
Furniture design
Within this broad approach, product
designers focus on the object and its relationship between people and space. The
object - furniture or product - is closely
related to the human body, and this relationship defines many aspects of the way
in which it is used or perceived. Pieces
of furniture are also objects in space –
within the architectural space, in particular. They may constitute either a separate
object or an integral component of the
space. In this way, they help to define the
use value of the space and the way it is
experienced by its users. One aspect of
furniture or objects that can be important
is the connection to emotional, social or
cultural values. In this way a product can
transmit or visualise a message or story.
The development of new techniques, production processes and materials plays
an important role in the expression of
the product, its malleability and the new
possibilities for use created in the process. Sustainability and a conscientious
approach to materials and their use are
also of major importance in this regard.
Interior architecture
In recent decades, the interior has
become increasingly regarded as a
space that generates specific meanings
and emotions through shapes, colours,
scents, materials and objects, such that
they can consciously lead to planned
experiences. This space can be interpreted broadly; it comprises both private space and public space, as well as
urban and outdoor space. The focus of
these spaces extends beyond spending
time to include movement and mobility.
Identity, communication, experience and
similar concepts play a role in the design
of these spaces. Spatial designers work
from within a broad whole to address
the smallest details. Their work involves
the development of spatial concepts that
form the basis for the envisaged perception and experience, up to and including
the materialisation and production techniques that will ultimately support the realisation of these concepts. The relationship
to current and future issues relating to the
use of space or spaces, and the sustainability of the use of both materials and
spaces are of major importance in this
regard. There are points where interior
architecture overlaps with other design
disciplines, such as design, textile and
product design. However, knowledge and
skills from disciplines beyond the general domain of design are also applied
within interior architecture: these fields
include ergonomics, technology, marketing, anthropology and psychology. Interior architecture is interrelated to all of
these areas.
2.5.2 Study Profile
Learning by Doing: EmpiricalCreative Education and Training
Empirical
The underlying educational emphasis is
on experimentation and research. The
core educational goal is to discover possibilities and personal potential. Central to
the KABK Bachelor programme in Interior Architecture and Furniture Design is
striking the right balance between empirical and conceptual education.: abstract
thought versus the pragmatic process in
which it is embedded. The programme
encourages students to develop an
inquisitive, autonomous design attitude
that generates unexpected, surprising
results and visions, making the seemingly impossible possible.
Making
Learning by doing. The programme’s
strong focus on personal, individual positioning and the identity of its designers is
of central importance from a professional
perspective. Considerable importance
is attached to both the working process
and the student’s individual approach.
Designers with the degree of Bachelor
of Design will be able to effortlessly handle any project using their own unique
approach, keeping in touch with the rapidly transforming living environment of
the 21st century.
Education
Characteristic for the curriculum is the
tension between the development of the
student’s design personality (learning to
92
design on an individual basis), preparing
students to meet professional requirements, as specified by the discipline and
the profession, and their contribution to
social design projects within contemporary reality and the cultural context. The
new Bachelor curriculum centres on the
motto ‘Learning by Doing: Empirical-Creative Education and Training’, understood
as an integrative activity. Courses are
offered in an integrated, supportive and
supplementary way, in line with developments in the core subject matter of the
curriculum.
Dialogue and interaction are keywords in the educational approach. Students work in small teams. The workshop context encourages students to
exchange, as well as supplement and
confront each other. Social interaction
and collaboration are of central importance. Development of students’ empathetic capacity is an important point of
attention: this refers to empathy in relation to users, target groups, society and
contemporary issues. Students are also
required to reflect on their attitudes, personal responsibilities and independent
functioning within the departmental team.
Students progress not just by completing
assignments in a satisfactory manner and
meeting the expectations of their tutors;
they must also create a flow in which they
are able to develop themselves. Each
exercise demands a specific approach
and must be related to specific issues.
This makes the curriculum versatile and
adaptable to the unpredictable dynamics
of contemporary reality.
Full-time and part-time
Interior Architecture is offered in the form
of a full-time and a part-time programme.
The specialisation Furniture Design is
offered exclusively as a full-time programme. During the first year of the fulltime study programme in Interior Architecture and Furniture Design, students
complete a number of joint courses. From
the second year, students choose to specialise in either Interior Architecture or
Furniture Design, with the design projects
offered separately.
Interior versus Furniture
In the second year, students choose
either the specialisation in Interior Architecture or the track in Furniture Design.
The courses within the domain of design
are subject-specific and tailored to the
selected discipline. The remaining curriculum is aimed at students of both Interior Architecture and Furniture Design.
Final qualifications for Interior
Architecture and Furniture
Design
Graduates of Interior Architecture or Furniture Design are well-rounded designers,
each with a unique, personal approach
and attitude towards design. They are
empathetic designers and good observers, with strong conceptual and empirical
foundations. They are designers who can
approach any conceivable spatial project
with an open mind. In order to participate
in the final examination, students must
meet the following final qualifications:
++ Students are able to develop and elaborate an innovative concept into a distinctive image, product, means of communication or spatial design that can
be used in a meaningful way within a
given context (creative capacity)
++ Students are able to consider, analyse,
explain and assess their own work and
that of others, and are capable of thinking through the outcomes for the benefit of their work (capacity for critical
reflection)
++ Students are able to further broaden
and deepen their vision, work and working methods in a process of continuous inquiry, thereby contributing to their
discipline and to society (capacity for
growth and communication)
++ Students are able to establish an inspiring and functional working situation, in
addition to organising their research,
work and practice (entrepreneurial and
organisational capacity)
++ Students are able to present their
vision, research and work in a convincing manner, and engage in dialogue
about it with clients and other stakeholders (communicative capacity)
++ Students are able to relate their identity
as a designer to the artistic and social
context (environmental orientation)
++ Students are capable of making an
independent contribution to a joint
product or process (capacity for collaboration)
You can find a complete overview of the
competencies for each programme year
and of the final qualifications of the IAFD
design programmes at the end of this
chapter.
Diploma
Design (BDes) degree in Interior Architecture or Furniture Design. 93
s tudy guide
A Bachelor of Design degree qualifies for
possible subsequent studies leading to
the Master of Art degree, or to any other
second-phase programme of studies at
an academy of art or related discipline
(e.g. Academy of Architecture).
Within the KABK, students wishing to enhance their qualifications in discipline of Interior Architecture have the
option of pursuing the Master study in
Interior Architecture INSIDE.
For information on the procedure
for selection and admissions, please visit
www.enterinside.nl.
The KABK website offers additional information on the study programme and
applications. Prospective students can
use the application form (http://www.
kabk.nl/admission) to register for the
admissions test, which takes place on
the admissions day. Candidates who are
invited to participate in the admissions day
will be asked to bring a letter of motivation,
the completed questionnaire and their
portfolio with them. The portfolio should
preferably contain work that was not prepared in the context of assignments for
school. During the admissions day, candidates give presentations on the work that
they have brought with them and work on
two assignments. One is a conceptual
design assignment intended to demonstrate insight, inventiveness and feeling
for form. The other is a drawing assignment that demonstrates the extent to
which candidates are capable of observing and documenting visual information.
Each candidate will have an interview with
the admissions committee (consisting
of the head or coordinator, lecturers and
students from the area of specialisation)
about their portfolio, addressing as many
topics as possible. The aim is to ascertain
whether the candidate possesses sufficient talent and competencies to start
the programme.
Specific admissions
requirements
During the admissions day, admissions tests are held and candidates are
assessed on a range of aspects, according to various methods. The assignments
provide information on individual candidates with regard to the following aspects:
++ research skills
++ perseverance
++ capacity for observation
++ drawing skills
++ capacity for visualisation
++ insight
++ a personal approach
The interview about the candidate’s work
should give insight into the candidate’s:
++ social world
++ personal interests
++ dexterity and/or sensitivity to materials
++ organisation skills, initiative, personal
ability
++ reasoning capacity
++ general knowledge
++ knowledge of art, history, culture, architecture and related areas
++ motivation and ambitions
++ personal objectives
The emphasis here is on the candidate’s
own work (sketch books, objects, notes,
collections) that was not prepared for any
previous assignment or in the context of
schooling.
overview
Full-time programme
Main structure of the curriculum
The four-year programme of the new
Bachelor of Design (Interior Architecture/ Furniture Design) consists of three
phases: the propaedeutic phase, the main
phase and the graduation phase. Each
phase has a specific mission. The line followed by these missions is that of crosspollination (Year 1), depth and connection (Years 2 and 3) and positioning (Year
4). This chronological structure is elaborated into four learning tracks, which constitute the domains that are addressed
in each of the study years. These four
domains are 1. Design, 2. Morphology and
Research Labs, 3. Media and Materials
and 4. Knowledge and Context. The curriculum is based on principles of experimentation and research. In each study
year, research (by design) focuses on a
specific area or current topic, based on
a solid historical and cultural foundation
and the potential efforts for interpreting
and integrating this basis in design.
++ the ability to provide creative and/or
inventive solutions
++ spatial insight
++ sensitivity to materials
94
Domains
Design domain
The Design domain is the main component and represents the basis of the study
programme. It has a thematic structure.
Particularly in the first year, the conceptual framework has a simple structure,
so that students can learn to question
everyday concepts. Interior Architecture
focuses on four areas of design: Private
interiors, Public interiors, Urban interiors
and 3D objects. Starting from the second
year of the Furniture Design programme,
the following design areas are addressed:
Private objects, Public objects, Urban
objects and 3D objects. On class days,
students work on projects in the academy’s workshop spaces, supervised by
tutors but also independently.
Morphology domain
The autonomous exercises, investigative
studies and free studies (of form) within
this domain are conducted in a laboratory-like atmosphere. What distinguishes
this domain from the design projects is
that this programme component is dedicated exclusively to ‘making’. In this
domain the process phases applied in
the design exercises, from analysis to
design, are explicitly thrown overboard:
the focus here is on the process, instead
of on the end result. Based on a particular approach or method, students create, visualise and experiment. The aim of
Morphology is to learn how to investigate,
get to know and master the phenomenon of space and form using a variety of
resources, media and applications. The
manner of expression is partly determined
by the medium or approach. The integration of visualisation is another important
component. Within the domain of Morphology, extensive attention can be paid
to such topics as light, texture, relief, form,
acoustics and sound, colour and scent.
Media and Materials domain
The domain of Media and Materials
revolves around basic skills and tools.
The focus is not necessarily on the literal
mastery of these skills, but on discovering
and learning how the skills can be applied
and used within the design projects. This
domain should thus be seen as both a
source of inspiration and a trigger. In this
regard, media, techniques and materials constitute a domain of expertise and
research. The skills addressed in this
domain include 2D and 3D hand drawing, model building, photography, graphic
design, textiles and ceramics, 2D and 3D
computer drawing, rapid prototyping, augmented reality and image processing.
The teaching and mastery of techniques
and skills are never ends in themselves
and do not represent the primary learning objective. This domain also involves
working and thinking in a cross-disciplinary way, transcending the boundaries of
each design discipline. This study component gives students a comprehensive
introduction to all the departments and
the wealth of facilities/workshops within
the institute.
Knowledge and Context domain
This domain comprises theoretical
instruction in the form of tutorials and
working assignments relating to art criticism, architectural theory and design theory. Special lectures and excursions are
also organised. The department of Interior
Architecture and Furniture Design has
its own lecture programme consisting
of 18 lectures per year. The lecture programme provides an additional theoretical
impulse to the programme, and is tailored
to reflect the themes and topics of that
year’s ongoing curriculum as much as
possible. A direct link between the year
theme and the programme of lectures
and films (as well as the Academy-wide
Studium Generale) reinforces and supports both the theoretical framework in
general and, more specifically, the curriculum of each semester. Plenty of young,
up-and-coming artists and designers are
invited to speak and students organise a
film or a debate at the end of each lecture.
Excursions and trips are a fundamental aspect of the study programme.
The propaedeutic phase (Year 1) begins
with an introduction week, which includes
an excursion. Foreign or domestic excursions are organised once a year as part
of the annual excursion week. The final
examination starts with a workshop
organised either in the Netherlands or
abroad.
The main programme is supplemented by several smaller subject-based
theoretical and professionally-oriented
excursions, trips and visits to museums
or exhibitions. The curriculum is based
on principles of experimentation and
research. In each study year, research
focuses on a specific area. A solid historical and cultural basis and the ability
to interpret and integrate it in the design
process can generate fruitful results.
The Individual Study Track (IST), which is
required for all students beginning in the
95
s tudy guide
second study year, is aimed at expanding
the depth and breadth of the programme.
The condition is that the content of the
track reflects the programme’s current
design exercise and that this demonstrable connection to the IST can be assessed
in the final assessment of the design exercise. How the study load and the associated credits are allocated for this purpose is decided in consultation with the
supervisor. Several options are available
in this regard, including taking a minor
course at Leiden University or one of
the introductory courses that are offered
within the Academy. In addition to elective
courses, students can also use the IST
to add depth to their studies by focusing
on the fundamental courses in greater
detail or by choosing from the Academywide range of interdisciplinary Research
Labs that are organised by the various
departments. The IST is accompanied by
a study plan, which must be approved by
the supervisor. Both the coach and the
study advisor assist students in drawing
up this plan. The coach provides guidance throughout each study year, and the
study advisor maintains an overview of all
the study years. The coaches encourage
students to work across disciplines as
much as possible, and to make use of all
the available expertise, facilities and workshops. In each year of the main phase,
12 ECT credits are reserved for the IST.
Part-time students can take advantage
of the range of elective courses offered.
Courses from the full-time or part-time
curriculum can also be used for the IST
(if space is available and subject to permission). For general information on the
IST, please refer to the general section.
ing aware that art and design (along with
art education) always involve creating
in relation to thought (and vice versa) .
Project-based instruction plays a central
role. Each semester, students work on
two main projects, which involve design
exercises composed in different phases.
Project work takes place during a concentrated period of 16 weeks. In this study
year the Morphology domain comprises
four blocks. The rest of the weekly curriculum is largely devoted to the design
projects. In the first year, the domain of
knowledge and context (and thus the theory) consists of three main components:
1. Architectural theory
Concepts and frameworks, contemporary
and current situation and context.
2. Design theory
Concepts and frameworks, contemporary and current situation, graphic design,
visual art and context. During the Media
and Materials domain first-year students
receive a thorough introduction to all
departments and to the wealth of facilities/workshops available throughout the
Academy.
3. Research & Discourse
All Bachelor students at the KABK take
the module Research & Discourse during the propaedeutic phase. The KABK
also organises a Studium Generale for all
students. In addition, a lecture series is
organised by the department three times
a year. Each series consists of six lectures on a particular topic (usually related
to the department’s chosen year theme).
Main Phase/Year 2
Propaedeutic Year/Year 1
Semesters 3 and 4
Semesters 1 and 2
Mission: diversity
During the first study year, the following
core concepts play a central role: crossdisciplinarity, scanning, experimentation, (broad) orientation and confrontation, design, learning by doing, interaction
and social networking/student mix. In the
propaedeutic phase, maximum use is
made of the institute’s workshops and
facilities, exposing students to all possible methods of development and production. Interaction with the other disciplines
offered by the KABK is also encouraged
during this phase.
The propaedeutic phase is one of
asking questions, exploring, experimenting and observing, in addition to becom-
Mission: depth and connection
Core concepts in the main phase are
forecasting, back-casting, visionary thinking, dreaming, the future, and the here
and now. The curriculum seeks to forge
links to contemporary issues in both the
national and international arena - to connect to the real world and to the students’
individual position within this theme (Who
am I?).
The second year is the phase in
which students deepen their existing
skills, gain insight into the profession and
become aware of their own intentions,
which lay at the basis of their work and
work processes.
Having been introduced to their
chosen field, the Academy and the work-
96
shops during the propaedeutic phase,
students use this basic knowledge in the
second year to adopt positions in assignments of greater complexity. The reality
of the professional field and the specific
areas of attention it comprises are examined in greater depth. At the same time,
students are urged to start formulating a
vision and a dream for their future as a
designer. Students are expected to demonstrate a greater degree of initiative, and
they are challenged to develop and use
their own personal preferences.
Interior versus Furniture
In the second year, students of Furniture
Design and Interior Architecture follow
separate design curricula. Although the
projects are structured in the same way,
the approach and content is tailored to the
specific field. At the same time, this similar structure also offers opportunities for
collaboration. The other domains are followed jointly by the second-year students.
In the second year, students are
required to take two obligatory Morphology modules. The research component
within both the design courses and the
Morphology Labs increases with each
study year. The courses offered by the
department in the context of the Individual Study Track (IST) programme include
modules known as Research Labs. These
are also offered Academy-wide, giving
them a more inter-disciplinary character.
The aim of the IST, which is compulsory for all students from the second
year onward, is to add depth and breadth
to the study programme. The condition is
that the content of the track reflects the
programme’s current design exercise and
that this demonstrable connection to the
IST can be assessed in the final assessment of the design exercise.
Students who wish to use the IST
to add depth to their studies can choose
to lay greater emphasis on the fundamental courses, make a selection from
the KABK-wide range of interdisciplinary
Research Labs and introductory courses,
or choose to take a minor at Leiden University. The IST is accompanied by a
study plan, which must be approved by
the supervisor. Both the coach and the
study adviser guide students in drawing
up this plan.
The domain-specific knowledge and
context of the second year consists of
three main components:
1. Art appreciation
Through visits to exhibitions, museums,
galleries, contemporary platforms for art,
architecture and design, projects in the
city, art in public spaces and buildings
2. Architectural theory
Concepts and frameworks, contemporary
and current situation and context, anthropology and sociology (main theory course
for students of Interior Architecture)
3. Design theory
Concepts and frameworks, contemporary and current situation and context,
anthropology and sociology (main theory
course for students of Furniture Design)
In the second year, Architectural Theory and Design theory are both linked to
the project-based design courses and
assignments on Mondays or Tuesdays,
thus providing students with direct theoretical input and motivating them to delve
even deeper into the theory. This constitutes an initial impulse for the development of individual preferences and original research. In addition, separate lectures
and tutorials are programmed for each
course, corresponding to the respective research topics. In the second year,
within the framework of Interior Architecture and Furniture Design and the theory
of architecture and design, attention is
also paid to the anthropology of space
and its usage, thus teaching students to
regard our relationships with spaces and
objects from an anthropological and sociological perspective. Space and object
are investigated and experienced from a
variety of perspectives, including from a
spatial perspective (public and private), a
user perspective (visitor, housekeeper),
an action-related perspective (often culturally determined), a behavioural perspective (social and other types of behaviour)
and the scripts that take place or should
take place within them), and a sensory
perspective how does it smell there?). The
use and development of empathy plays
a major role in this regard.
Main Phase/Year 3
Semesters 5 and 6
Mission: depth and connection
Core concepts in this part of the main
phase include the following: reality check,
skills, knowledge, practical and professional experience, employee vs. entrepreneur, internship and projects from internal
studio/lab/workshop or external collaboration with the professional field, industry,
authorities, companies and social organisations.
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During this phase, students focus
on developing their own work and individual approaches, which are expressed
in personal questions or problem statements. The interaction between the artistic and the social environment also plays
an important role in this phase.
The third study year mirrors the
structure of the second year, with an
additional focus on the links to professional practice. The exercises within the
design domain attempt to add depth by
specifically addressing the malleability
of the designs. Students become aware
of the consequences that result from a
developed concept in terms of construction, materials and costs by carrying out
a ‘reality check’. The practical exercises
constitute an important aspect of the
third-year curriculum. Students work on
real assignments for external clients, in
which implementation and realisation of
the project within budgetary frameworks
and a strict schedule play an important
role. Such direct links to practice are also
made through presentations in the Netherlands and abroad, including the annual
presentation at the Salone del Mobile in
Milan. Students are encouraged to work
across disciplines as much as possible and to draw heavily upon the expertise, facilities and workshops available
within the KABK. The Media and Materials domain and Knowledge and Context
domain are explored in depth by focusing on specific themes and techniques.
These over-arching topics emerge from
the year theme, which often relates to a
specific social context, and also provide
direction in the other domains. In semester 5, each student writes an internship
plan. In semester 6 students gain experience of professional practice in the form
of an internship at a carefully and individually selected national or international
design or architectural firm.
The capstone of the main phase
is the memento, an assessment portfolio prepared during the second and third
study years.
in the professional field, manifesting this
through their body of work, statement
and portfolio. Additional depth is pursued
through an essay and/or thesis.
The students create their own interior architecture or furniture collections,
master the associated techniques and
are able to present their collections in a
convincing manner. The primary goal of
the final phase, which culminates in a final
examination, is to allow students to demonstrate their qualities as designers. This
implies that they must be able to convert
their ideas into concepts, architectural
solutions, furniture and product solutions,
form, material, technique and detail, in
the context of one or more assignments.
Examinations in Interior Architecture or
Furniture Design consist of the following
components:
Main Phase + Final Phase/Year 4
3. Theoretic Research
One important aspect of the final phase is
the theoretic research project: an essay
(in a visual or written form) and/or thesis
in which students are expected to position
themselves and to reflect critically on the
discipline, fascinations and the relationship to their own collections. The essay/
thesis explicitly addresses the knowledge
acquired within the domain of knowledge and context. Individual students
are expected to adopt specific positions
Semesters 7 and 8 (Graduation)
Mission: positioning
Core concepts: manifestation, body of
work, statement and portfolio, additional
research, additional depth, essay/thesis,
and collection building.
In the graduation phase, students
focus on developing their individual position. The students determine their place
1. Collection
Creating a design or multiple designs that
address the entirety of the interior architectural or furniture collection or related
collection in the broadest sense of the
term. This is accomplished within thematic and self-developed assignments
that allow the intensive realisation of an
interior or furniture collection, whereby
the thematic or locational context of the
collection is presented to students in
the form of the over-arching year theme.
Individual students select their own independent positions within the design exercise, demonstrating that they are capable of applying the relevant techniques
and skills needed to realise their designs
optimally, based on the knowledge and
experience gained in domain of media
and materials.
2. Research by Design
Research by Design expresses the student’s personal design attitude. This
design and research component is an
extension of previous study projects that
have been realised within the domain of
morphology and/or the Individual Study
Track.
98
with regard to current theories of architecture and design and position themselves
within the current debate.
4. Body of work
Candidates must include previously realised designs and research (from preceding study years) in their complete final
presentation and collection.
5. Entrepreneurship and
the working landscape
Final examination, exhibition and the presentation of the collection. Another important aspect of the final phase is students’
visual and verbal presentation of their
collection, in which they are expected to
position themselves and to reflect critically on the discipline, fascinations and
the relationship to their own collections.
In the Academy-wide course Entrepreneurship, the students apply practical
knowledge acquired during the lectures in
a real-world setting through fictitious case
studies. (Questions that are addressed
include: How do I get assignments?
How do I make invoices? How do I send
invoices?) Students display and present
their collections to the outside world in
a variety of ways, for example through
their portfolios or by creating their own
websites and setting up PR and social
media campaigns.
Student Portal
The student portal www.kabk.nl/ia is the
central instrument of communication for
and by the department. News, practical
announcements, curriculum, assignments, class schedules, calendars, task
descriptions or other course information
are placed on the portal.
The current and latest versions of
the exercise structures for each study
year are available via the IAFD student
portal: www.kabk.nl/ia.
Assignment structures form the
framework within which lecturers construct their assignments and curriculums.
This working method ensures that a current, relevant and customised curriculum
can be offered each semester.
The appendices of the assignment
structure list the specific assignments
structures and curriculums for each
course per semester. These resources
are available for download by students
and lecturers. Lists of required, recommended and further reading are included
in the curriculums and specific assignment. The assignments for each semester are also listed on the Downloads page
(the last page of the portal).
Timetable
Each semester, students work on two
main projects, which involve design exercises consisting of different phases. Students can engage in project work during a concentrated period of 16 weeks.
On Tuesdays or Wednesdays, the work
domains are Morphology, the IST and
the Academy-wide Research Labs. The
rest of the weekly curriculum is largely
devoted to the projects. Students usually
receive theoretical instruction on Thursdays. The Media and Materials domain is
scheduled on Fridays, focusing on a more
autonomous exercise of skills.
Part-time study programme
The part-time study programme has
nearly the same basic curriculum as the
full-time study programme. The Individual
Study Track (IST), however, is offered as
a class curriculum. There is no compulsory internship. Students are expected to
develop the relationship with professional
practice themselves.
Collective feedback
At the end of the first and the third block,
halfway through a semester, students
give brief presentations on their work
from the preceding period. These presentations are held centrally and integrally
to the team of supervising lecturers, in
the presence of fellow students. This is
an informal opportunity to receive feedback and should be considered as an
informative exercise in reflection and
presentation. These presentations may
nonetheless result in the formulation of
customised goals/objectives for the coming block.
Course reviews
At the end of a semester, prior to the collective assessment, students present
work for each course from the preceding
period to the relevant lecturer and fellow
students. These presentations may lead
to custom formulated goals/objectives
for the coming block.
Collective assessments
Each semester ends with brief presentations by the students concerning the work
from the preceding period. In these presentations, students present (or represent)
both the design exercise and the other
course exercises. This formal assessment point is informative and intended
as an exercise in presentation. Students
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present their work directly to team of lecturers and the public (fellow students)
during the collective assessments. During their presentations, students receive
direct feedback on their work, and there
is space for dialogue. The student is not
present during the ultimate assessment
and the internal committee consultation
concerning this assessment. The aim of
the interaction with the team is to provide
insight into the work of the students and
their capacity for reflection and formulating common but customised short-term
goals/objectives for the coming quarter
or study year. This formula helps to safeguard the overall quality of teaching within
the department, the input of individual students and the progress and continuity of
the study process.
First-year assessment
At the end of the first year (the propaedeutic phase), students receive a binding recommendation regarding the continuation of their studies. Halfway through
and at the end of the first study year, collective assessments are held to determine whether students have mastered
sufficient design qualities and whether
they possess sufficient talent to continue
to develop into potentially successful
designers. Students are also assessed
on their ability to relate to their own social
environments through their individual
design positions. A complete overview
of the competencies to be assessed in
the propaedeutic phase is provided in the
scheme at the end of this section.
ments, identify these developments and
further develop them by deepening and
developing their own vision, mission and
body of work. In doing so, they search for
any problems inherent in the architectural brief, in order to resolve and translate
these in their design. Another feature of
great importance is that students become
aware of the cultural, social, technological and economic developments around
them. Their working methods should be
rooted in engagement. Designers who
wish to fulfil their roles in a relevant manner must possess a capacity for empathy and an awareness of their audience.
Students learn to develop their own
positions as designers and to present
themselves accordingly. To this end,
they must learn to discover, question,
develop, design and represent their own
preferences. In addition to an independent
mentality and a reflective attitude towards
design, this requires sufficient breadth
in terms of theoretical and artistic training. Students must be capable of critical
reflection, in order to appreciate, analyse,
explain and assess their own work and
that of others.
The complete overview of the IAFD
competencies per study year is provided
in the competencies table at the end of
this chapter.
Competencies
During the study programme, students
must master the ‘Competencies – Spatial Designer’ specific to IAFD. Mastery
implies that students will be capable of
functioning independently within the professional field. Their development into
well-rounded designers is the primary
goal of the study programme. They are
trained in such a way that they are able to
apply the knowledge and skills that they
have acquired in professional situations.
This places demands on the designer’s
person and personality. Designers who
have been trained at the KABK formulate
a personal vision on the design profession and their own position within society. They should be able to communicate
meanings in surprising and multi-layered
ways, in addition to reflecting on developments in the discipline and within society.
Proceeding from an inquisitive attitude
and independent work processes, students are able to trigger new develop100
2.5.5 Organisation
of the department *
The department head is responsible for
departmental policy and for all aspects
directly related to it. The team of lecturers reflects the policy in terms of content,
as well as a broadly based professional
structure. Many of the lecturers also have
their own professional practices, in which
they work independently or in teams.
The diversity within the team of lecturers
ensures that students are confronted with
a wide range of aspects and approaches
relating to the profession. Specific practical knowledge is also offered through
guest classes and lectures.
Head of department
++ Herman Verkerk
Coordinators
++ Mariska Beljon
[email protected]
++ Roosmarijn Hompe
[email protected]
Internship coordinator
++ Willem Moeselaar
Study adviser
++ Ellen Vos
Team of Lecturers
Design
++ Gert Anninga
++ Gijs Baks
++ Amber Beernink
++ Samira Boon
++ Jan Harm ter Brugge
++ Maarten Collignon
++ Lars van Es
++ Arne Hendriks
++ Ingeborg Horst
++ Barend Koolhaas
++ Tessa Koot
++ Jeroen van Mechelen
++ Aura Luz Melis
++ Wendy Legro
++ Wim Ros
++ Christoph Seyferth
++ Nienke Sybrandy
++ Ramin Visch
++ Wim De Vos
++ Eric Vreedenburgh
Media and Materials
++ Marie Ilse Bourlanges
++ Corine Datema
++ Elena Khurtova
++ Harold Linker
++ Willem Moeselaar
++ Jeroen Musch
++ Sanne Peper
++ Michaël Snitker
++ Frans Willigers
Knowledge and Context
++ Mariska Beljon
++ Liesbeth Fit
++ Inger Groeneveld
++ Roosmarijn Hompe
++ Ernie Mellegers
KABK Research Lab(s)
++ Arne Hendriks
++ Krijn Christiaansen
++ Cathelijne Montens
Guest lecturers
++ Erik Blits (external expert)
++ Suzanne Oxenaar
++ Bas van Beek
++ Niels Peteri
++ Matylda Krzykowski
++ Tijmen Ploeg
++ Chris Kabel
++ Rik Ruigrok
++ Gilles van Wanrooij
++ Anselm van Sinferth
++ Guus Beumer
++ Arna Mackic
++ Fokke Moerel
++ Hans van Houwelingen
++ Evelien van Veen
++ Kamiel Klaasse
++ Ronald Hooft
Working Field Committee
++ Chris Kabel
++ Ira Koers
++ Herman Kossmann
++ Harm Tilman
++ Joanna van der Zanden
(Academy-wide)
++ Herman Verkerk
++ Janneke Wesseling
++ Liesbeth Fit
++ Maarten Cornel
++ Iris Luttmer (coordinator)
Morphology
++ Krijn Christiaansen
++ Cathelijne Montens
++ Ellen Vos
*
101
visit www.kabk.nl.
competencies
interior architec ture and f urniture design
Propaedeutic Year
Main Phase, Year 2
Main Phase, Year 3
Main Phase, Year 4
Creative ability
method.
Creative ability
design solutions.
reflection
reflection
regard.
work.
Capacity for growth
and innovation
practical level.
Capacity for growth
and innovation
work.
terms
prioritisation.
activities.
design solutions.
images.
interested parties.
on design.
work.
your target group.
others.
process.
102
103
interior architec ture and f urniture design
Interior Architecture and Furniture Design full-time
Interior Architecture and Furniture Design part-time
1
Year
2
3
4
1
2
3
4
5
6
7
8
12
12
12
12
12
4
16
18
Morphology
6
6
3
3
Media & Materials
6
6
4
4
Semester
Design
Internship
4
1
2
1
Year
2
24
24
19
IST
6
Subtotal
Individual Study Trajectory
6
Knowledge & Context
2
Lectures [18/year]+ SG
1
2
19
6
6
17
6
6
22
6
6
3
3
ABPPW
2
18
2
3
4
5
6
7
8
10
10
10
10
10
10
18
18
Morphology
8
8
6
6
4
4
Media & Materials
6
6
4
4
4
4
2
2
24
24
20
20
18
18
20
20
IST
6
6
6
6
6
6
Subtotal
Individual Study Trajectory
6
6
6
6
6
6
Design
6
6
20
6
6
4
3
1
1
1
1
2
1
1
1
3
3
2
Subtotal
Theorethical Domain
5
5
7
2
5
Knowledge & Context
2
2
3
3
3
3
Lectures (18/year) + SG
1
1
1
1
1
1
1
1
2
2
3
3
Essay/Thesis
Subtotal
Theorethical Domain
3
3
3
3
Subtotal
Academy-wide Education
3
3
30
30
4
4
6
6
4
4
30
30
30
30
30
30
4
3
1
Entrepreneurship
1
Total
Subtotal
Academy-wide Education
Total
4
18
4
Essay/Thesis
3
1
Semester
Subtotal
Artistic Professional Domain
Subtotal
Artistic Professional Domain
2
240
3
4
30
30
240
1
30
104
30
30
30
30
30
105
photogr aphy
106
107
2.6
Photography
s tudy guide
s tudy guide
photogr aphy
2.6 Photography
of the discipline
Current situation
of the discipline
Almost everyone takes photographs, but
not everyone is a photographer. It takes
well-honed technical skills to develop
into a professional. That is why students
are still being trained as photographers.
Throughout history, photographers have
developed their own culture of high-quality images. Contemporary photography
covers an enormous spectrum, branching into all levels of society and occupying an important position in the world of
the visual arts.
Much is demanded of contemporary
professional photographers. In addition to
understanding their profession in a technical and aesthetic sense, they must have
profound knowledge and understanding
of the meaning, symbolism, value and
impact of photographic images. They are
also expected to possess a wide range of
artistic abilities, in order to achieve desired
effects that are capable of standing on
their own. In addition, professional photographers must claim their own positions
within the contemporary cultural field, and
they must be able to distinguish themselves by expressing their personal views
both orally and in writing, apart from the
actual images.
Contemporary professional
practice: the professional
profile
In this section, we highlight the professional profile upon which the Photography programme is based.
The professionals of today are
authors, in the sense that they are makers, finders and creators. They are able to
practice the profession in the traditional
sense, while contributing to the evolution
of the discipline.
Contemporary photographers are
entrepreneurs who know how to generate a base of support for their work. They
have an extensive frame of reference for
the field and the discipline, particularly
in an international context. They have a
vision for the position of the discipline in
the world of art and culture, as well as
in social developments. They are aware
of the many platforms that offer opportunities, including social media and the
internet in general, as well as traditional
platforms, including journals, posters and
other printed media. They have extensive
108
networks, and they are able to collaborate with others.
Within our society, people are
increasingly using the medium of photography without worrying about the technical
quality of the images. In response, professional photography appears to be moving
in the opposite direction. Each genre or
specialism is developing increasingly specific requirements. The professional practice of the photojournalist has become
more clearly distinguished from that of
the conceptual documentary photographer. This trend has emerged across the
entire field of photography (including the
domain of fictional photography). Young
professionals are therefore being confronted with increasingly greater and more
specific demands. In order to achieve professional recognition, aspiring photographers should be well informed about
how they would like to enter the field and
about the platforms on which they can
present their work.
2.6.2 Study profile
As the only photography department at
any art academy in the Netherlands, we
focus on four major areas of professional
photography: conceptual documentary
photography, photojournalism (together
classified as Documentary), staging people and mise-en-scène (together classified as Fiction).
In the first year of programme (the
propaedeutic year) , students receive a
thorough introduction to these areas.
Thereafter, students choose to complete
the remaining three years in either Documentary or Fiction, positioning their work
in one of these areas based on subsequent choices.
The department aims to train students to become self-aware and independent photographers, each with a recognisable visual language and personal
vision, along with the ability to work independently, as well as on commission.
They develop their own concepts and initiate projects. Their motivations, themes
and ethical standards are clear to others.
They know how to engage their clients or
audiences and are creative in finding a
business model for their work.
An important characteristic of our
programme is that we use the contemporary professional field as central point in
our educational approach. Students are
given assignments resembling, or based
on, professional assignments, and they
are usually working on several projects
simultaneously. We pay close attention to
109
s tudy guide
the ways in which students develop their
initial ideas, which ultimately result in a
series, complete with all the accompanying production activities. Another characteristic is the strong emphasis that is
placed on the development of intellectual
and visual qualities. We ask students to
approach their subjects with curiosity and
an open mind, and then to investigate
them thoroughly. This requires an interest
in the content, background and diverse
ways of representing a subject.
In the process of investigation, students develop their own visual language
and discover how their visions on various subjects and on the profession of
photography relate to the visions of others. Our goal is to teach students how to
become independent thinkers, constantly
searching for authentic images from a
personal perspective on both the medium
and the world.
The dynamic curriculum consists
of an alternating series of work discussions, seminars, workshops and lectures. Within a short period, students gain
knowledge of various fields and develop
skills to operate independently. Because
their subjects are often situated outside
the academy, students regularly work on
location. In the Academy, they practise
in studios and darkrooms, editing their
images, working on prints and participating in collective work assessments and
the preparation of publications and presentations. The students thus do not learn
only from their lecturers, but also from
their peers. The educational process is
dominated by a commitment to continuous effort for research, authenticity, depth
and professionalism. It is supported by a
programme of electives and guest lectures by as well national as international
professionals. Expertise from other disciplines is employed when necessary,
allowing students to develop strategies
for presenting their work optimally and
in suitable contexts.
The primary goal of our programme
is to train our students to become the
professionals of tomorrow, connecting
their own visual language with a professional way of working at an international
standard.
Facts as the departure
point for photography:
Documentary specialisation
‘Documentary’ is the over-arching term
used by the Royal Academy of Art (KABK)
in The Hague for the professional practice of documentary photojournalists and
conceptual documentary photographers.
Although the practice of photojournalists
differs from conceptual documentary
photographers, they have similarities in
the way they choose their subjects, either
with a general news value or with a specific significance for a target group. This
practice is most commonly used to reflect
on contemporary history. Photographers
specialising in documentary are curious
and engaged towards social processes
and concrete subjects.
Photographers who proceed from
facts offer a window on reality. Subjectivity
is essential to their individual styles, however, and position statements are important to the impact of their photography.
These photographers must pay attention
to the preliminary phase of research. They
must read about and empathise with their
subjects, consult specialists and tap into
new markets.
The artistic autonomy enjoyed by
these photographers is closely linked to
the policies of the platforms for which
they work. Photographers who employ
photography as an informative medium
focus their loyalty on the user of the photos: the public.
Despite many common features,
however, there are clear distinctions
between photojournalists and conceptual
documentary photographers. Although
both disciplines revolve around reality,
photojournalism emphasises reporting
with direct news value, while conceptual
documentary photography is used to
reflect on particular aspects of the subject.
Fiction as departure
point for Photography:
Fiction specialisation
At the KABK, ‘Fiction’ consists of all
imagery that enlarges reality. Fiction photographers are photographers who produce high-quality work from staged situations or with the suggestion of staging.
Most fiction photographers possess an
artistic gift for fantasy, having impressive
technical skills that allow them to represent their subjects appropriately. They are
strongly committed to their assignments,
whether at their own initiative or commissioned by others.
The work of fiction photographers
is the result of intensive research into
the nature of the image in general, and
particularly with regard to photographic
visual language. It is intended to be distinct within the contemporary torrent of
images. For this reason, fiction photographers are increasingly developing their
own concepts from which to work. Based
on their authorship, they are active in a
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photogr aphy
variety of contexts, which they creatively
adapt to suit their needs. They have a rich
imagination, representational skills and
clear minds. Their work emphasises the
creation of concepts and the pursuit of
the right visual presentation, combined
with sophisticated technical execution.
Fiction photographers often collaborate
in multidisciplinary teams. We distinguish
between photographers who concentrate
on staging people and those who concentrate on environmental situations (e.g.
mise-en-scène) , from tabletop to landscape.
for Photography
Graduates are expected to meet the following qualifications:
++ Students are able to develop and implement distinctive imagery in a meaningful way resulting from their research
and artistic ambition (creative ability)
++ Students are able to contextualise and
critically reflect on their own work and
on work of others, and they are capable
to utilise external feedback and positively implement this in their own work
(capacity for critical reflection)
++ Students are able to continuously investigate and analyse their own ambition,
vision and working methods as well as
the professional practice around them.
Their innovate position constantly challenges the photographic medium in
general (capacity for growth and innovation)
++ Students are able to organise an inspiring and professional working ambiance.
They are capable of practically organising their profession and are ambitious
in marketing their work (entrepreneurial
and organisational ability)
++ Students know where to reach and how
engage their audience and clients. Students are able to present their vision,
research and work in a convincing
manner, as well written as orally (communicative ability)
++ Students understand how their work
relates to the professional artistic and
societal context (external awareness)
++ Students understand group dynamics
and are able to make independent artistic contributions to a collaborative work.
Students are also capable of organising collaborating partners for their own
practice (capacity for collaboration)
Diploma
Design (BDes) degree.
After completing the Bachelor’s degree,
graduates are eligible to enrol in a Master programme in design (MA Design) or
art (MA Visual Arts), another Master programme at an art academy, or the MA in
Photographic Studies at Leiden University.
Candidates are invited to participate in a
trial morning within the department. The
portfolio and take-home assignments are
discussed in the course of the morning,
and candidates receive advice on how
they might improve their work. Candidates
are advised to register for the trial morning as early as possible. It is possible to
participate in multiple trial mornings. Candidates who are deemed suitable to apply
are invited to take an entrance examination. During this examination, candidates
work on assignments, and the admissions committee assesses each candidate according to the portfolio/work
and an interview. The work consists of a
diverse selection of both visual and photographic work, supplemented by the home
assignments. Each candidate will have
one or more interviews about the work.
The committee consists of both students
and lecturers.
Specific admissions
requirements
Candidates must fulfil the following
requirements:
++ have a passion for the visual, especially
for the medium of photography
++ have particularly broad social interests
++ have an ongoing need to visualise their
interests and ideas in photography
++ have a desire to make their own ideas
public
++ have good communication and social
skills
++ have organisational talents
++ take initiative and have an entrepreneurial spirit
++ have perseverance
++ be capable of functioning both as a
soloist and in collaboration with others
++ be able to think critically
++ be able to develop on a textual level
++ have a basic familiarity with the infrastructure of the photographic field in
the Netherlands
++ demonstrate some experience in the
use of the medium to reach their visual goals
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++ work on photographs in serial form
++ be aware that photography is one of
the visual disciplines and that this
requires more than just excellent technical expertise or an eye for aesthetics
overview
Overview of
full-time/part-time study
The full-time programme offers specialisations in Documentary and Fiction. The
part-time programme offers the specialisation in Documentary.
Full-time programme
The full-time programme comprises four
years. For the structure of the semesters
in the full-time programme, please refer
to descriptions of each year below.
Part-time programme
The four-year programme is also divided
into semesters. The programme consists
of modules that together form a complete
package. In the near future, it will also be
possible to take the modules separately,
if the student’s level of competence is
deemed sufficient. Students who have
successfully completed the examination module have fulfilled the learning
outcomes of the current Bachelor programme in Photography.
This educational structure also
allows us to offer the part-time programme in four years. In most cases,
classes are held on two or three days
each week, usually with one day starting
at 2.00 p.m. and the (two) other day(s)
at 4.00 p.m. The last class ends at 9.45
p.m. In the final phase, students should
be available for one full workday a week
in order to attend classes.
For the structure of the semesters
in the full-time programme, please refer
to descriptions of each year below.
The content of the part-time programme in Photography is the same as
that of the full-time programme, but with
a different organisation and structure. To
date, no internship period is included in
the programme. Part-time students must
therefore engage in independent career
orientation, in addition to the programme.
With permission, part-time students may
follow parts of the full-time curriculum.
The Individual Study Track (IST), which is
required for all students beginning in the
second study year, is aimed at expanding
the depth and breadth of the programme.
Space has been created in the schedule
to this end. The study load and associated
credits are applied to the IST, in consultation with the supervisors. Several options
are available for organising the Individual
Study Track, including the possibility of
taking a minor course at Leiden University. In addition to the electives, students
may use the IST to add depth to their
studies by paying additional attention to
the fundamental courses or by choosing from the Academy-wide range of IST
course offerings. The IST is paired with a
study plan, which must be approved by
the supervisors and guided by a coach.
During each year of the main phase,
credits of 12 EC are reserved for the Individual Study Track.
Internationalisation
We have a large population of students
from various countries. In addition, the
study programme is placed within an
international perspective from the outset.
Each study year includes a project week
abroad, and we collaborate with other art
schools throughout Europe. In addition
to these activities, we receive exchange
students for a semester, and our students have the opportunity to complete
an exchange period at one of our partner institutes.
We recommend placing exchange
programmes in Semester 6, under certain
conditions. Advance permission from the
department is required.
Propaedeutic year
Exploration and visual
development
Full-time/Part-time:
Semesters 1 and 2
In the propaedeutic year programme, the
programme focuses on visual development. The properties of photographic visual language are investigated extensively,
with technical skills providing a solid foundation. The individual abilities of students
are explored in a broad packet of subjects, which are offered in a coordinated
manner, when possible.
Field orientation to the discipline
and its professional opportunities plays a
central role in the programme. This orientation is provided in both theoretical and
practical courses, as well as during field
visits outside the Academy. The emphasis is on learning to study and structuring
the individual work process. Students are
encouraged to pose questions for themselves and attempt to find the answers.
The process is supported by a coach and
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a professional practice programme. This
phase creates the foundation for a professional attitude that will enable students to
develop the authorship that they will need
for their future careers after the Academy.
At the end of the year, students will
have gained sufficient insight from the
programme in order to choose their profiles for the remainder of the programme.
The motivation for this choice is reflected
in a final presentation and in the composition of the portfolio. The course descriptions on the website describe the content,
teaching methods, instructional forms
and assessment of the programme components. The following study components
are covered in the first two semesters:
++ Career orientation
++ Acquisition of professional practice and
study skills
++ Image Development
++ Photojournalism, Conceptual documentary photography, Photography
Fiction (concentrating on people) ,
Photography Fiction (concentrating on
mise-en-scène and space)
++ Photographic Technical Skills
++ Digital Workflow and Skills
++ Art/Photography History and Reflection
++ Research and Discourse
++ Graphic Design
Main Phase/Year 2
Proficiency & in-depth research
are also introduced to specific options for
applying their work in the following, highly
diverse, markets:
++ Print media (e.g. newspapers, magazines, books)
++ Various electronic and social media
++ Autonomous museum space and other
spatial presentations
Within these three frameworks, both specialisations focus on the following:
++ Conceptual photography: images are
regarded as guides to and/or translations of ideas, texts, thoughts and
experiences
++ Autonomous photography: photographers investigate their personal artistic
goals and possibilities
The second year is also divided into
semesters, each of which is sub-divided
into two thematic blocks (when possible).
When necessary, the themes are adapted
to the chosen specialisation or to the
markets mentioned above. The course
descriptions on the website describe the
content, teaching methods, instructional
forms and assessment of the programme
components. The project week in Semester 4 involves a week abroad, in which
each student works on a project.
The following fundamental course components apply to both study profiles:
Semesters 3 and 4
In this phase, students engage in more
extensive and substantive research into
the world of photography and the professional practice of their chosen specialisations in Documentary or Fiction photography (the latter specialisation is available
only full-time). Considerable attention is
devoted to the competencies required for
the practice of the specialisation, with the
social functioning and the development
of social skills as key concepts. Extensive
discussion is also provided with regard to
the ethical side of the profession. In the
Documentary field, photography focuses
on the acquisition of background information (research) on a diverse range
of topics before the actual act of photographing. In contrast, Fiction photography emphasises the creation of concepts
and the pursuit of proper visual execution, in combination with sophisticated
technical execution. Students regularly
work together in multidisciplinary teams.
An important motivation is to change the
attitude of involved third parties. Students
++ Genre Photography specific to the
selected profile
++ Autonomous Photography
++ Photography Technical Skills
++ Image and Concept Development
++ Professional Practice Skills
++ Audio-visual Media, AV and Film
Theory (as an elective after an introduction block)
++ Graphic Design
++ Image Development focusing on spatial presentation
++ Interactive Media Design and Media
Theory (as an elective after an introduction block)
++ Art/Photography History and Reflection
++ Sociology
++ Communication
The Fiction specialisation concentrates
on ‘staging people’ and ‘mise-en-scène’,
as applied in fashion/lifestyle or commercial photography. The Documentary
specialisation focuses on photojournalism and on documentary and conceptual
documentary photography.
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Main Phase/Year 3
Professionalisation & presentation
Semesters 5 and 6
Full-time
The third year focuses on the use of
research and skills to achieve professionalisation. Previously acquired knowledge
and skills are placed in relation to the
field and professional practice. Students
choose to engage with the world outside
the Academy from their own personal
viewpoints. The portfolio is based on this
approach, and a thematic, project-based
semester offers students the opportunity
to test and define their positions within
the professional world.
The components photojournalism
and conceptual documentary photography are specific to the Documentary
specialisation, and they are supported by
a course in sociology. The Fiction specialisation offers the sub-fields of miseen-scène and staging people. Students
substantiate their choices for one of
these fields in a related project description developed during a research period.
Special attention is paid to visual
investigation (i.e. ‘artistic research’) and
the student’s ability to work with a variety
of visual strategies. The presentation of
the work to the outside world is another
prominent goal. Students work independently and make highly individual choices.
The realisation of the described plans and
study content within the central project is
accomplished in close consultation with
the coach, fellow students and the team
of lecturers, as is any participation in practice projects.
The programme includes a number
of elements for students from all specialisations:
++ Professional Practice Skills
++ Art, Photography History
and Reflection
++ Audiovisual Media, AV
(as an elective in the second year)
++ Interactive Media Design
(as an elective in the second year)
++ Graphic Design for publication
++ Image Development aimed at spatial
presentation
In the sixth semester, students complete one or two internships. These highly
diverse experiences are related to the
specialisation and at least one of the markets mentioned above. Many students
choose international internships within a
field of well-known and established photographers.
During their internships, students
learn to work in teams, with formulated
assignments, within a time limit and in
partnership with clients. They also gain
valuable networking experience. Moreover, the internships enable students to
test their expectations regarding their
own possible specialisations in the field.
At different points during the internship,
students return to the Academy to discuss their experiences with the internship supervisor and to receive information about the internship report. At these
times, students also have the opportunity to exchange experiences with fellow
students (second-year students are also
present in these meetings as preparation
for their choices in the following year) .
The internship supervisor writes a report,
which constitutes part of the evaluation.
Additional general information about the
internship is provided in Section 6.1.9.
Part-time
The part-time programme does not
include an internship period. Part-time
students must therefore initiate their own
career orientation independently, albeit
as part of the programme. In the sixth
semester, students enter the examination track, in addition to taking several
foundation courses. Based on the orientation to professional practice, each student also prepares a properly substantiated choice of specialisation in relation
to the discipline.
The following goals for this phase of the
programme are intended to ensure that
students:
++ have composed a study plan (professional profile), with an updated accompanying argumentation
++ have achieved the study objectives of
the projects and programme components associated with this phase
++ have demonstrated that they have
acquired the qualities, skills and
insights needed to claim a position
within the field of photography
++ have added depth to their research
++ have exhibited an independent study
attitude
++ have demonstrated interest in all
aspects of the work and design process and expressed interest in all
aspects of the profession
++ are capable of completing the final
phase of the programme successfully
++ have explored and experienced the field
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++ have demonstrated preparation as professional photographer
2.6.4 Professional objectives
Propaedeutic year
Exploration and visual
development
Main Phase + final phase
Profiling and positioning
Semesters 7 and 8
This phase is characterised by ‘profiling’.
The conclusion of the internship/career
orientation period is the prelude to the
final year of study. At this point, each
student writes another study plan with a
revised professional profile:
++ Photojournalistic / Conceptual Documentary / Fiction Photography (staging
people) / Fiction Photography (miseen-scène), related to the written professional profile
++ assignment or commission, referring
to the client profile chosen
++ project of the student’s choice, relating
to the selected profile and presented
in two of the presentation options/platforms: one corresponding to the methods of professional practice and one
focusing on the student’s possibilities
for use (interdisciplinary)
++ thesis, in which students further expand
and explain the research for their
projects
++ portfolio
++ career preparation (including a business plan)
++ submission of work to an international
photo festival (IST) or participation in a
prestigious competition
Final examination
The programme concludes with a oneday examination, during which each student presents work prepared specifically
for the exam, along with a well-designed
thesis and portfolio. The professional profile, business plan and project descriptions provide information about the work
presented. Each student is allocated a
space for installing the presentation
beginning at least four days in advance.
On the examination day, students have
the opportunity to explain and justify their
work. The examination committee poses
additional questions.
After the examination, graduating
students focus on a group exhibition that
is open to the public and accompanied
by a catalogue. The examination committee consists of the head of department
and an external assessor, in addition to
a representation of supervising lecturers
from the final year. The external assessor
is an expert in the field of photography.
Semesters 1 and 2
The propaedeutic year concludes with
an examination during which students
are assessed according to their suitability
for the discipline. Students present and
substantiate their work and demonstrate
its accents. The work prepared for theory
courses is part of the examination. Other
factors considered include the students’
study attitude, and particularly their commitment and level of independence in the
work process. The vision and depth that
students have demonstrated in both the
process and the ultimate outcome are
important in passing the exam, as well
as for the selection of their specialisations. Students must be deemed capable of completing the programme within
the specified period and subsequently
working as independent photographers.
The following objectives are intended to ensure that students:
++ learn to study and organise the work
and design process, including the
acquisition of knowledge, understanding and skills related to the employment
of substantive and formal visual means,
and to apply the acquired knowledge,
understanding and skills in order to
improve assignments
++ develop an inquisitive, examining and
self-critical attitude, taking initiative
regarding the work, verbal and written
communication skills and demonstrating reflective and analytical ability
++ acquire theoretical knowledge and
insight regarding the study content of
the project
++ acquire technical skills related to photographic tools and techniques, as well
as 2D tools and techniques (e.g. drawing, painting and graphic techniques)
++ gain insight into the desired professional field (i.e. editorial, commercial
or otherwise)
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Competencies for the
propaedeutic year
of the programme:
++ Students create work that explores new
directions arising from the experiences
and insights gained throughout the programme.
++ Students are able to discuss their own
work and review its effectiveness and
quality.
++ Students are willing to make new discoveries and able acquire new knowledge, insights and skills regarding visual and theoretical aspects, as well as
in the photographic field.
++ Students are able to develop and implement their own working processes and
to document and archive their work.
++ Students are able to justify their choices
to use and implement certain sources,
materials and/or visual solutions.
++ Students demonstrate broad interest
in sociological and cultural developments, in addition to recognising different approaches in photography.
++ Students are able to realise their own
goals while adjusting to others.
++ Students are able to substantiate their
choice of specialisation.
The development of a photographer/
image maker commences at the start of
the programme. A professional photographer is not simply someone who takes
pictures. Professional photographers
share many characteristics with other
visual artists. The general visual development of students therefore takes first
priority in the curriculum. Attention is also
paid to specific visual aspects related to
the medium. The focal point is the work
process, with the goal of developing concepts. The development of digital skills is
the same importance as is the development of skills with regard to photographic
tools and techniques.
Theoretical domain
In the propaedeutic year, all students are
taught general art and cultural history and
academic skills. Students also participate
in a programme covering the history of
and reflection on art and photography,
thus acquiring an extensive frame of reference. They visit exhibitions and museums
throughout the year, where they analyse
and reflect on the work of others, both
verbally and in writing. Debating skills on
various topics are developed in the Career
Orientation course. Students are expected
to write reports in various courses.
Professional development takes place
throughout the year, primarily through
self-study. Students are required to visit
exhibitions on their own, creating and
maintaining a personal archive of reviews,
book reviews and general information
relating to the profession. In the Career
Orientation module, these activities are
related to the attitudes needed in order
to work in the field and to meet to the
demands of the discipline. At least two
project weeks each year are reserved for
investigating the professional field. During
one of these weeks, students visit photographers, editors, agencies and bureaus. In
the other project week, students engage
in fieldwork or visit a photo festival. Within
the Academy, guest lectures are organised regularly, in relation to current events
in the field. Students are encouraged to
participate in lectures and workshops in
the field.
Main Phase/Year 2
Proficiency and in-depth research
Semesters 3 and 4
The primary objective of the first part of
the main phase is to provide students
with a clear understanding of the field and
the professional practice within the specialisation of Documentary or Fiction. To
this end, the programme is expanded in
both breadth and depth. At the end of the
academic year, students are expected to
apply their full professional competence
to the creative process, demonstrating
a command of the actual profession as
well as of their own professional attitudes.
The execution of assignments is therefore assessed according to the requirements of the field.
of the programme:
++ Students are able to research and
develop their own ideas in a methodical and well-organised manner, drawing upon their artistic ambitions as photographers.
++ Students are able to evaluate their own
images and those of others with regard
to content and to visual and communicative qualities, in addition to justifying
their own photographic choices.
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++ Students know how to apply research
in order to acquire new knowledge,
skills and insights, using the criticism
from others to continue developing
their own work.
++ Students employ an inspiring way of
working, managing their working processes efficiently in terms of time and
priorities.
++ Students are able to interpret assignments, debriefing them verbally and
visually for specific goals and target
groups.
++ Students research social and cultural
sources in order to develop and identify a clear set of inquiries in their own
work; they are able to identify the goal
and audience for their photography.
++ Students are able to engage in collaborations, putting their talents to use
within them.
In the second year, the focal point of general visual development shifts to the replication and interpretation of methods. Students gain insight into the coherence of
content and form by learning to control
the creative process.
Concept development is examined
in several different courses in order to create understanding of the working methods (e.g. by analysing assignments, conducting substantive research, developing
ideas and developing and implementing
images). Students also have the opportunity to broaden their work areas with
elective courses in Audio Visual Media
and Interactive Media Design, which support research into the possibilities of the
artistic process.
Theoretical domain
Art/Photography History and Reflection
are taught throughout the year. In addition
to the fixed course content, students are
encouraged to extend the framework on
their own by conducting research related
to the practical course and/or projects.
The building of a personal file is indispensable in this research process. Students
are also asked to substantiate their opinions. Assessment is based on debates,
an examination and a paper.
In the courses Film Theory and
Media Theory, which are chosen in conjunction with the electives Audio Visual
Media and Interactive Media Design, the
frame of reference is widened and compared to that of photography.
Assignments in the curriculum proceed
from the demands of functioning in and
influencing the profession (i.e. the professional field) , which also constitute
guidelines for assessment. The criteria
are specified according to the working
methods used in the field. In addition,
practical courses in the specialisations
are supported by courses in communications and sociology, which focus on
the start of the assignment, objectives,
target audience and its consequences.
Main Phase/Year 3
Professionalisation
and presentation
Semesters 5 and 6
The entire year is dedicated to career
preparation. Students must now demonstrate their ability to meet the requirement
of making unique contributions to the
field, in addition to meeting the standards
of the outside world. The objectives of this
study year are for students to exhibit their
own work and function within the professional field outside the academy. Over
the course of the year, the internship is
completed, after which the written professional profile is assessed and adjusted.
The written report, with conclusions about
the internship period, provides the starting
point for the final year, in which students
are expected to bring this final phase to a
successful conclusion. At the end of the
third year, the course reviews and collective assessment are merged into a single
comprehensive assessment.
of the programme:
++ Students are able to formulate ideas
and define their goals, in addition
to engaging in research in order to
develop and implement their visual
concepts.
++ Students are able to adopt a position
and relate their own work to developments within the discipline that are relevant to the cultural and societal context.
++ Students have developed an authentic
vision on photography, to which they
are able to add depth.
++ Students are able to find the proper
balance between their journalistic and
market-oriented activities and those of
a more logistical, general and technical nature.
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++ Students are able to present and
explain their work and working methods convincingly, while keeping their
goals and the target group clearly in
view.
++ Students are able to make connections between their own work and that
of others, as well as between their work
and particular audiences. They are also
capable of using their work to react
appropriately to their target audiences.
++ Students are able to operate in a goaloriented manner within working situations, taking different roles and with
different responsibilities and interests,
in addition to applying their individual
talents to reach common goals.
Students explore the medium and determine their own positions. Attention centres on the students’ individual projects
and the distinguishing features of the execution of assignments. Authorship is evident in the breadth of the work and portfolio. Students demonstrate their ability to
use the contexts and settings in which the
creative work can manifest itself (e.g. exhibitions; magazines, books and other print
media; interactively and on the web). Concept development is specifically aimed at
the outside world. Whether working on job
assignments or on individual projects,
students are expected to demonstrate
awareness of the outside world and the
ability to take advantage of such insight.
Theoretical domain
In the course of the year, the student’s
theoretical knowledge expands further.
The history of and reflection on art and
photography are specifically applied to
further development in the critical review
of the medium in relation to the students’
individual positions in the field. The visual art and cultural world continue to play
an important role in this regard, and the
courses in communication and sociology help students to determine their positions. Students are assessed according
to debates, oral presentations and a written paper.
Throughout the entire year, the curriculum is guided by the professional social
domain. The outside world is brought into
the Academy through assignments based
on professional assignments. Students
present work in professional settings,
and they are assessed accordingly. The
assembling of a portfolio is of great importance in preparation for the internship,
which offers students the opportunity
to experience working in a professional
environment. In addition, the completed
assignments and projects are assessed
according to project proposals and plans,
budgets, funding and the ability to meet
deadlines.
Main Phase + final phase
Profiling and positioning
Semesters 7 and 8
In the final phase, students prove their
abilities by applying their professional
skills to position themselves within the
field. In this way, they demonstrate their
views on the photographic visual language, in addition to their ability to provide an artistic interpretation of the work
and to manifest themselves in such a way
that they acquire a starting position within
their chosen fields while influencing these
fields as well. The examination project
is presented in a professional manner,
including descriptions, budget and funding. Students must also create support
for their examination projects outside the
Academy by publishing at least one part
of the work or by finding a commissioning party or sponsors for their projects.
Work on the examination is performed
throughout the entire year.
The competencies for the final
phase correspond to the final qualifications of the programme.
Creative ability
++ Students are able to develop, implement and contextualise distinctive
imagery in a meaningful way, drawing on their artistic ambitions and the
results of their research.
++ Students form their points of departure
based on their personal artistic visions,
placing them in a broader cultural and
social perspective.
++ Students use artistic and technical
problems to develop comprehensive solutions, and they demonstrate
their ability to use knowledge of and
insight into the ways in which images,
shapes, materials, proportions and colours evoke experiences and transfer
meanings. Students also find relevant
resources with which to photograph in
an effective manner.
++ Students employ methods that question the concept (and/or process) on
several occasions, and they use these
findings to arrive at a better design.
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++ In their work, students demonstrate
their ability to transfer meanings and
cause experiences.
Capacity for critical reflection
++ Students are able to reflect on, analyse, interpret and judge their own work
and that of others, thinking through the
results in order to implement them positively in their own work.
++ Students evaluate results based on
communicative effectiveness and artistic value, justifying and overseeing the
implications of choices and decisions.
++ Students demonstrate awareness of
different views existing within the field.
++ Students demonstrate the ability to
investigate all matters that are important for a design.
++ Students extend their knowledge of
traditions and theories related to the
discipline and of various visions on
and approaches to their chosen professions based on both historical and
contemporary philosophical insights
(especially ethics and aesthetics) that
are of potential importance to photographers.
Capacity for growth
and innovation
++ Students are able to develop the depth
and breadth of their visions, work and
working methods through a continuing
process of research, thereby contributing to the discipline and to society.
++ Students demonstrate a desire to
develop their personal artistic visions
further.
++ Students demonstrate the ambition to
excel.
++ Students demonstrate a critical and
inquiring attitude regarding their work.
Each student is able to develop this
further into a body of work and an individual position.
++ Students are able to acquire new
knowledge, insights and skills concerning techniques, legislation, processing
and application possibilities, as well as
public and professional approaches.
++ Students use criticism from others as
a source of further development.
++ Students are able to arrange inspiring and functional working situations
and organise their research, work and
practice.
++ Students develop their own work processes, and they are capable of seeing
how various aspects of the medium
are interconnected within the discipline.
++ Students make business arrangements, with the ultimate goal of working independently as photographers.
++ Students are capable of managing the
work process and finding a balance
between substantive research, photography, logistics, facilitating and public
activities.
++ Students know how to locate possible
expertise through colleagues or specialists from other disciplines and how
to collaborate with them.
++ Students know how to document and
archive their work.
++ Students are able to present their
visions, research and work convincingly, engaging in dialogue about it with
clients and other interested parties.
++ Students are capable of obtaining and
interpreting job assignments.
++ Students demonstrate the ambition to
publish and exhibit their work and proclaim their own opinions.
++ Students have an overview of the market and the mass media.
++ Students are capable of finding support for their work.
++ Students communicate about their
work orally, visually and in writing.
++ Students make and maintain contacts
that are relevant to their own networks.
External awareness
++ Students are capable of relating their
authorship to the artistic and societal
context.
++ Students have a vision on the role and
position of their discipline, and they are
able to relate their work and convictions to those of others, as well as to
developments in the cultural and social
contexts.
++ In their work, students focus on the
user and acquire knowledge necessary to adapt appropriately to particular
groups of users.
++ Students are able to research all
aspects relevant to their work.
++ Students study the work and visions of
their peers, both nationally and internationally.
++ Students place their own work in the
perspective of traditions and theories
related to the field.
++ Students recognise a wide range of
views in relation to the profession of
photographer from both the historical
and the contemporary perspective.
119
s tudy guide
++ Students are inspired by a range of cultural and social sources, and they are
able to recognise and identify them in
their own work.
++ Students reflect on the function of the
discipline in society.
++ Students are capable of making independent artistic contributions to communal products or processes.
++ Students are capable of guiding collaborative efforts and providing content
and quality.
++ Students are able to achieve their goals
while working with others.
++ Students are capable of utilising their
talents and abilities in collaborative
efforts.
++ Students are able to employ different
roles, responsibilities and interests
effectively and respectfully in the process of photographing.
After having engaged in extensive exploration of the professional field, students
use the final phase to sharpen and specify
their own visual signatures, proceeding
from specialisation and profiling within
the medium. Students consciously strive
to locate the boundaries of the discipline,
moving beyond them if possible. This is
particularly important with regard to the
presentation of their work. The experience of the work plays an important role
in the development of the communication concepts.
Theoretical domain
The thesis is the culmination of the
research conducted for the practical work.
In the thesis, students establish their work
and their position as makers within the
broader context of the discipline. In the
thesis, students demonstrate their ability to engage both the historical and current situations of the medium, in addition
to the situation of culture in general. The
determination of standpoints is crucial
in this regard.
The activities of the examination are
placed in the context of professional practice and developed further. This means
that special attention is paid to all matters related to the entrepreneurship of the
photographer. One part of the examination includes a project in which students
demonstrate their ability to place the work
in the context of the discipline. In addition to the examination projects, students
are expected to write business plans and
generate publicity for their examination
projects.
The content of the final stage of the
part-time programme corresponds to that
of the full-time programme. The projects
are adapted to fit into three semesters.
The objectives associated with the final
phase of the programme are the same
as the final qualifications and the associated competencies.
2.6.5 Organisation
of the department*
The photography department has jointheads: both are responsible for the
department’s policy and all aspects
and its professional structure. The coordinator is responsible for the day-to-day
organisation of the department. Coaches
are the first point of contact for matters
related to study planning and problems
arising with regard to the study.
Departmental communication takes
place through the student portal of the
KABK website, which contains all information regarding the study programme.
The homepage of the student portal has
a blackboard for daily announcements.
With a few exceptions, all of the lectures have their own professional practices, working either independently or in
a team. Because of the diversity in experience and expertise, students are confronted with numerous aspects of and
approaches to the discipline. Guest lectures are organised to provide specific
knowledge of the professional field.
Heads of department
++ Lotte Sprengers
++ Rob Hornstra
Coordinator Full-Time
++ Marlène Kromhout
[email protected]
Coordinator Part-Time
++ Raimond Wouda
[email protected]
Coordinator Internship
++ Lotte Sprengers
Staff
++ Anna Abrahams
++ Vincent van Baar
++ Ellen Dosse
++ Theo van Dusseldorp
++ Jan Frederik Groot
120
photogr aphy
++ Thijs groot Wassink
++ Johan Gustavsson
++ Sebastiaan Hanekroot
++ Rob Hornstra
++ Judith van IJken
++ Anja de Jong
++ Ton van Kints
++ Ben Krehwinkel
++ Ola Lanko
++ Ilse Leenders
++ Anneleen Louwes
++ Deen van Meer
++ Hans van der Meer
++ Krista van der Niet
++ Kim Nuijen
++ Pawel Pokutycki
++ Nancy Schoenmakers
++ Lotte Sprengers
++ Ewoud Traast
++ Ari Versluis
++ Loek van Vliet
++ Simon Wald-Lasowski
++ Donald Weber
++ Raimond Wouda
Staff of Lecturers in Theory
++ Elke van Eeden
++ Ingrid Grootes
++ Ellie Smolenaars
++ Henriëtte Waal
Guest Lecturers
++ Simon Bainbridge
(external assessor June 2014-2015)
++ Kim Knoppers
(external assessor 2012-2013,
2013-2014)
++ Paul Reas
January 2014-2015)
++ Gerrit Scheurs
2009-2010)
++ Wim van Sinderen
(external assessor January 20082009, 2009-2010)
++ Bart Sorgedrager
2009-2010)
++ Ruud Visschedijk
2011-2012, 2013)
++ Harvey Benge
++ Lars Boering
++ Koos Breukel
++ Sarah Carlier
++ Joerg Colberg
++ Anton Corbijn
++ Ad van Denderen
++ Hans Eijkelboom
++ Simone Engelen
++ Miklos Gaal
++ David Goldblatt
++ Brian Griffin
++ Vincent van Gurp
++ Ken Grant
++ Eddo Hartmann
++ Jacqueline Hassink
++ Pieter Hugo
++ Hans Kemna
++ Erik Kessels
++ Geert van Kesteren
++ Sjoerd Knibbeler
++ Annelies Kuiper
++ Ruben Lundgren
++ Susan Meiselas
++ Corinne Noordenbos
++ Monica Nouwen
++ Erwin Olaf
++ Martin Parr
++ Andrew Phelps
++ Louise te Poele
++ Willem Popelier
++ Leonie Hampton-Purchas
++ Eddo Hartmann
++ Paul Reas
++ Elza-Jo van Reenen
++ Roel Santvoort
++ Scheltens/Abbenes
++ Dayanita Singh
++ Michl Sommer
++ Bart Sorgedrager
++ Sterre Sprengers
++ SYB
++ Frido Troost
++ Marcel van der Vlugt
++ Bas Vroege
++ Hannes Wallrafen
++ Munem Wasif
++ WassinkLundgren
++ Henk Wildschut
++ Donovan Wylie
++ Miao Xiaochung
++ Louis Zaal
++ Jasper Zwartjes
Workshop Photography
++ Frans de Grood
++ Andrew Valkenburg
*
121
visit www.kabk.nl.
competencies
photogr aphy
Propaedeutic Year
Main Phase, Year 2
Main Phase, Year 3
Main Phase, Year 4
Creative ability
You create work that
explores new directions
arising from the experiences and insights gained
throughout the programme.
You are able to research
and develop your own ideas
in a methodical and well
organised manner, drawing
upon your artistic ambitions
as photographers.
Creative ability
ideas and define your goals,
in addition to engaging in
and implement your visual
concepts.
You are able to develop,
implement and contextualise distinctive imagery in a
meaningful way, drawing on
your artistic ambitions and
the results of your research.
reflection
You are able to discuss your
own work and review its
You are able to evaluate
your own images and those
of others with regard to content and to visual and communicative qualities, in addition to justifying your own
photographic choices.
reflection
You are able to adopt a
position and relate your
own work to developments
within the discipline that are
relevant to the cultural and
societal context.
You are able to reflect on,
analyse, interpret and judge
others, thinking through the
results in order to implement them positively in
your own work.
Capacity for growth
and innovation
You are willing to make
new discoveries and able
acquire new knowledge,
insights and skills regarding visual and theoretical
aspects, as well as in the
photographic field.
You know how to apply
research in order to acquire
insights, using the criticism
from others to continue
developing your own work.
Capacity for growth
and innovation
You develop an authentic
vision on photography, to
which they are able to add
depth.
You are able to develop the
depth and breadth of your
visions, work and working
methods through a continuing process of research,
thereby contributing to your
disciplines and to society.
You are able to develop and
implement your own working processes and to document and archive your work.
You employ an inspiring
way of working, managing
your working processes
efficiently in terms of time
and priorities.
You are able to find the
proper balance between
your journalistic and marketoriented activities and those
of a more logistical, general
and technical nature.
working situations and
work and practice.
You are able to justify your
choices to use and implement certain sources, materials and/or visual solutions.
assignments, debriefing
them verbally and visually
for specific goals and target
groups.
explain your work and working methods convincingly,
while keeping your goals
and the target group clearly
in view.
visions, research and work
convincingly, engaging in
dialogue about it with clients
and other interested parties.
You demonstrate broad
interest in sociocultural
developments, in addition to recognising different
approaches in photography.
You research social and
cultural sources in order to
develop and identify a clear
set of inquiries in your own
work; they are able to identify the goal and audience
for your photography.
work and that of others, as
well as between your work
and particular audiences.
They are also capable of
using your work to react
appropriately to your target
audiences.
You are capable of relating
your authorship to the artistic and societal context.
own goals while adjusting
to others.
collaborations, putting your
talents to use within them.
You are able to operate in
a goal-oriented manner
within working situations,
taking different roles and
with different responsibilities and interests, in addition
to applying your individual
talents to reach common
goals.
You are capable of making
independent artistic contributions to communal products or processes.
122
123
photogr aphy
Photography full-time documentary (part 1)
Photography full-time documentary (part 2)
1
Year
1
Semester
2
2
3
3
4
5
Photojournalism
PhJour
4
Photography Fiction People
PhFicP
4
Documentary Photography
PhDoc
4
Photography Fiction
Mise-en-scène
PhFicS
4
Photography Technical
Skills, Technical Skills Lab
PhSk,
PhSkL
Photography
Documentary 1
PhDoc 1
4
Photography
Documentary 2
PhDoc 2
4
Autonomous Photography
PhAut
Image Development (presentation in the 3rd & 4th year)
ID
4
4
Digital Workflow & Skills,
Digital Lab
DIGI,
DIGIL
3
2
Graphic design
GD
2
ABPPW: multi disciplinary
projectweek
ABPPW
1
Audiovisual/film or
AV or
IMD
Final year project(s) 1
(assignment)
EX1
4
112
6
7
8
4
2
2
4
Semester
1
2
1
2
3
1
2
3
4
5
3
3
3
1
APhH
3
3
R&D
3
3
Sociology
SOC
2
2
Film Theory or Media Theory
(in combination with av or imd)
Fth or
Mediath
2
2
Studium Generale
SG
Thesis
Thes
37
4
6
7
8
6
3
3
1
6
6
7
7
4
6
2
2
Programmed Professional
PPSprog
Practice Skills (nww, fieldtrip ao)
2
2
2
3
1
3
Integrated Professional
Practice Skills
PPS
1
1
1
1
3
Internship: preperation,
internship and report (*)
IS
2
Career Orientation
1
2
Art/Photography History
and Reflection
Subtotal
Theoretical domain
3
2
1
Year
4
2
2
CO
3
2
24
10
Final year project(s) 2 (per
EX2
sonal profiling on 2 platforms)
Subtotal
Artistic & Technical Skills
4
19
19
14
12
14
5
18
Subtotal Social &
Professional domain
15
18
IST / Personal
Programming & Projects
Subtotal IST
Total
124
55
5
5
3
4
6
24
3
3
6
6
6
6
6
6
6
6
6
6
6
6
30
30
30
30
30
30
IST
36
240
30
30
(*)PHpt1 Personal archive, activities outside study program supported by the program PPS
PHpt2 Orientation on the workfield
PHpt3 Exhibition project
PhPt4 Orientation on the workfield as a replacement for an internship.
Taking part in Full Time PPS workshops supported by PPS classes without EC
125
photogr aphy
Photography full-time fiction (part 1)
Photography full-time fiction (part 2)
1
Year
1
Semester
2
2
3
3
4
5
Photojournalism
PhJour
4
Photography Fiction People
PhFicP
4
PhDoc
4
Photography Fiction
Mise-en-scène
PhFicS
4
4
Photography Technical Skills,
Technical Skills Lab
PhSk,
PhSkL
2
2
Photography Fiction 1
PhFic 1
4
Photography Fiction 2
PhFic 2
4
PhAut
ID
4
4
Digital Lab
DIGI,
DIGIL
3
2
Graphic design
GD
2
ABPPW: multi disciplinary
projectweek
ABPPW
1
Audiovisual/film or
AV or
IMD
(assignment)
EX1
4
112
6
7
8
4
Semester
1
2
1
2
3
1
2
3
4
5
3
3
3
1
APhH
3
3
R&D
3
3
Communication
COM
2
2
Fth or
Mediath
2
2
Studium Generale
SG
Thesis
Thes
37
4
6
7
8
6
3
3
1
6
6
7
7
4
6
2
2
PPSprog
Practice Skills (nww, fieldtrip ao)
2
2
2
3
1
3
Practice Skills
PPS
1
1
1
1
3
IS
2
Career Orientation
1
2
Art/Photography History and
Reflection
Subtotal
Theoretical domain
3
2
1
Year
4
2
2
CO
3
2
24
10
Final year project(s) 2 (per
EX2
sonal profiling on 2 platforms)
Subtotal
Artistic & Technical Skills
4
19
19
14
12
14
5
18
Subtotal Social &
Professional domain
15
18
IST / Personal Programming
& Projects
Subtotal IST
Total
126
55
5
5
3
4
6
24
3
3
6
6
6
6
6
6
6
6
6
6
6
6
30
30
30
30
30
30
IST
36
240
30
30
PhPt4 Orientation on the workfield as a replacement for an internship.
Taking part in Full Time PPS workshops supported by PPS classes without EC
127
photogr aphy
Photography part-time documentary (part 1)
Photography part-time documentary (part 2)
1
Year
Semester
2
3
1
2
3
4
6
2
Photography Technical Skills,
Technical Skills Lab
PhSk,
PhSkL
5
3
Digital Lab
DIGI,
DIGIL
3
3
PhAut
Photojournalism
PhJour
PhDoc
5
AV
ID
Graphic design
GD
(assignment)
EX1
Final year project(s) 2 (personal profiling on 2 platforms)
EX2
Subtotal Artistic &
Technical Skills
112
8
8
8
Semester
2
3
4
7
8
2
4
4
2
3
1
1
2
3
4
5
6
3
3
3
3
3
3
1
2
2
CO
Practice Skills (fieldtrip ao)
PPS
prog
Practice Skills
PPS
2
2
2
4
IS
1
1
1
4
EVC (Elswhere Acquired
Competences)
EVC
4
4
10
10
1
1
4
Subtotal Social &
Professional domain
4
6
2
58
7
7
5
7
7
5
4
4
6
6
6
6
4
4
6
6
6
6
30
30
30
30
30
30
2
2
IST / Personal Programming
& Projects
2
IST
10
14
14
14
14
14
3
3
3
2
2
APhH
3
3
R&D
3
3
Sociology
SOC
Fth or
Mediath
Thesis
Thes
38
7
8
Art/Photography History and
Reflection
Subtotal
Theoretical domain
6
1
Year
Career Orientation
(also through selfstudy)
Interactive Media Design (in
IMD
combination w/ Media Theory)
Audiovisual/film (in combination with Film Theory)
4
2
6
6
5
128
5
5
6
4
16
Subtotal IST
12
14
16
Total
3
3
3
5
3
3
32
240
30
30
2
PhPt4 Orientation on the workfield as a replacement for an internship. Taking part in Full
Time PPS workshops supported by PPS classes without EC
129
te x tile & fashion
130
131
2.7
Textile & Fashion
s tudy guide
s tudy guide
te x tile & fashion
2.7 Textile & Fashion
of the discipline
The Bachelor course Textile & Fashion
consists of two fully-fledged study programmes: Textile Design and Fashion
Design.
“L’art de capter l’air du temps.”
–Coco Chanel
The art of the designer could be described
as ‘the art of capturing the spirit of the
times’. Both the textile designer and the
fashion designer must possess, develop
and learn to refine this talent.
If we look at history, the function of
textile was traditionally limited to protection. Nevertheless, besides a purely functional purpose, weavers also managed to
incorporate the spirit of the times. Cloths,
carpets and fabrics, for example, reflected
the history of a community or culture, its
important events, status, wealth, vision,
aesthetics and origin. In this sense, textile
can be regarded as a canvas, reflecting
traditions and the spirit of the time. The
rich history of textile is therefore an important source of inspiration for both textile
and fashion designers.
The phenomenon of fashion, as we
know it today, emerged much later. The
real breakthrough occurred in the 19th
century with the emergence of the bourgeoisie and individualism, which became
a prominent theme in contemporary culture due to the Enlightenment. Charles
Frederick Worth was the first dressmaker
to present himself as an artist by signing
his name to his work on a label sewn into
the garment. He also decided to bring
out a new collection every year, thereby
introducing the phenomenon of constantly changing fashion trends. Later,
at the beginning of the 20th century, Paul
Poiret, who also surrounded himself with
artists, continued to push the boundaries of fashion. Thanks to these pioneers,
fashion was raised to a higher level and
acquired artistic as well as purely functional value.
Both disciplines, fashion and textile,
originated from craftsmanship. The tailor’s and the weaver’s crafts remain the
essential technical foundation from which
our designers-to-be develop their unique,
artistic style and express their creativity.
Nothing reflects the times quite as truly
as fashion and everything related to it.
132
Designers therefore need to be particularly sensitive to signs of transition.
They must develop a talent for sensing future developments and responding to changes in society in a personal
and visual way. They must find their own
form of expression – one that is relevant
within the realm of fashion or the world
of textile. This is done by reflecting on
fashion and textile, by analysing existing
concepts regarding ethics and aesthetics, and by adopting the flexible attitude
needed to survive in a constantly changing environment in order to make a statement nationally and internationally, and to
keep reinventing themselves. To arrive at
an individual visual language, designers
must reach beyond the limits of the discipline in search of innovative forms and
textures. Today’s designers must therefore immerse themselves in every form
of art and culture from which inspiration
could be derived, as well as be capable
of thinking and acting in an interdisciplinary way.
They must be able to develop their
own voice in a globalised fashion or
design industry – a voice that makes a
difference.
2.7.2 Study profile
Contemporary professional
practice: The professional
profile
Textile and fashion designers develop a
special skill, a visionary perspective that
allows them to capture the spirit of the
times better than anyone else. To cultivate this sensitivity, KABK’s study programme devotes much attention to reflection and research. The time in which we
live as well as the past, the arts and the
social context are important. Designers
should by nature be interested in the new
and unfamiliar. Rather than limiting themselves to their own domain, an interest
in other disciplines such as art, sociology, anthropology, semiotics, psychology
and visual culture is required, allowing
them to draw artistic, practical and theoretical knowledge from these sources
in order to develop a unique vision and
create authentic work in the form of a
collection. Of course, designers will also
familiarise themselves with the textile and
fashion world to determine their own role
and place in the industry.
The Textile & Fashion domain is
very diverse and calls for a disciplined
approach and attitude. It encompasses
not only creation but also visualisation,
environment, execution, presentation,
133
s tudy guide
communication and professional behaviour. Designers must be able to evolve
and grow, and develop a strong vision
that makes a difference. Whether they
opt for their own label or work in teams
for large fashion houses, it is imperative
that they master their craft perfectly. It is
also important that designers are broadly
developed, so that they are in tune with
society and are able to create their own
vision of it.
Sound professional knowledge,
coupled with relevant creativity, innovation
and accurate experimentation, is absolutely central to our programme.
Fashion designers
The focus of Fashion Design is on the
necessary and specific skills of the craft.
Alongside the importance of craftsmanship, most attention is devoted to innovation, experimentation, creativity and
relevance. The emphasis is on artistic
authenticity. Students are encouraged to
push their boundaries and develop their
personalities as fully as they can.
Finally, the programme includes
everything that forms part of the spectrum
of fashion, such as photography, style,
image development, presentation, communication, space and time. The ultimate
goal: addressing fashion in the broadest
sense of the word.
Textile designers
Textile Design offers a very broad spectrum of professional opportunities. These
opportunities will all be explored during
the programme, giving students the freedom to decide what kind of designers
they want to be: autonomous designers,
interior designers, industry or product
development designers, or designers for
fashion collections, to name a few possibilities.
It goes without saying that when it
comes to textile, the development and
processing of materials plays a crucial
role. In the programme, this knowledge is
linked to ultimate creativity. The freedom
to experiment with various disciplines
during the four-year course will allow students to make interesting – as opposed
to obvious – choices, develop a strongly
content-oriented signature style, and discover their identity as a textile designer.
Description of the programme
The objective of the study programme is
to train students to be independent and
professional designers. We guide their
individual development process in a semiprofessional context.
What is unique about KABK is that
the Fashion Design and Textile Design
courses are integrated into one study programme. However, each specialisation
has a separate approach and trajectory,
allowing students to graduate in either
Fashion or Textile. This ensures interaction and unique opportunities for creative
cross-pollination, which gives this course
a specific identity.
In 2003, the study programme of
KABK’s Textile & Fashion department was
completely rewritten following the model
of the fashion department of the Royal
Academy of Fine Arts in Antwerp, which
regards creativity, innovation and relevance as key capabilities. KABK shares
this philosophy and has applied it to its
study programme in The Hague.
Complex professional knowledge
forms the basis with which future fashion
or textile designers launch themselves
into further endeavours in the discipline
to create the most relevant collection or
project possible. Designing a collection or
creating a textile project therefore plays a
central role in the programme.
Students are encouraged to develop
their personal vision, style and creative
signature. Finding a relevant balance
between fashion on the one hand, and
the textile aspects of their work on the
other, is essential.
After the first joint semester in the
propaedeutic year, the textile and fashion
specialisations separate into two different
programmes. Students are required to
choose one of these programmes. Each
programme is characterised by extensive and intensive research, supported by
theoretical subjects designed to provide
students with the required content-based
skills. Courses such as Art/Fashion/Philosophy and Textile, Design and Costume
History form an important part of the curriculum and are included to stimulate the
development of a relevant and personal
creative interpretation. From the second
year, a historical costume or object, and
in the third year, an ethnic costume or
item, will be given as study assignment.
This assignment is seen as an important analysis and reflection exercise, and
forms an inspiring basis for the development of the student’s own professional
collection.
Another important course in the
programme is Drawing. Through model
drawing students are taught to examine,
to analyse and to think and design threedimensionally. The ultimate goal here is
to develop an authentic visual language.
Fashion drawing gives students the
134
te x tile & fashion
opportunity to develop their artistic talents
and qualities as designers while teaching
them to design and communicate.
Finally, technical skills are essential in order for the students to be able to
express all that creativity and to create an
innovative and experimental, high-quality
collection. Hence the focus on the technical aspects of the métier. In the textile programme a central place is dedicated to
exploring the three main technical skills:
weaving, knitting and printing. The fashion programme focuses on experimental
pattern studies, modelling, tailoring and
finishing.
for Textile & Fashion
Graduates are expected to meet the final
qualifications formulated by KABK, which
are listed in the competencies table at the
Diploma
Design (Bdesign) degree in either Textile
Design or Fashion Design. This qualifies
them for postgraduate programmes in
the Netherlands or abroad.
After obtaining the Bachelor degree in
fashion or textile design, graduates may
enrol in a Master programme in either
fashion or textile design (Mdesign). For
fashion designers, these postgraduate
programmes allow them to focus on collections, accessories and specialisations.
Textile designers focus on the interior, the
industry, product development and concept design.
overview: full-time
The Textile & Fashion department only
offers a full-time, four-year programme.
The first year is the propaedeutic year,
which is followed by the main phase. After
the second and third years, the final year
is completed with an internship, a thesis
and a fashion collection or textile project.
The propaedeutic phase can be
regarded as an orientation year in which
the students, during the first semester,
explore challenges in both disciplines with
regard to form, 3D, materials and techniques.
With the exception of the propaedeutic year, in which the design assignments
are mostly experimental in nature, the following three years are fully devoted to
the development of a professional collec-
tion or project. The designs are assessed
based on the professional standard. To
mimic a real-life professional environment, the work of students is evaluated
on the basis of fittings and the feedback
of teachers, each of whom are experts
in their field. Attention is paid to quality,
the entire work process, volumes, materials, drawings, execution, as well as to
samples and essential research. The final
year culminates in a fashion show for the
fashion designers and in installations for
the textile designers.
Each academic year is divided into
clusters which each represent a specific
domain in the programme and become
more refined and distinctive with each
study year. These clusters are:
++ Design I: textile design, fashion design
++ Design II: technical design (textile) ,
technical design (fashion)
++ Visualisation: visual development, photography
++ Drawing: model drawing, 2D forms and
colour studies, fashion drawing
++ Theory: art history, fashion, textile and
design history, thesis
++ Other: internship, Individual Study Track
Individual Study Track (IST)
The Individual Study Track is a one-day,
weekly programme in which students
develop their own highly individualised
programmes, in which anything is possible as long as it is related to their own
artistic research.
The assignments in each study year are
clearly aligned to serve a collection or
graduation project. They are designed to
guide the students in their search for a
personal style and creative signature. In
addition, guest lectures and workshops
are organised about specific professional
domains.
Propaedeutic year
Orientation to the
professional field
In the propaedeutic year the focus is on
the disciplines of Textile Design and Fashion Design, enabling students to orient
themselves prior to choosing one of these
directions in the second semester.
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Then a foundation is laid for a professional and international vision and
development. Knowledge and the mastery
of materials, techniques and conceptualisation are developed throughout the programme and, from the first year, form one
of the most important pillars for expressing their creativity.
In the propaedeutic year, creativity
is stimulated and encouraged in students
by allowing them to experiment freely,
giving them the opportunity to discover
and explore their creative personalities as
thoroughly as possible. Textile students
explore the various possibilities and disciplines that the world of textile has to offer.
Fashion students experiment with
forms, expressions, techniques and a
wide range of materials, exploring innovative ideas and the interaction between
fashion and the human body.
The propaedeutic phase offers a
wide range of supporting subjects. Knowledge of textile, various textile processing
techniques and experimental formal studies, together with image development and
drawing, are the basis for elaborating on
a concept and arriving at a design process. At the end of this year, the experimental designs are presented in combination with the outcome of the clusters.
For the fashion designers, this is a skirt,
a dress and an experimental creation; for
the textile designers, a reversible kimono,
a personal textile archive and an experimental design.
All first-year students follow classes
in pattern drawing and technical subjects
such as knitting, weaving and printing.
This gives them a useful repertoire of
skills upon which to draw in their further
studies, generating added value for both
disciplines.
which creating a historical costume in
fact is, the assignment is expanded to
include self-selected sources of inspiration, which are used to create a relevant,
contemporary design and interpretation.
At the end of the study year, the
fashion students present the results of
all clusters, their replica of a historical costume and a coherent collection of four
outfits inspired by it.
Year 2
Historical and social research
Fashion Design
After having explored the history of the
historical costume, third-year students
conduct research into the many different types of ethnic groups. Each fashion
student chooses a folkloristic or ethnic
costume for their collection as the point of
departure for an extensive study. Insights
gained into ethnic, technical and social
characteristics, supplemented by new
sources of inspiration, are used to design
a relevant, contemporary collection.
At the end of the third year, the students present the results of all clusters,
their replica of an ethnic costume and a
collection consisting of six silhouettes.
Fashion Design
For second-year students of fashion, an
intensive study of a historical costume
forms the starting point for the development of an individual collection. Students
choose a historical costume and use this
period as a guideline, source of inspiration
and research base from which to design
a contemporary, personal and authentic
interpretation. This is an exercise in analysis and research into sociological and
historical contexts, techniques, materials,
colour and texture. Based on the information gathered, the students then develop a
replica that reflects the original as faithfully
as possible. After this research phase,
Textile Design
Textile students also choose a historical
object, figure or material as the starting
point for their research into context, materials and techniques. They, too, make a
replica of their selected object. Using the
information obtained about materials, colours, techniques and social context, supplemented by new sources of inspiration,
the students are expected to present their
work in the form of an installation that
makes a contemporary, adequate and
innovative statement. Like the propaedeutic year, the second year offers students
the freedom and opportunity to experiment with a range of basic techniques,
including knitting, weaving, printing and
patterns, and to explore different textile
disciplines as a career option, such as
interior or fashion. Students may decide
to move in the direction of sustainable or
innovative textiles, or they may choose an
autonomous approach.
At the end of this study year, the
students present the results of all clusters, their historical textile replica and the
contemporary three-dimensional interpretation of the design.
Year 3
Delving into the diversity
of ethnic groups
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te x tile & fashion
Textile Design
Textile students study an ethnic or folkloristic textile or object to learn about a
culture which serves as a source of inspiration for an individual collection. Their
research includes analysing historical,
cultural and anthropological data, conducting technical research and studying
materials, colours, techniques and textures. The students experiment with various techniques in their search for alternative ways to produce a replica of the
selected textile or object. Personal horizons are expanded by drawing inspiration from other sources in order to arrive
at a relevant interpretation. The aim of
the assignment is to incorporate all this
research material in a contemporary and
innovative textile project which includes
various contrasts, structures, movements,
varieties and forms.
At the end of the third year, the students present the results of all clusters,
their replica of an ethnic textile or object,
and their contemporary textile project with
a three-dimensional translation.
Graduation year
Individual collection
Fashion Design
In the final phase of the programme,
during the graduation year, students are
free to choose a theme of their own. The
emphasis during this phase is mainly on
the students’ individual and autonomous
creation process and their personality
as a future designer. The theme and the
source of inspiration serve as a guide to
arrive at a relevant contemporary interpretation, via their personal blueprint and
creative signature. All acquired interdisciplinary skills will be utilised during this
stage of the programme and the graduates will develop partnerships with photographers, graphic designers, fashion
agencies, businesses and communications officers. In their thesis, students
reflect on their own work, the relevance
of their designer role and critically reflect
on their learning path.
The fashion designers must have
completed all clusters by this phase, and
are expected to present their thesis and
a collection of 10 silhouettes.
Textile Design
The textile designers are also free to
choose a theme and a textile discipline
for their graduation project. This project
must be of high quality and be an expression of the graduate’s creative personality.
The final project must be a three-dimen-
sional installation. The textile design, entire
research process and personal experiment with different textile techniques will
be evaluated.
Like the fashion students, the textile students work in an interdisciplinary
manner to achieve their project goals and
are expected to present the final result in
a visual way.
The textile designers must have
completed all clusters by this phase, and
are expected to present their thesis and
a three-dimensional textile project.
Walk-through and
concept discussion
The final result, the fashion collection or
textile installation, is presented to a team
of lecturers with their own professional
practices from the first year onwards.
For the fashion designers, the presentation includes a number of fittings; for the
textile designers, it takes the form of an
installation.
The fashion designers will be evaluated based the skills they have developed
and which are necessary for the métier,
such as insight into formal studies, cut,
pattern knowledge, moulage, drapery,
modelling, knowledge of machinery and
materials, converting two-dimensional
images into three-dimensional forms
working from a fashion drawing, sewing
techniques and finishing.
For textile designers, knowledge of
textiles is of paramount importance. Students are expected to master all the techniques and finishes, and must be able
to apply them to their creation or design,
which of course must reflect their unique
vision and personal creative style.
Supporting courses
Visual development
This course focuses on the development
of a unique visual language. Students
learn how to create images and make
them concrete through the use of collage,
photography and drawing. A personal
style or ‘signature’ is obtained through
intensive research, image analysis and
drawing. Students learn to turn experimentation, creativity, innovation, reflection,
knowledge, intuition, emotions or passion
into a visual language that is unique to
them. This process is also useful in developing their own artistic vision and will give
them the tools to communicate with the
outside world, including the professional
world, through these images.
This visual language will be used
in a later stage to create a house style,
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collection books, websites and portfolios
for the purpose of internships, the press,
magazines, competitions, job applications
and individual projects.
Photography
Through photography, the students first
learn to observe, and later also to visualise. The visual culture is an important
source of inspiration and offers students
a framework for developing their own contemporary images.
tion to surroundings, society, behaviour
and standards in relation to the fashion
trends. Students also develop a critical
attitude towards fashion trends and fashion in general. They are provided with a
chronological overview of western costume and clothing history and design and
they conduct research on the relationship
between lifestyle, crafts and techniques.
Thesis
Upon entering the final year, students
have knowledge of the most important
Drawing
developments in art and design. They
Drawing is an important component of the are able to reflect, undertake independacademic study programme and many ent research and present their findings
aspects of this discipline are covered, orally and in writing. In this study compoboth in the Textile Design and Fashion nent, each student is individually superDesign programme. The ultimate ‘goal’ vised in the completion of the programme
for each field is the development of a per- with a thesis that is relevant to the work,
has substantial depth and that provides
sonal style.
In the model drawing lessons, the insight into the student’s views and opinfocus is on drawing from the nude and ions about art and design in a contempostill-lifes, through which students are rary and historical context. Students are
taught about anatomy, proportions and also expected to provide a written expladrawing techniques.
nation of their work for the final examiTwo-dimensional forms and colour nation, along with a core description of
theory are topics in which themes such themes and point of views.
as space, colour and line are explored.
Fashion drawing helps the fashion
students develop their own artistic expression and create a design from the drawProfessional development
ing board. Textile students search for their The final assessment in the final phase
own form of expression and learn to vis- also marks the achievement of the career
ualise the design process by instruction preparation.
and practice in observational drawing.
The presentation of the textile and
fashion collections is organised as an
Theoretical domain
independent exhibition of the graduate’s
work in the city of the Hague. Students
Art history
complete the final presentation by adding
All students at the Academy need a solid their own surroundings or contexts and
theoretical base. In addition to knowledge, by directing the presentation themselves.
this foundation rests upon insights into The members of the final examination
such aspects as history, paradigms, the- committee evaluate the graduation canories and processes that are related to didates and their collections. The departthe students’ disciplines, as well as to ment’s exhibition also offers students the
other disciplines that could help students opportunity to display their work to fashion
develop as individuals and as designers. and textile professionals, the press and a
A basic knowledge of art history and phi- large audience.
losophy is essential to the meaningful
The second phase of the presentarealisation of the professions of textile and tion evaluation focuses on the following
fashion design within the general frame- aspects:
work of artistic development.
++ synthesising the design procedure with
Fashion, textile
a personal signature (total collection
and design theory
of 10 outfits and a textile installation)
Fashion theory addresses the rela- ++ developing a personal style (image)
tionships between fashion and soci- ++ developing a general style (for Exposed:
ety, between fashion and context and
the textile and fashion exhibition at the
between fashion and culture. Students
end of the school year)
are introduced to the social and sub- ++ completing the portfolio
stantial functions and relevance of fashion. The course constitutes an orienta138
te x tile & fashion
++ realise a magazine in collaboration
with external agencies (graphic design
department/agencies, model agencies,
photographers or department), advertising, printing
++ preparing the individual presentation
and reception
++ preparing the installation for Exposed
and the general graduation show
++ internship
Assignments
Propaedeutic year
Unlimited creativity in combination with
thorough technical research and formal
studies are the basis for the first-year
assignments.
The first semester includes:
++ Designing and conducting preliminary
studies for creating a cotton skirt: study
of form, material and expression.
studies for a textile work with a personal
signature.
The second semester includes:
Fashion Design:
studies for a dress in an experimental
material of the student’s choice.
++ Experiment in which at least three different materials are used for one silhouette.
Textile Design:
++ Reversible kimono for which different
techniques (e.g. knitting, weaving and
printing) are used.
++ Textile and fashion design
++ Technical textile and fashion design:
weaving, knitting, printing
++ Visualisation: visual development
++ Drawing: model drawing, fashion drawing, 2D forms and colour studies
++ Theory: introduction to general art history, introduction to science, costume
and design theory
Year 2
++ Study of a historical costume, figure
or object and the creation of a replica
using all the information obtained. This
study is an exercise in form, technique,
context and style. The replica should be
made from white cotton and reflect the
original as faithfully as possible.
++ Designing, drawing and creating a collection of four fashion outfits or a textile
installation. Research and presentation
form part of the process. The starting
point is a historical perspective and a
freely chosen source of inspiration. The
Textile programme also includes colour studies.
++ Design I: textile design or fashion
design
++ Design II: technical design textile, and
technical design fashion, draping
++ Drawing: model drawing and 2D forms
and colour studies, or model drawing
and fashion drawing – technical drawing
++ Theory: art history, fashion theory
++ Individual Study Track.
Year 3
++ Research into and creation of a replica of an ethnic costume and/or object
(including preliminary studies) . The
replica should reflect the original as
faithfully as possible, both in terms of
material use and colour use. The costume will be presented in an appropriate atmosphere, setting and casting.
++ The purpose of this assignment is to
arrive at a contemporary and authentic interpretation. For Textile, the focus
this year is on texture.
++ Design I: textile or fashion design
++ Design II: technical design textile and
++ Drawing: model drawing and 2D forms,
colour studies, or model drawing and
fashion drawing, technical drawing
++ Theory: art history, fashion theory, business plan writing
Year 4
++ Creation of a final collection working
from a freely chosen, well substantiated
theme. For the fashion designers, the
graduation project comprises a collection of ten silhouettes. For the textile
designers, the graduation project is a
textile project with a three-dimensional
translation.
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s tudy guide
++ Design, realisation from start to finish,
and presentation of a collection of ten
fashion outfits with appropriate casting, including intensive research and
drawings. Or a textile project with a
three-dimensional translation, in combination with an interesting experiment
and textile design.
In the final year, textile graduates will also
make a magazine and organise an exhibition with installations of their own work.
Fashion graduates will organise a fashion
show that resembles those in the professional fashion world.
++ Design I: textile or fashion design
++ Design II: technical design textile and
++ Visualisation: visual development,
photography, portfolio, magazine
++ Drawing: model drawing
++ Theory: thesis
++ Other: Individual Study Track,
internship
te x tile & fashion
2.7.5 Organisation
of the department
The head of department is responsible for
the department’s policy and all aspects
and its professional structure. Many of
the lecturers have an international background and their own professional practices in which they work independently
or in teams.
The diversity of the team of lecturers
ensures that students are confronted with
a wide range of aspects and approaches
relating to the profession. Specific practical knowledge is also offered through
guest lectures.
Head of department
++ Jurgi Persoons
[email protected]
Coordinator
++ Gerrit Uittenbogaard
[email protected]
++ Sanne Jansen
[email protected]
Credit points overview
NOTE: for the most current overview of
www.kabk.nl > studies >
textile & fashion
Internship coordinator
[email protected]
Team of lecturers
++ Els de Baan
++ Anoek van Beek
++ Hil Driessen
++ Jan Jan van Essche
++ Chris Fransen
++ Hilde Frunt
++ Desiree Hammen
++ Eric Hirdes
++ Mirjam Ingram
++ Elisa van Joolen
++ Nico Laan
++ Natasja Martens
++ Jurgi Persoons
++ Joost Post
++ Peter de Potter
++ Laut Rosenbaum
++ Wim Ros
++ Neeltje Schoenmaker
++ Bob Verhelst
++ Roy Verschuren
++ Robert Volmer
++ Ellen Vos
++ Marina Yee
*
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visit www.kabk.nl.
141
competencies
te x tile & Fashion
Propaedeutic Year
Main Phase, Year 2
Main Phase, Year 3
Main Phase, Year 4
Creative ability
method.
Creative ability
design solutions.
reflection
reflection
regard.
work.
Capacity for growth
and innovation
practical level.
Capacity for growth
and innovation
work.
terms
prioritisation.
activities.
design solutions.
images.
interested parties.
on design.
work.
your target group.
others.
process.
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Te x tile & Fashion
Fashion
Textile
1
Year
Semester
1
Textile and Fashion Design
7
Fashion Design
Technical Aspects and Skills
4
2
2
3
3
4
5
4
6
1
Year
7
8
Semester
1
Textile and Fashion Design
7
2
3
4
2
3
4
5
6
7
7
7
7
7
7
3
7
7
7
7
7
3
Fashion Design
4
4
4
4
4
2
Technical Aspects and Skills
4
3
3
2
2
1
(Introduction to) Textiles and Weaving
2
3
3
3
2
2
Draping
Introduction to Textiles and Weaving
2
2
Knitting
2
3
3
3
2
2
Knitting
2
2
Print and Dessin
2
3
3
3
2
2
Model Drawing
2
2
2
2
2
2
1
Fashion Drawing
3
Visual Development
2
2
1
1
3
3
1
Concept and Perception
2
1
1
1
1
Textiles and Space
2
1
1
1
1
1
1
1
1
1
1
1
1
2
2
Print and Dessin
2
2
Model Drawing
2
2
2
2
Fashion Drawing
3
3
2
2
1
1
Technical Drawing
2
2
1
1
Visual Development
2
2
1
1
2D Forms and Colour Studies
2
1
1
1
1
1
2
1
1
1
1
1
Fashion and Textile History
1
1
2
2
Art / Fashion Filosophy
Photography
Fashion and Textile History
1
1
Art / Fashion Filosophy
Studium Generale
3
1
2D Forms and Colour Studies
3
1
3
6
6
6
6
6
Thesis
Internship
Graduation Project
Total
6
IST
6
Thesis
18
30
30
30
30
30
30
30
Note that although classes are scheduled for all subjects in semester 8, they are all supporting the Graduation Project.
Therefore, the associated workload is included in the Graduation Project.
Note: 5EC will be deducted (put on hold) from the obtained study credits in case of an insufficient collective grade.
144
1
2
1
1
1
3
3
6
6
6
6
6
15
Graduation Project
Total
6
6
18
Business Plan Writing
1
30
1
Internship
15
Business Plan Writing
1
Studium Generale
ABPPW
IST
2
Photography
1
1
ABPPW
3
8
1
30
30
30
30
30
30
30
30
Note that although classes are scheduled for all subjects in semester 8, they are all supporting the Graduation Project.
Therefore, the associated workload is included in the Graduation Project.
Note: 5EC will be deducted (put on hold) from the obtained study credits in case of an insufficient collective grade.
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s tudy guide
s tudy guide
146
147
prepar atory education
148
149
3.
Preparatory
Education
s tudy guide
prepar atory courses
150
151
3.1
Preparatory
Courses
s tudy guide
s tudy guide
3.1 Preparatory courses
The Royal Academy of Art (KABK) in The
Hague offers the following options to
prospective students wishing to prepare
themselves for one of the regular study
programmes at the Academy:
++ School for Young Talent
++ Preparatory year
++ Orientation course
++ Combined education
++ Kids Club
In addition, several secondary schools
participate in partnership projects with
the Academy, which allow pupils of these
schools to take classes at the academy
as part of the regular art curriculum.
Whenever possible, the Academy provides the art and visual education classes
(KUBV; formerly the third level of cultural
and artistic education, or CKV 3) in the
upper levels and fulfils the examination
requirements established for this course.
Such partnerships have been concluded
with the following schools:
the routes that are best suited to them.
The KABK offers the following preparatory courses:
++ Kids Club (Years 7 and 8 of primary
education: ages 10-12)
++ Partnership arrangements with secondary schools (Segbroek College in The
Hague, Bonaventura College in Leiden,
Rijnlands Lyceum in Wassenaar and
Zandvliet College in The Hague)
++ School for Young Talent (our own secondary school pupils of HAS, HAVO
and VWO)
++ Combined education, in which secondary pupils take classes within the art
plans or the School for Young Talent
++ Preparatory Year (full-time for one year
after secondary education)
++ Orientation Course (Saturday Course)
Participation in one of the Preparatory
Courses is subject to admission. Applicants should bring as much different work
as possible to the admission interview.
Appointments can be made through the
Student Administration office.
++ Segbroek College, The Hague
++ Bonaventura College, Leiden
++ Rijnlands Lyceum, Wassenaar
++ Zandvliet College, The Hague
More information
Chief Coordinator for
Preparatory Courses
Efforts are currently underway to expand
the range of art programmes offered
and the coverage within the surrounding area. Several schools in Zoetermeer
and Alphen aan de Rijn are currently in
consultation with the KABK regarding
the possibility of joining the preparatory
courses.
General information
The KABK offers a wide range of preparatory courses. All are aimed at bringing people into contact with art education and offering them programmes that
correspond to their specific needs and
levels. Selection and orientation are key
terms in this regard. On the one hand, the
Academy wishes to offer talented people
the opportunity to enhance their qualifications, the ultimate goal being for them
to be able to progress to professional
art education. Secondly, the preparatory
courses offer participants the opportunity to investigate whether a study programme at the Academy and the prospect of a career as an artist or designer
are a viable option for them. The possibility of transferring between the various
preparatory courses gives participants as
many opportunities as possible to follow
152
++ Zanne Zwart
[email protected]
Coordinator of Preparatory Year
++ Nieke Koek
[email protected]
Admission consultation hours: by appointment, admission consultation hours for
pupils and parents: by appointment.
3.1.1 School for Young Talent
The School for Young Talent (SYT) is a
school established by the University of
the Arts, The Hague, for pupils in primary
education (Years 7 and 8) and secondary
education. The school offers programmes
at three levels of the Dutch school system: HAS, HAVO, and VWO. The school is
open to pupils who would like to progress
to the KABK, the Royal Conservatoire or
the Conservatoire’s Dance Department.
The SYT is a small-scale programme in
which individual attention for pupils plays
a central role.
The education is offered in the
framework of the HAVO and VWO subject clusters Culture and Society. Other
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s tudy guide
profiles or subject choices are possible
through the Academy’s intensive partnership with the Rijnlands Lyceum in Wassenaar. An administrative partnership
exists between the SYT and the Haagsche Schoolvereniging and the Rijnlands
Lyceum in Wassenaar. The schedule is
arranged in such a way that pupils taking the art component take classes at the
Academy at least four times a week. The
fixed school subjects are taught in secondary school building housed within the
Royal Conservatoire. In this building, the
pupils in the visual art group take combined classes with pupils of dance and
music.
Participation
A two-part admissions procedure applies
for pupils wishing to participate in the
combined classes at the SYT and the
KABK. Although pupils in Year 8 of primary school can undergo the admissions
process, pupils can only enter in the art
department of the SYT once they have
started secondary school. Candidates
are assessed to determine whether their
artistic level is sufficient for the classes
at the Academy. In the case of a positive
assessment, an interview follows with the
director of the SYT in order to determine
whether the applicant’s academic level
is sufficient and whether it corresponds
to the educational programme offered.
If both components receive a positive
assessment, the applicant can be placed
in the KABK/SYT. Interim admission (i.e.
in all years and at all levels) to the SYT is
possible. In practice, this does not apply
to the examination year. Interim admissions require consultation with the educational programme that the student has
been following up to that point. Many individual-level variants are possible, that can
result in a regular HAVO or VWO secondary-school diploma in addition to preparation for the Academy.
For the 2015/2016 academic year,
the tuition fees for the SYT are set at
€ 1,750. This does not include costs for
materials and excursions. For additional
information, please see the separate brochure from the School for Young Talent.
See also:
++ www.svjt.nl
++ www.koncon.nl
Pupils who have been admitted for the
programmes in visual arts take classes
at the Royal KABK in The Hague, which
is located at 10 minutes’ walking distance
from the Conservatoire. Classes offered in
the initial phase of secondary school education introduce pupils to various materials and techniques and teach them to
realise and elaborate their own ideas, in
addition to other opportunities. This provides students with a good foundation for
the secondary phase, where they make
well-considered choices and enter a more
individually oriented track, in preparation
for a subsequent study programme in art
education. In the examination year, each
pupil builds up a broad portfolio specifically aimed at admission to one of the
study programmes of the KABK.
Courses included in the curriculum
of the art component include Drawing/
Painting, Photography, Graphic Techniques, 3D, Concept Development, Theory, Interdisciplinary and Art Theory, in
addition to supplementary modules that
provide orientation with regard to the various specialisations offered at the KABK.
Students also have the opportunity to
work independently within the Academy
and to use various facilities, including the
library and the wood, metal, multimedia,
3d printing, photography, graphics and
textiles workshops. Customised curricula
are possible, in consultation, provided that
the overall range of education allows for
this. Pupils attend the KABK for at least
three half-day periods each week. They
are supervised by lecturers who are familiar with both secondary education and
the training provided at the Academy. All
the lecturers are practising artists themselves.
Collective assessments are conducted twice a year. For the ‘Christmas’
and ‘Summer’ assessments, individual
pupils create displays of their work from
the past semester in designated locations
within the Academy building. The team of
lecturers views these presentations jointly,
asks the pupil questions, and issues an
assessment. If the Christmas assessment is unsatisfactory, the participant has
the time remaining until the next assessment in which to improve. In most cases,
if the final assessment of the school year
is unsatisfactory, the participant will not
be allowed to continue the study programme. In special cases, participants
may be allowed to retake the art component, to perform a task or to receive a conditional pass for the art component. The
curriculum devotes considerable attention to excursions, cultural trips and exhibitions. There are also many projects in
which the pupils participate. Participants
can also use the facilities offered by the
Academy, subject to the rules regarding
safety relative to their age. A separate
154
classroom area is reserved exclusively
for use by pupils of the School for Young
Talent. The ‘SYT Workshop’ is launched in
the 2014/2015 academic year. This classroom space has the form of one large
communal workshop. Additional information is available on the website and in the
BK newsletters at www.svjt.nl.
Study variants
Pupils can participate in the programme
from the first year of secondary education.
Pupils who are even younger can take a
selection of subjects at the Academy in
combination with the programme provided by their own school. It is also possible for pupils to transfer in later years.
Pupils who have completed the theoretical track of VMBO at another secondary
school can apply for admission to the
School for Young Talent to complete the
HAVO curriculum in combination with
the visual arts programme. Pupils who
attained the HAS traject and took a State
Examination at VMBO theoretic level, can
follow a special programme by contract
and take several HAVO subjects. This
contract is rewarded a sufficient level for
the pupil to do admittance for a Bachelor
study at the KABK.
Special combined
learning track
It is possible to combine secondary education at the KABK with an external study
programme. This is usually arranged
on a case-by-case basis, because the
schedules do not always mesh. In theory,
it should be possible to follow at least
part of the curriculum followed by pupils
of the School for Young Talent. Participation in this preparatory track is subject to
an admissions procedure. Where possible, the applicant’s own school will be
consulted, in order to determine to what
extent participation in the preparatory
track can be combined with the regular
school curriculum. This form of participation is offered in exchange for a fee,
based on the number of classes/half-day
periods taken. Pupils taking final examinations at the School for Young Talent
in the visual arts programme receive a
separate certificate for the art component.
After earning their HAVO diploma, a pupil
can apply for admission to the KABK. The
following KABK study programmes are
offered at the level of higher professional
education (HBO): Fine Arts, Photography,
Graphic Design, Interior Architecture and
Furniture Design, Textile and Fashion,
Interactive/Media/Design and Inter-faculty
ArtScience. A separate admissions pro-
cedure is required for these programmes,
linked to the final examination for the visual work. These admissions are usually
organised jointly with students in the Preparatory Year.
Admissions
Pupils who want to participate in the combined classes offered by the School for
Young Talent and the KABK must undergo
an extensive admissions procedure.
Interim admission to the School for Young
Talent is possible. To apply for admission, the pupil must contact the Student
Administration office at the KABK (+31
(0)70-3154770) to make an appointment.
The pupil is asked to bring a portfolio (i.e. a
folder composed of original work created
by the student) to this appointment. They
can also bring a laptop to display videos,
photographs or other digital products.
Pupils are expected to use this work to
demonstrate what they have been doing
recently. The work will be examined for
evidence of creative capacity, motivation,
aptitude, ideation, uniqueness/originality and capacity for growth, in addition to
diversity and the ability to work with materials and techniques. All of these aspects
are discussed with the student during the
interview. After the admissions interview,
a decision will be taken on whether the
pupil is eligible for admission or whether
a second interview will be held, possibly
with a follow-up assignment. If the pupil
is eligible for admission, a second admissions interview will be held with the director of the school to look at the academic
component. If this aspect is also satisfactory, the pupil can be given a place.
For additional information about admissions procedures for the various study
programmes, please visit the website
www.kabk.nl.
SYT Director
++ Jan van Bilsen
Head of the SYT Visual
Arts Department
++ Zanne Zwart
[email protected]
3.1.2 Preparatory Year
The Preparatory Year is aimed at motivated people who still lack sufficient preparation to be admitted to the regular study
programme or feel a need for a broad orientation preparation before starting their
regular studies at the Academy. The Pre-
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paratory Year prepares participants for
all the study programmes offered by the
KABK. The objectives of the Preparatory
Year are orientation, selection and stimulation.
Admissions
If you want to participate in the Preparatory
Year you need to undergo an admissions
procedure to see if you can develop to be
a part of the professional art programme
and are motivated to fulfil the whole year.
Your skills and knowledge according to
the world of art are rated. Your work will
be examined for creative capacity, motivation, talent, ideation, originality and capacity for growth (openness), in addition to
diversity and the ability to work with different materials and techniques. This consists of an interview and a presentation
of work. After the final assessment of the
Preparatory Year, and depending on the
study outcomes, students may be admitted to the regular study programme at
the Academy.
In addition to the possibility of applying for direct admission to the Preparatory
Year, some students who have registered
for the regular degree programme may
also be advised to take the Preparatory
Year first. The Preparatory Year is aimed
at people who have already earned a
VWO, HAVO or MBO 4 diploma. For applicants who do not yet meet this admission requirement, there is also an option
of completing the required prior education through a contract with the School
for Young Talent (SYT) , the Academy’s
own secondary school. Information about
this option is provided under the heading
‘Special Combined Learning Track’.
Applicants can also take a special
test to demonstrate that their academic
capacity is equivalent to the HAVO level.
We therefore advise all Preparatory Year
participants who have not completed
HAVO, VWO or MBO to take this test as
soon as possible. If the outcome of this
test is negative, the student is advised
against further participation in this preparatory track and encouraged to seek
another more suitable study programme
outside the Academy. Additional information may be obtained in a consultation for
the preparatory courses.
Appointments for the admissions consultation hour can be made through the
Student Administration office:
+31 (0)70 315 47 70
Curriculum
The curriculum consists of a diverse
range of classes taught by lecturers
affiliated with the KABK. The courses
offered could be described as ‘observing and processing the world around you’,
‘observing and processing the art world’,
‘presentation’ and ‘disciplines’. These
courses focus on communication skills
and the capacity to transform experiences
and observations into images. There is
an emphasis on the study attitudes and
mentality that are needed to study at the
Academy.
The year can be divided into three
periods. The period before the Christmas
vacation is characterised by a broad orientation and includes assignments with
a wide scope, leaving space for individual
interpretations and approaches. During
the first period, students gain considerable experience viewing exhibitions, films
and other cultural expressions, and formulating reactions to these. A subscription to the Filmhuis and Theater aan het
Spui is included in the first period. The
study programme demands full-time
effort, autonomy and active participation
from the students.
After the first semester, students
choose the directions they wish to pursue
further. As a result, the second semester, which runs from January through
March, has a more individual character
and focuses more specifically on a particular subject area. Students are brought
into contact with the Bachelor department
of choice at the Academy.
The third part of the programme
consists of six weeks, starting from late
March, during which students work in the
Bachelor departments they have chosen, preparing themselves for the admissions procedure that will follow in late
May. As the above overview shows, this
programme has a tiered structure. Customised curricula are possible, in consultation, provided that the overall range of
education allows for this. It is also possible to work in a variety of workshops,
subject to the procedures and rules that
apply there. A number of excursions and
projects are also organised for students
to take part in.
Assessments
Assessment takes place at two points in
the programme. The first assessment is in
December, and involves the head lecturers of the various Bachelor departments.
The second takes place in late May. This
final assessment forms the basis for a
report, which also constitutes a certifi-
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cate of participation for the year. This final
report is connected to an admissions procedure. Individual students present their
work and select the department for which
they would like to apply. A special committee from this department will then administer a separate admissions procedure.
Students who are not admitted via
this procedure have sufficient time to
improve their portfolios in order to participate in the regular admissions round
of the department in question. The Preparatory Year is successfully concluded
when the student is admitted. During the
year there are three rehearsal presentation days.
Workspace
We advise all students in the Preparatory
Year to create their own workspaces/studios at home so that they can also work
at their own pace there, with a sufficient
variety of materials at hand.
Materials
The materials that are required are specified for each course. The Academy building houses a shop where materials may
be purchased. The ultimate cost of materials will differ and are strongly dependent
upon the choices and ideas of individual
students.
General information
Participants in the Preparatory Year are
not registered as regular students, and
they do not receive financial assistance
for students. The costs of participating in
the Preparatory Year amount to € 2,000,
including a fee of € 200 for the theatre
and film subscription and the excursions.
Parents may be eligible to receive additional benefits the form of child payments
if no financial aid is available for a study
programme. Information in this regard
is available at www.duo.nl. Classes are
held on three days, in order to allow students sufficient time during the week to
create work and to visit cultural sites and
events and, where relevant, for part-time
employment to help support themselves.
In addition to these class days, students
are expected to be present on five presentation days, as well as for excursions,
projects, a Saturday information day and
the open day.
Students who withdraw from the
Preparatory Year after 1 November 2015
cannot claim a refund of the tuition fees or
additional fees. To register for admission
and for additional information, please call
the KABK: +31 (0)70 315 47 70, or contact the Student Administration office to
make an appointment for an admissions
consultation.
Coordination
++ Zanne Zwart
[email protected]
++ Nieke Koek
[email protected]
3.1.3 Partnership projects
with secondary schools
In order to improve coordination
and pathways between secondary education and the degree programmes offered
by the Academy, and to offer secondary
school pupils the opportunity for a thorough preparation for such a study programme in professional art education at
the KABK, the Academy has several partnerships with schools within and outside
The Hague. Several other projects are currently being developed. Many secondary
schools are focusing more and more on
art and culture, as reflected in the establishment of schools with a specific culture profile.
Many secondary students find it difficult to form a realistic view of studying
within a professional art programme. In
addition, the quality standards applied by
most professional art programmes differ
from the standards and curriculum of art
subjects in secondary schools. Often, the
curriculum of the art subjects is insufficiently oriented towards the development
of talent. A number of the participating
secondary schools’ art classes currently
come to the Academy one afternoon a
week, to take classes that supplement
their own school curricula. Classes from
both phases of secondary education are
involved in this project. Where possible,
classes at the Academy are incorporated
into the regular school curriculum, thus
making the study load part of the regular
programme.
From these programmes, pupils
can transfer to more intensive forms of
preparation, including the actual preparatory courses, the School for Young Talent and the Preparatory Year. In the near
future, it will also be possible for pupils
from external schools to take their KUBV
examinations through the KABK.
Structure and courses
During the first three years of the ‘art plan,’
pupils are introduced to the various study
programmes offered at the Academy. This
allows them to acquire a broad foundation for the choices they make in the sec-
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s tudy guide
ond phase. We conform to the following
core objectives specified by the Ministry
of Education for the first three years:
1. Core objective 48:
Art production
‘By using elementary skills, pupils learn
to investigate and apply the power of various artistic disciplines to express their
own feelings, to document experiences,
to give shape to their imagination and
to realise communication’. Considerable
attention is devoted to reflection in each
class. All assignments call for students to
use their own imagination, with guidance
from the lecturers. In this way, pupils are
encouraged to represent their own worlds
in two-dimensional and three-dimensional
objects and digital products. Pupils document ideas and experiences in blank
notebooks known as ‘dummies’, which
are later used to create preliminary studies and come up with objects for autonomous assignments. A dummy is a personal journal in which the pupil can work
both during and outside of class hours.
This book makes an important contribution to the realisation of this core objective. This core objective revolves around
the production of art, which is what happens in every class, in the broadest sense
of the term.
Presentation of original work
‘Pupils learn to present their own artistic
work to third parties, both individually and
as part of a group’. The presentation of
original work regularly takes place within
each separate class, as well as upon
completion of a block of classes within
a single discipline. In addition, pupils
learn to discuss their work within their
own groups and to familiarise themselves
sufficiently with the relevant concepts to
explain their stories as well as possible.
At the end of the school year, all work is
presented jointly to an audience made
up of all interested parties. The collective exhibition, which is prepared by the
pupils, provides an opportunity to view
and discuss the work.
Learning to look at and listen to art
‘Based on a certain level of background
knowledge, pupils learn to look at visual
art, to listen to music and to watch and
listen to theatrical, dance and film performances’.
The art plan devotes considerable
attention to excursions in which looking at art plays a central role. In addi-
tion to separate excursions planned by
individual groups within each discipline,
a collective excursion with all the pupils
is always planned as well. During these
excursions, pupils experience art and culture in person, which helps them to understand and appreciate art. Each excursion
is accompanied by an assignment and
pupils report on the excursions in their
dummies. In addition, exhibitions are often
held in the gallery of the Academy building, which pupils are free to visit. Each discipline also pays attention to exhibitions
within the discipline that have a particular relevance to the subject matter of the
classes, allowing pupils to take the initiative to attend these exhibitions outside of
these classes.
Reporting on experiences
‘Assisted by visual or auditory resources,
pupils learn to report on their participation in artistic activities (as both observers and participants)’.
In their dummies, pupils keep a
record of their own experiences with art
and culture. These reports receive attention and discussion during the classes.
Pupils learn to express their experiences
with the artistic expressions of others,
including those of professional artists,
both orally and in writing. The development of individual opinions is of great
importance in this regard. The development of a good vocabulary with which
to communicate about art is taught in a
light-hearted manner.
Reflection on artistic work
‘Students learn to reflect orally and in writing on their own work and the work of others, including artists’. Within the art plan,
students learn to verbalise their opinions
of things and what they have learned during the creative process.
The art plan is intended for students with an above-average interest
in art. Within this plan at the KABK, they
are introduced to the various study programmes that the Academy has to offer.
We aim to offer these students a curriculum that is as good and diverse as possible and that achieves the core objectives stated above. We hope that this will
provide students with an incentive to continue within the world of art. Our art plan
provides a solid base for this ambition.
Subject package
The subjects that are offered this year
are as follows: Visual Art, Graphic Design,
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Interior Architecture, ArtScience, Textile
and Fashion, Graphics and Photography.
These subjects are offered in modules of
approximately six classes.
Partnership
The partnership currently consists of the
following schools:
++ Segbroek College: first-year, secondyear and third-year classes ‘Segbroek
Art’. The upper level includes the subject Art and Visual Education (KUBV)
see also www.kunstopsegbroek.nl
++ Bonaventura College Leiden: first-year,
second-year and third-year classes and
upper level ‘Visual Art and Design Plan’,
also known as ‘Art Plan’
++ Rijnlands Lyceum Wassenaar: firstyear, second-year and third-year
classes, and upper level ‘Visual Art and
Design Plan’ also known as ‘Art Class’
++ Zandvliet College The Hague: first-year,
second-year and third-year classes,
and upper level ‘Visual Art and Design
Plan’, also known as ‘Art Class’
The KABK also strives to achieve better coordination with senior secondary
vocational education (MBO). Possibilities
include the development of continuing
learning tracks (professional column).
Admissions
An admissions procedure is required in
order to participate in one of these art
plans. This admissions procedure operates through the schools, in cooperation
with the lecturers of the KABK. Please
inquire at specific schools regarding the
procedure and admissions requirements.
Coordination
++ Zanne Zwart
[email protected]
3.1.4 Combined Education
At the KABK, it is possible to combine art
courses with secondary education. This is
usually arranged on a case-by-case basis,
given that the schedules do not always
correspond to each other. In theory, it
should be possible to follow at least a part
of the same curriculum followed by students of the School for Young Talent. An
admissions procedure is required for participation in this preparatory track. Where
possible, the applicant’s own school will
be consulted, in order to determine the
extent to which participation in the preparatory track can be fit into the regular
school curriculum. A fee is required for
this form of participation, based on the
number of classes/half-day periods taken.
After completing HAVO, a student may
apply for admission to the KABK. A separate admissions procedure is required for
these programmes, in combination with
the final examination for the visual work.
Admissions
An extensive admissions procedure
applies for participation in the combined
classes at the School for Young Talent
and the KABK. Interim admission to the
School for Young Talent is possible. In
order to be admitted, the student must
contact the Student Administration office
at the KABK (+31 (0)70 315 47 70) to
make an appointment for consultation.
For this consultation, the student
brings a portfolio (i.e. a folder composed
of original work created by the student).
Students may also bring laptop computers in order to display videos, photographs or other digital products. Students
are expected to use this work to demonstrate what they have done recently. The
work will be examined for creative capacity, motivation, talent, ideation, uniqueness/originality and capacity for growth,
in addition to diversity and the ability to
work with materials and techniques.
All of these aspects are discussed
with the student during the interview. After
the admissions interview, a decision will
be taken concerning whether the student
is eligible for admission or whether a second interview will be held, possibly with
a follow-up assignment. If the student is
eligible for admission, a second admissions interview will be held with the director of the school in order to examine the
school component. If this component is
also satisfactory, the student can be given
a place.
‘Speccie’
Pupils who are following a special combined learning track are sometimes
referred to as ‘speccies’. Because the
schedules of the Academy and those
of the students’ own schools vary from
year to year, we request that ‘speccies’
contact the coordinator at the beginning
of each academic year in order to agree
upon a schedule for that year. In this way
we can prevent a ‘speccie’ from following
the Drawing/Painting course on Thursday afternoon for a whole year, and then
taking the same course on Wednesday
afternoon the following year, to name an
example. It is possible to take either one
or two courses each week.
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Coordination
++ Zanne Zwart
[email protected]
3.1.5 Orientation Course
The Orientation Course is primarily
intended for those who are considering
entering a study programme at the Academy. This course introduces students to
the mentality, working methods and study
attitudes required for a programme at the
Academy. The course takes place over 14
Saturdays (including one day excursion).
First course:
26 Sep. 2015 – 30 Jan. 2016
from 10.00 a.m. – 3.00 p.m.
(break from 12.30 until 1.00 p.m.)
Second course:
20 Feb. 2016 – 4 Jun. 2016
from 10.00 a.m. – 3.00 p.m.
(break from 12.30 until 1.00 p.m.)
lection of drawings, sketches, designs,
models, images, photographs, paintings, 3d, works in textile/wood/metal,
movies and other works that individual
students have created on their own initiative. The addition of a visual journal in
which students record their sources of
inspiration and their ideas, plans, experiences and insights is also important.
Please contact the undersigned if you
have questions about this.
++ The questionnaire. Students should
take this with them to the work day.
++ The work day and the admissions interview. Students receive assignments
and work under the supervision of
various lecturers at the KABK for one
day. During this day, the student and
a member of the admissions committee discuss the results, along with the
portfolio.
The work day and the subsequent admissions interview for the first course of the
2015/2016 academic year will be held on:
The Orientation Course at the KABK offers
students the opportunity to develop themselves and familiarise themselves with the
various study programmes. The emphasis lies on both process-based working
methods and the discovery and development of the students’ own artistic ambitions. Societal orientation plays an important role in this regard.
Students can expect a voyage of
discovery that challenges them to develop
an inquisitive, visual attitude. The techniques and exercises that are offered
are tools to this end; they do not constitute ends in themselves. The emphasis
is more on the process than it is on the
final product. Students regularly receive
homework assignments that reinforce
this process. During the classes, students
develop their own portfolios that demonstrate what they are capable of, but also
what inspires them: the source of their
ideas and the artists with whom they feel
an affinity (i.e. their ‘artistic families’). To
create a better overview of the subject
area at the end of the cycle of classes, it
is important to address societal orientation in addition to the classes. The course
is taught by lecturers from the Academy.
Admissions
Participation in the course is subject to
an admissions procedure. This admissions procedure consists of several components:
++ Presentation of a portfolio. This is a col-
12 September 2015
10.00 a.m. – 4.00 p.m.
(all registrations from
before 11 September 2015)
The work day and the subsequent admissions interview for the second course of the
2015/2016 academic year will be held on:
6 February 2016
10.00 a.m. – 4.00 p.m.
(all registrations from
after 11 September 2015)
Registration and tuition
Registration is possible only using the
registration form on the KABK website.
Tuition for the 2015/2016 academic year
amounts to € 550 (including the registration fee and a day excursion) per course.
The amount must be paid in advance
for the entire course. No tuition will be
refunded in case of illness, absence or
premature withdrawal from the course.
After registering using the admissions
form, students are automatically notified
of the admissions day and the question
form.
Students must provide their own
materials for the classes. A shop located
within the Academy building has compiled a package especially for participants
in this course. This package can be purchased at a reduced price.
For questions or additional information,
please contact:
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Chief Coordinator for
Preparatory Tracks
++ Zanne Zwart
[email protected]
to build their admissions portfolios.
Coordinator
[email protected]
If you would like to make an appointment
to discuss the preparatory courses during
the dedicated consultation hour, or you
have a question according the online registration for the admission, please contact
the Student Administration office:
+31 (0)70 315 47 70
3.1.6 Other activities
Within the European Exchange framework, an exchange project has been
established within the preparatory
courses with the Instituto Statale d’Arte/
Lyceo Bruno Munari in Vittorio Veneto,
Italy. Like the School for Young Talent, this
school combines secondary education
with higher art education. The Academy
also participates in various projects in
The Hague that are aimed at introducing
young children to Visual Arts and Design.
Activities include Kunstbende contests
and projects by Nest, the Rewire festival,
the TodaysArt festival and a range of galleries and museums. The preparation of
exhibitions and expositions in galleries
and other locations forms part of the curriculum. In addition, throughout the entire
year, information days are held at secondary schools in the region, providing
intensive information for prospective students of the KABK. In collaboration with
the Faculty of Arts, a unique art-education
model is being developed, which will be
elaborated further in the coming years.
When, how and where?
The Kids Club meets every Friday afternoon from 4.30 to 6.00 p.m. in a classroom of the KABK at Prinsessegracht 4
in The Hague. Admission is open, which
means children can choose to attend only
once, every week or every other week.
New participants should use the following e-mail address to let the team know
that they would like to attend, so they can
check whether they belong to the right
target group and if there is space available. Attendance costs are € 37.50 for 5
sessions (€ 7.50 per session), including
materials, drinks and a treat. This fivesession-card is available at the reception desk.
Exhibition
All works that are created within a sixmonth period are stored at the Academy.
Exhibitions in which all of the works are
displayed are held at the end of each
period, once in December and once in
June. For many children this is their first
exhibition. Anyone can attend these exhibitions, and all works are taken home at
the end.
Materials
The cost of a class includes materials.
This means you do not need to carry
around pots of paint. We attempt to use
a different material in each class. For
example, during this six-month period,
we have used paint, paper, clay, charcoal,
wire, plaster, fabric, ink, sheets, potatoes,
etching pens, etching paper, an etching
press, wood, plastic bags and other materials. First-time participants receive a letter
containing an overview of which materials
will be used in which weeks. Participants
are obviously allowed to bring any materials from home that they would like to use.
Coordination
Coordinator and lecturer
++ Zanne Zwart
[email protected]
++ Zanne Zwart
[email protected]
Kids Club
The Kids Club is a group of children
from primary school classes 7 and 8
(ages ranging from 10 to 12 years) who
would like to do more with art than they
are offered at their own primary schools.
The Kids Club includes children who are
considering applying for admission to the
School for Young Talent or one of the art
plan schools. In a classroom situation,
these students demonstrate what they
can do and work on assignments in order
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4.
Master Study
Programmes
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mas ter ar tis tic rese arch
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4.1
Master
Artistic Research
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Master Artistic Research
(Mmus)
alize these processes in relation to their
own creative practice is an important part
of the curriculum of the programme.
The Master Artistic Research (MAR) is a
two-year interdisciplinary Master Trajectory for Research in the Arts, and is aimed
at students working in the field of visual art
and/or music. The programme is a collaboration between the Royal Academy
of Art and the Royal Conservatory, both
in The Hague. It was established at the
Royal Academy (KABK) in 2009. Around
the same time, the PhDarts, the first PhD
in Fine Art in the Netherlands, came into
being, as a collaboration between the
Royal Academy of Art (KABK) and Leiden University. Both programmes play an
important role in the developing conversation around artistic practice as research.
The articulation of ‘artistic research’
as a demarcated activity has emerged out
of an enquiry into what sort of knowledge
art can be said to contain, or embody,
and how this knowledge relates to more
traditionally academic knowledge. Artistic
research can be understood as making
space for research in the arts by artists
(as opposed to research about the arts by
non-artists). Artistic research embraces
the confusion of experience and the complex woven nature of our interactions with
the world, and looks for ways to reveal
the languages, concepts, and material
responses we bring to that world-meeting
in artistic and creative ways.
Visual artists and musicians have
always researched, without it being
named as such, but the uniqueness of
artistic research lies in its merged production of these materials within what
could be understood as a visual, discursive, and social text or fabric - the many
stranded accumulation and production of
knowledge within artistic research practices blurs both academic and artistic
boundaries.
Students of the MAR are specifically
taught a heightened self-reflexivity in relation to their artistic practice. Emphasis is
placed on extending students’ research
skills, including the ability to gather relevant material, to undertake close reading,
listening, and looking, and to locate and
understand connections within a matrix
of research material. Reflective emphasis is also placed on how the materials of
art practice transmit their meanings. The
‘materializing practices’ of creative activity are necessarily unpredictable, and in
engagement with any artistic object or
moment, semiotics, sensation, and affect
are experienced together, by an embodied spectator. Finding ways to conceptu168
Master Artistic Research students carry
out the following activities to fulfill their
study point requirements for graduation:
++ Attend regular individual tutorials and
group classes with practice, theory, and
writing tutors.
++ Participate in course research groups
with their peers.
++ Regularly present new works to tutors
and fellow students to demonstrate
their artistic evolution and the relationship between his/her research processes and artistic work.
++ Complete reflection papers in year 1
and an Artistic Research Statement
paper in year 2.
++ Actively participate in guest workshops
and theoretical seminars, and attend
guest lectures.
++ Periodically exhibit or perform new work
in MAR exhibitions and events and
actively contribute to the organization
and putting together of these events.
General learning objectives:
++ The Master Artistic Research teaches
students to critically reflect upon and
analyze their artistic practice, in order to
develop their artistic outputs to a level
suitable for autonomous professional
practice in the fields of music and/or
visual art.
++ Students are led to explore an expanded
field of practice, extending into new
areas and further developing aspects of
their practice, which may have received
limited support due to the restrictions
of their disciplinary backgrounds.
++ Students learn to position their practices within wider debates in their
respective fields, and in relation to wider
social and academic discourses.
++ Students are taught how to present their artistic work within the professional context through the putting
together of exhibitions and events, with
critical reflection and input from tutors
and professionals in their field.
++ The Master Artistic Research teaches
students discursive written and oral
means to communicate their practice
and disseminate their research to audiences within and outside of their field.
The Musical Dimension
of the course:
Our course offers a research environment for expanded practice. It enables
visual artists and musicians to explore
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s tudy guide
the possibilities that come with engagement in each other’s fields. Some of our
students’ practices already operate on
the borderline between music and art.
For these students it offers a chance for
a deeper dialogue, for critical reflection on
the significance of this position, and for a
greater level of expertise in a field that has
not formed their primary working background. Our guest programme includes
practitioners working on this borderline,
who share their expertise and insight into
this way of working and the position it
entails professionally with the students.
The musical dimension of the
course can allow further development of
areas of art practice related to sound –
such as the development of sound for
installation art works, video, and film work.
Conceptions of performance in relation to
both music and visual art can be explored
in new ways, including the creative potential of instruments and the voice, and the
ideas and methodologies related to musical composition and performance. Students can participate in selected courses
at the Conservatorium to increase their
knowledge about specific areas.
The Study Programme
The research proposal of each individual
student, submitted on application to the
course, forms the point of departure for
the two-year Master trajectory. This proposal outlines areas of specific interest
for investigation as well as areas of practice that the student would like to further
develop, extend or break open. This proposal is revisited and revised during the
course of the study, and results typically
in a series of artistic products alongside
reflection papers on their practice, and
in year 2, an Artistic Research Statement
paper.
The methodologies artistic research
entails are as diverse as artistic practice
itself, and include inter-personal dialogue;
reading and discussing philosophical and
art theoretical texts, artists’ writings and
academic essays; gathering and working
creatively with aural, visual, and physical
materials; forming image-based, textual,
musical, and sound archives; watching
and making films, doing interviews, visiting exhibitions, attending performances,
and carrying out collaborative experiments with people in other fields. An
exploratory, focused approach to these
activities and the continuous further
development of lines of enquiry define
them as research.
The study is conceived as a mix of pratical and theoretical research. It is understood that the status of what constitutes
research or an artwork can be fluid, and
students are encouraged to consider
the many aspects of their course work
as an integrated field of research, and to
develop, strengthen and reflect on the
matrix of relationships between practice
and theory in their work through ongoing dialogue with their tutors and fellow
students. One important focus of the
core teaching curriculum is to encourage reflection on the form each practice
takes, on how the needs of the research
might be most fully articulated in specific
artistic/musical products.
Students are provided with a working space and have access to the extensive workshop facilities of the Royal Academy and the Royal Conservatorium. (For
details, please see the KABK website.)
During the course students learn
to develop critical reflection in relation to
their own work and their areas of interest,
to analyze and explore ideas and findings, and to communicate these with others through speech and on paper. In the
first year, the research trajectory is documented and explored through research
reflection papers, in which students reflect
on and analyze their unfolding process
and their relationship with the strands of
external input they have worked with over
two semesters (including texts they have
studied and other materials from their
core tutors, research groups, and visitors to the course). These reports provide
insight into the departure points, methods, and outcomes of the artistic process
and form an important basis for dialogue
with tutors. In the second year, students
complete a single Artistic Research Statement, which will bring reflection on their
final artistic presentation together with
considered analysis of texts and other
external source materials studied over
the year. This statement will embody how
these materials relate, or form part of the
greater whole that is the student’s artistic
research practice.
All students participate in one artistic research group per year. An invited
external tutor leads this group in the specialized study of a particular area of interest. The research groups for 2015/16 are
‘Art + Politics,’ led by Maria Hlavajova,
and taking place partly at BAK, Utrecht,
and ‘Between Thought and Action - The
Dynamics of performance,’ led by Francesco Bernardelli. The research groups follow a programme of lectures, seminars,
and workshops. Each research group is
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supported by guest lectures and/or studio
visits by practitioners and theorists. Each
student will select one of the set texts
from their research group as a special
object of study, and complete a written
text in relation to it as part of their reflection paper (year 1) or Artistic Research
Statement (year 2).
Each semester there is an additional programme of guests: artists, curators and theorists, specifically selected to
support the interests of the current students. In the second year, students take
part in professional practice skills workshops, and curatorial workshops, both of
which help them prepare a professional
final presentation.
Each year, the MAR also organizes student excursions, to visit sites of
special interest, or to take part in international workshopping events with students from other schools. We try to make
these excursions as affordable as possible, but we cannot finance student travel
and accomodation, so we offer them as
important optional extras to the core curriculum.
During the course of the academic
year, a number of exhibitions and events
are organized during which students can
practice presenting their work at a professional level. These events are guided by
core tutors and sometimes by a curator,
or other expert from the field. These are
important developmental moments within
the course structure, and students are
asked to critically reflect on the process
and outcomes of these events, treating
them as a valuable learning opportunity
as well as a means to disseminate their
work to a wider public. These exhibitions
and events take place within the galleries
and auditorium of the Royal Academy of
Art, at exhibition spaces in The Hague,
and if appropriate, other public spaces.
The Master Artistic Research has a
close working relationship with the Academy of Creative and Performing Arts, fostering the students’ involvement in a wider
artistic research community and introducing Master students to discourse at
PhD level. The Master Artistic Research
in The Hague also collaborates in organizing an annual exchange with students
of the Master Artistic Research at the University of Amsterdam with a view to further extending this research community.
Students are also occasionally invited to
attend and/or participate in conferences
or events related to artistic research.
Study Programme
Core Practice and Research,
years 1 and 2
The primary goal of core practice and
research is the development of the student’s artistic practice, including their
research trajectory, and their capacity for
critical reflection in relation to this. This is
the backbone of the curriculum, and is
taught by two core tutors each year, one
specialized in studio practice and one in
theoretical issues. Students also have
regular meetings with the head of dept
on all aspects of this module. Through
regular meetings with each tutor, either in
groups, or on an individual basis, students
are guided and supported through the
development of their creative ideas, their
theoretical research, and how these support and enrich each other. The research
proposal of each individual student, submitted on application to the course, forms
the point of departure for the core teaching curriculum. Students are also taught
how to present their artistic work within a
professional context through participation
in end of semester exhibitions and events,
either within the galleries and auditorium
of the Royal Academy of Art, the performance spaces of the Conservatorium, or
at external venues. Critical reflection on
these presentation moments forms an
important part of the curriculum.
Through both studio practice
and written reflection papers, students
are supported in the exploration of an
expanded field of practice.
They will advance their methodologies of critical thinking and how to develop
their artistic outputs to a level suitable for
autonomous professional practice in the
fields of visual art, performance and/or
music.
Artistic Research Groups,
years 1 and 2
Each student participates in one artistic
research group per year, split over two
semesters.
The research groups are organized
and led by invited specialists in their fields.
These specialists present their research
trajectories in the autumn semester, and
students choose which group to follow for
that year. The groups explore their topic
in depth, through reading, lectures, seminars, making work -individually and/or
collaboratively, visiting relevant exhibitions
and performances. The research group
leader may invite guests to be part of the
programme, or take students to specific
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s tudy guide
locations or events. The dynamic of these
research groups changes from year to
year. Within the general programme of
each group, there will always be one
(or more) practice led workshop. There
should also be a research group outcome, to be determined by the group
leader.
Research groups 2015-16 are:
Art + Politics, led by Maria Hlavajova,
Director of BAK, Utrecht, and Between
Thought and Action: Dynamics of Performance, led by Francesco Bernardelli,
freelance critic and curator, Turin.
Introduction to Artistic Research
The primary goal of this three-day seminar and workshop is to introduce some
of the possibilities of ‘artistic research’ as
a means of engagement and production,
and as a discursive field. A mix of lectures, group discussions, and workshop
activities will be organized to stimulate an
exchange of perspectives on the broad
subject of artistic research.
Visiting Artist Programme
– ‘A Day with…’
In addition to our core teaching programme, an important part of the course
is delivered by the input of our visiting artists. This is a constantly developing programme of guests to the dept, invited in
response to the particular needs of each
student.
Exchange with University of
Amsterdam (UvA) MAR dept.
Students will follow a short research trajectory alongside fellow Artistic Research
students from the University of Amsterdam MAR. Working with tutors and specially invited guests, students will develop
and test new ideas in relation to the lectures, site visits, and workshops.
Core Practice and Research –
Graduation Project
Much of semester 4 is taken up with the
making and presentation of the student’s
final graduation project. The plan for this
final presentation of work will be agreed
with core tutors at the beginning of the
semester. The student will work throughout the semester to develop and realize
this plan as fully and creatively as possible. The Artistic Research Statement,
the student’s year 2 theoretical paper, is
completed in semester 4.
In the preparation and presentation
of a body of work for the final exam, and
the presentation of their final research
paper, the student will bring their two-year
artistic research trajectory to a creative
resolution.
Writing Workshop
The writing workshop will consider the
role of writing in research, and as a material of artistic practice. Students will be
invited to write on the spot, as well as
to reflect on their use of writing in their
practice. Attention will be paid to creative,
artistic and academic forms of writing.
The writing workshop introduces
students to the potential of writing for
the dissemination of areas of the artist’s
practice to both public and professional
worlds. Students receive individual and
group guidance on the process of writing.
Professional Practice - Skills
Workshop
A workshop will be given specially for year
2 students to explore issues around professional art practice, and offer practical
advice on the documentation of work,
funding and exhibition applications, and
how to write for these. Both a gallerist
and an event organizer will be invited as
guest speakers, in order to offer insight
into the workings of the professional field.
The professional practice workshop
aims help students ready themselves
for a professional career in the arts, and
offers guidance on the personal, digital,
and written presentation of their work and
ideas so that they will leave the course
better equipped to engage with the professional art/music worlds.
Close Reading Workshop
Understanding the many ways an object
can be understood to contain or embody
knowledge, how an artistic object (or performance) functions, how theoretical training actually helps us to see/hear – these
are important skills and will be specifically
addressed in this workshop specially for
the first year students. The workshop will
consider specific objects, key texts, and
work through exercises in ‘reading’ specific objects.
Curatorial Workshop
Curatorial guidance for year 2 students in
the lead up to and installation of the final
graduation exhibition will come from a
professional curator. This will take the
form of individual and group talks in both
the studio and gallery space.
The curatorial workshop explores
the formal presentation issues of each
student’s work, and how to come to bring
the work to its fullest possible resolution.
Through the making of the final exhibition, it
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will also look at the group dynamic of exhibition making, the many factors and considerations that need to be brought into play.
Application
The Master programme is officially registered to the Royal Conservatoire as a
research path within the ArtScience Interfaculty. In practical terms, this means that
students are officially registered at the
Royal Conservatoire, even if their study
directions are in the visual arts. Upon
completion of the programme, students
are awarded the Master of Music degree.
Admission to the Master programme requires a Bachelor in one of the
disciplines of the arts from a Dutch university of applied sciences (HBO/Hogeschool) or an equivalent Bachelor of Arts
degree earned abroad. Prospective students are also required to demonstrate
affinity for theoretical research, artistic
reflection or both. The working language
of the Master programme is English, and
proficiency in both speaking and writing is
required. Applications and letters of motivation should be written in English.
Once these entrance requirements
have been met, applicants are judged
according to the following: a portfolio of
artistic work; a research proposal and/
or study plan that clearly demonstrates
an understanding of and affinity with
research. Interviews are held following an
initial pre-selection of potential students.
How to apply
Please visit our website and submit the
following documents and materials to
[email protected] before 1 April 2016:
++ completed application form
++ portfolio in PDF format (If the portfolio
is too large to send by e-mail, it can be
sent on CD-ROM or DVD by post to the
address below or by using WeTransfer
or a similar service)
In addition, please submit these documents by post to the address below:
++ a photocopy of your diplomas
++ a photocopy of the relevant pages of
your valid passport (showing passport
number and expiry date) or EU/EEA
National Identity Card
++ recent passport photo (3×4 cm; please
write your name on the back. Please
send only original photos. Photocopies
are not accepted)
++ optional: portfolio (only if the portfolio
is too large to be sent by e-mail, see
above)
Incomplete applications will not be
accepted. All documents sent by post
should be in our possession by 1 April
2016.
Address
Postbus 11670
2502 AR The Hague
Contact
[email protected]
4.1.2 Staff *
Head of department
++ Janice McNab
Coordinator
++ Weronika Zielinska
Lecturers
++ Jasper Coppes
++ Yael Davids
++ Dr. Sher Doruff
++ Frank Mandersloot
++ Katarina Zdjelar
Recent guests include:
++ Babak Affrassiabi
++ James Beckett
++ Frederique Bergholtz/ IICD
++ Jelle Bouwhuis/ SMBA
++ Libia Castro & Olafur Olafsson
++ Clare Butcher
++ Francesco Bernardelli
++ Mladen Dollar
++ Maria Hlavajova/ BAK
++ Nancy de Freitas
++ Bram Ieven
++ Angela Jerardi
++ Rob Johanessma
++ Prof. Frans-Willem Korsten
++ Bruno Listopad
++ Aernout Mik
++ Wendelien van Oldenborgh
++ Maria Pask
++ Benjamin Seror
++ Simon Starling
++ Steven ten Thije
++ Vincent Vulsma
++ Thijs Witty
++ Arnisa Zeqo/ Rongwrong Gallery
++ 1646
Additional information
For more information and an overview of
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www.kabk.nl > masters >
Artistic Research
mas ter ar tscience
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4.2
Master
ArtScience
s tudy guide
s tudy guide
mas ter ar tscience
4.2 Master ArtScience
4.2.1 The Master
ArtScience programme
The ArtScience Interfaculty is an interdisciplinary department situated between
and embedded within both the Royal
Academy of Art and the Royal Conservatoire. Classes include scientific and theoretical knowledge, sensory perception,
interdisciplinary composition, hands-on
production, performance training, collaborative projects and critical thinking.
We focus largely on individual coaching.
ArtScience allows students to code and
create never-before heard sounds and
never-before seen images, to establish
immersive environments, to design new
forms of interaction with their audiences
and explore media that have never before
been used by artists. Most importantly,
students are invited to re-invent art, as
needed in this century.
The Interfaculty offers a two-year
interdisciplinary Master. At ArtScience
students and teachers are developing
new forms of interdisciplinary art, and
they investigate and shape the intersection between artistic concepts and recent
developments in science and technology.
The ArtScience programme is offered fully
in English.
Participants in the Master’s programme of the ArtScience Interfaculty
are admitted on the basis of a research
proposal. Depending on the research
topic the student chooses two personal
coaches. Together they draw up a studyand research plan that will include course
modules, projects and labs offered within
the ArtScience Interfaculty and elective
courses from the Royal Conservatoire,
Royal Academy of Art, Leiden University
or other institutions. In regular Master
Meetings students are trained to present
their work and contribute to each other’s research. Twice a year, the students
present their individual work to the core
group of ArtScience teachers.
Goals of the programme
The Master’s programme is geared
towards students who have obtained a
Bachelor’s degree in a creative field and
who have started an independent artistic
practice. During the Master’s study they
will pursue a two-year personal research
project in order to to develop or transform
their own artistic domain within the arts
and sciences. Depending on the research
proposal and the background of the student a study and research plan is con176
ceived, enabling the student to acquire
the necessary skills, research methods
and conceptual background. During their
studies, Master students will enhance
their creative practise, critical thinking
and organisational skills.
The students are challenged to
develop a range of professional competencies regarding three domains:
a. the artistic-technical domain
b. the professional world
c. the theoretical domain
Within each of these domains students
are expected to develop competencies
within these areas:
1.creativity
2.critical reflection
3.growth and innovation
4.organisational skills
5.communication
6.contextual awareness
7.collaboration
These competencies are the basis of the
evaluation by the teachers at the end of
each course module as well as at the
presentations of individual projects at the
end of each semester.
4.2.2 Structure
of the programme
The open curriculum
and the study plan
The Master’s programme ArtScience, like
the Bachelor’s programme, is based on
the concept of the ‘open curriculum’. The
coaches will assist the student in making choices on courses to follow within or
outside the Interfaculty in relation to the
student’s research project.
The ArtScience Interfaculty offers
five forms of instruction: research
projects, labs, individual coaching, theoretical courses and workshop-style
courses. These activities are open to Master as well as Bachelor students. There
are seven different ArtScience labs, each
of which is a combination of a laboratory, a production facility and a working
ensemble of teachers, students, alumni
and guests.
Each lab is also a platform to offer
coaching and space for projects by individual students, and a channel for the
accumulation, documentation and dissemination of their research results and
artworks. The aim is to gradually integrate the research proposals of the Master students with this new lab structure
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s tudy guide
where possible, and work towards a situation where Bachelor students assist in
research projects.
Part of the study trajectory can consist of courses outside of the Interfaculty. Likely choices are courses offered
elswhere at the Conservatoire, the Academy and the MediaTechnology Master of
Leiden University, but other choices in
Leiden or at other universities are also
possible. In the past, students have followed courses in Sonology, Singing, Percussion, Photography, Print Making, Art
History, Philosophy, Electronics, Sociology, Bio-informatics, Art and Genomics
and Medical Anatomy. We would like to
encourage students to explore other possibilities and surprise us.
Self-study and coaching
Every Master student has two teachers
who coach the individual work, reflect on
it together with the student, offer a context for it, suggest literature and other
sources and often assist in solving practical problems. A considerable amount
of time within the Master’s programme
is reserved for individual work and selfstudy.
Master Meetings
Master Meetings are held approximately
twice a month. They are gatherings of
all Master students under the guidance
of Arthur Elsenaar and Eric Kluitenberg.
These meetings focus on students presenting their research results in spoken and written form and on discussing
matters of methodology. Students will
be helped to develop a critical context
for their projects and to structure their
research process.
Presentations and evaluations
Collective presentations of individual
projects are organised at the end of eich
semester. The mid-term presentations in
December/January concentrate more on
the research process. In June, students
are expected to show a finished artistic
work that will be evaluated in the context
of the research, with the general competences for the Master’s programme in
mind.
At the end of May the graduates of
the Bachelor’s and the Master’s organise
a public preview of the final exam projects.
The remaining month from the preview
to the exam can be used for rehearsals,
fine-tuning and other enhancements on
the basis of experiences from the public
preview.
4.2.3 Admission to the Master’s
programme of the ArtScience
Interfaculty
Students are admitted to the Master’s programme ArtScience on the basis of their
previous artistic work and a research proposal. Only candidates with a Bachelor’s
degree in the arts or sciences can apply.
In order to be admitted to the
entrance examination we ask you to send
us a letter of motivation, a research plan, a
curriculum vitae (resume), a portfolio and
a number of official documents. Also all
candidates should submit their response
to the assignment described below. All
written materials should be in Dutch or
English. For the most up to date information regarding the dates for entrance
exams, please refer to: www.interfaculty.nl.
All candidates are asked to fill in the
online admission form on www.kabk.nl or
www.koncon.nl. After this, candidates are
invited to contact the study coordinator
([email protected]).
Candidates will then be invited to
send the materials we ask for an application, as described below, in order to be
invited for an interview. European candidates are expected to by physically
present at this interview, with candidates
outside of Europe we will propose a Skype
meeting.
Letter of motivation
In the letter of motivation we ask you to
give an overview of where you stand now
in your artistic activities and to describe
your vision for the future. The letter should
cover the following points:
++ Please give us some background to
your artistic past; explain the motivation behind the choices for and during
your artistic education and development so far.
++ Please describe the artistic disciplines
you have been involved or interested
in so far.
++ Please describe the main topics you
are interested in concerning art, science and culture. For instance this can
include specific art forms, subcultures,
genres, styles, artists that inspire you,
philosophical ideas, scientific research
topics, developments in society etc.
++ Please give an outline of what you hope
to achieve during your studies at the
ArtScience Interfaculty.
++ Please describe how you think you will
be able to contribute to the learning
environment at the Interfaculty and to
the arts after you completed your studies.
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mas ter ar tscience
++ Please describe the artistic niche you
imagine you will develop during your
studies.
++ Please ask any questions you might
have about the ArtScience Interfaculty. Research Proposal
In your research proposal we ask you
to give an overview of where you stand
now in your artistic activities, to propose
a research project and to indicate how
doing this research would change your
artistic future. You are free to choose a
text format that suits your proposal and
background, but it should be between two
and four pages A4 of text long. The text
should cover the following points:
++ Please give us some background to
your artistic past; briefly explain the
motivation behind getting involved in
art and behind the artistic choices you
have made so far.
++ Please describe the artistic disciplines
you have been involved or interested
in so far.
++ Please give a clear description of your
research topic and the fields this topic
relates to.
++ Please explain your motivation for
choosing this research topic. How do
you think doing this research will transform your work?
++ Please indicate how your research
topic is related to the ArtScience curriculum.
++ Please make a first choice for two ArtScience teachers who could coach you
in your research (you can look at the
Faculty Biographies on the website or
in the ArtScience study guide).
++ Please describe two concrete projects
you would like to realise as part of this
research proposal.
++ Please indicate the materials and facilities you will need for your research.
++ Please give an outline of what you hope
to achieve during your studies at the
ArtScience Interfaculty.
++ Please describe how you think you will
be able to contribute to the learning
environment at the Interfaculty.
Curriculum Vitae (resume)
This should cover:
Portfolio
Your portfolio should give of a good overview of your past artworks and/or artistic activities. We’re interested in all art
forms (including music, visual art, interdisciplinary art, media art, theater, film,
literature, etc). While the documentation
should include copies and/or documentation of your works we also expect you to
write short texts describing the individual
works, illustrated with photos, drawings,
reviews, etc.
In the case of time-based documentation (audio / video / etc.) we ask you to
indicate one piece (or part) that you absolutely want to be viewed or listened to by
the admission committee.
Digital documentation should run
on both Mac and PC. You are requested
to use common file formats: jpeg, gif, tiff,
pdf, mp3, wav, aiff, flv, quicktime (mov),
avi, txt, rtf, word (doc/docx/odt), powerpoint (ppt/pptx/odp).
Official documents
Candidates should fill in the online admission form through the websites of the
KABK or KC. A copy of the candidate’s
passport, a visa (when applicable) , a
copy of relevant diplomas, two passport
photos, and email address should be
included with the materials sent for the
entrance exam.
++ your previous education
++ your artistic past (see also portfolio)
++ work experience
++ languages
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mas ter ar tscience
4.2.4 Staff *
Heads of department
++ Taconis Stolk
Coordinator
++ Leonie Zweekhorst
Lecturers
++ Cocky Eek
++ Arthur Elsenaar
++ Kasper van der Horst
++ Michiel Pijpe
++ Robert Pravda
++ Taconis Stolk Guest lecturers
++ Pieter van Boheemen
++ Lex van den Broek
++ Evelina Domnitch
++ Lucas Evers
++ Bernard Foing
++ Dmitri Gelfand
++ Marcus Graf
++ Roel Heremans
++ Gideon Kiers
++ Eric Kluitenberg
++ Katinka Marac
++ Ine Poppe
++ Frank Theys
++ Lucas van der Velden
++ Caro Verbeek
www.interfaculty.nl
*
visit www.kabk.nl.
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mas ter interior architec ture (INSIDE)
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4.3 Master Interior
Architecture
(INSIDE)
s tudy guide
s tudy guide
4.3 Master Interior
Cultural and social challenges
in Interior Architecture
INSIDE is a two-year, Master programme
in Interior Architecture taught in English
at the Royal Academy of Art (KABK) in
The Hague. The programme targets the
cultural and social challenges in Interior Architecture in a world that is constantly changing. Large-scale interiors,
the relationship between private and public space, sustainability and a greater
demand for social cohesion are all topics that call for new perspectives on interior architecture.
At INSIDE, we challenge and view
the world from inside out, in order to
become INSIDE architects.
The content of INSIDE is based on
issues that confront designers, clients
and users of interior architecture. Through
research, conceptualisation and spatial
design, sustainable, humane solutions
for real-world problems are developed
and presented.
4.3.1 Description of
the study programme
The curriculum of the Master programme
in Interior Architecture at the KABK is
based on two principles. First, it is based
on the analysis of research and design
processes. Second, it builds on the principle of ‘learning by doing’. Taken together,
these two principles produce a curriculum
that is divided into phases, each addressing specific phases of research and
design processes: observation, knowledge gathering, planning, research by
design, conceptualisation, design and
repeated presentation and evaluation.
These aspects are addressed in all parts
of the curriculum, and they form the criteria according to which the work of students is assessed.
The study programme comprises
five parts. The heart of INSIDE is formed
by the three studios – INTER, URBAN
and SPACE – which together account for
about 40% of the entire study load of the
programme. In connection to the studios,
students participate in the research track
FLOWS, investigating the development of
sustainable design methods in contemporary interior architecture.
The STUDIO programme is further
supported by THEORY, a theoretical backbone, which trains students with regard
to their reflection on and position within
the field of interior architecture, along
184
with a SKILLS programme that offers
students hands-on experience through
intensive workshops. Finally, the TRAVEL
programme allows students to observe
and reflect on the discipline, cultural phenomena and social topics.
Structure
The total study load for the programme
is 120 EC, distributed equally across two
years, each of which is divided into two
20-week semesters.
Year 1
The first year focuses on introducing students to the INSIDE approach of interior
architecture. Through working in the STUDIOS, the FLOWS, the TRAVEL and the
THEORY and SKILLS programmes, students become familiar with all phases of
researching and designing for the changing world: observation, knowledge gathering, planning, research, design, presentation and evaluation. Students participate
in all three STUDIO types tutored by
research and design teams from architecture offices like OMA, Superuse, MVRDV
and Doepel Strijkers during the first year.
The other courses run throughout the
year, changing their focus to connect to
the STUDIOS for each semester or block.
Year 2
The second year is completely focussed
on the graduation of the students. During the first three months of the second
year students participate in a GRADUATION STUDIO, where they will be coached
by the INSIDE teachers to develop their
personal graduation plans. Starting from
the second half of the third semester students work individually on the development of their graduation project guided
and coached by the THEORY and FLOWS
teachers and the STUDIO teacher of their
choice. In the fourth semester, the knowledge and skills that the students have
acquired in the first three semesters culminate in a final presentation of their personal graduation project that integrates
all of the above-mentioned phases of
research and design.
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4.3.2 Staff *
Head of department
++ Hans Venhuizen
[email protected]
Coordinator
++ Marja van der Burgh
[email protected]
The team of internationally
orientated architects,
designers and theoreticians
++ Jan Jongert (Superuse)
++ OMA (Chris van Duijn, Mark Veldman)
++ Eline Strijkers (Doepel Strijkers)
++ MVRDV (Fokke Moerel, Aser Giménez
Ortega, Mick van Gemert)
++ Anne Hoogewoning
++ Louise Schouwenberg
Other people involved
in the programme
++ ZUS (Kristian Koreman)
++ REFUNC
(Denis Oudendijk & Jan Körbes)
++ Lucas Verweij
++ Gert Dumbar
++ Erik Jutten
++ Vincent de Rijk
++ Leeke Reinders
++ Jeroen van Mastrigt-Ide
www.enterinside.nl
*
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mas ter t ype & media
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4.4
Master
Type & Media
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4.4 Master Type & Media
4.4.2 Admission to the Master’s
programme of Type & Media
of the discipline
In the Type & Media studio, students work
for a year in a small group of 12, under
the supervision and guidance of an expert
and enthusiastic faculty.
The design of typefaces, like any
other creative discipline, is a process.
The first semester consists of a series of
assignments that focus on the foundation
of letter forms, drawing and digitisation.
The eye and hand are trained in different
ways. For instance: writing letters with different tools, letter carving in stone and
by drawing letters based on prescribed
parameters. Contrast research studies
of basic form principles are applied to a
whole typeface. The revival assignment
consists of a thesis on the origin and production of a historic typeface and a digital revival. Non-Latin glyph structures are
explored by drawing Cyrillic, Greek, Arabic. Coding and tool development with
Drawbot and Robofab let the designer
control the workflow of the type design
practice.
In the second semester these skills
are used to define, design and produce
a new typeface. This can be for a specific context or environment (e.g. ‘type on
screen’) or application (‘type for newsprint’) but generally the projects are conceptually very diverse. The development
and research for the typeface is documented and presented with a process
book and a presentation.
While some Type & Media alumni
have gone on to build a career in the
design and production of non-Latin typefaces, the emphasis of the course (and
the resources and faculty) is on Latin.
Discussions with leading type
designers, typographers and graphic
designers — each with different views —
provide theoretical depth. Various excursions to libraries, special collections and
conferences are organised, such as the
annual conferences of the Association
Typographique International and Typo
Berlin. The Master programme is also
involved in the organisation of the triennial
Gerrit Noordzij Award and the Robothon
conference. Students of Type & Media play
an important role in the activities.
If you are interested in applying for the
Master programme in Design Type &
Media, please make an appointment with
the course coordinator. You must be a
graduate of an art or design academy,
write and speak English at the appropriate
level and have sufficient practical experience in typography. You are expected
to be familiar with the developments in
the field of type design. Your digital portfolio needs to demonstrate your motivation and interest in typography and type
design but also give insight into your
design process.
4.4.3 Staff *
Head of department
Team of lecturers
(professor of type design)
++ Paul van der Laan
++ Peter Verheul
Coordinator
++ Marja van der Burgh
Guest lecturers
++ Françoise Berserik
++ Peter Bil’ak
++ Frank Blokland
++ Petr van Blokland
++ Just van Rossum
++ Fred Smeijers
++ Jan Willem Stas
new.typemedia.org
*
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pos t gr aduate course
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5.
Post Graduate
Course
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5.1 PGC
Industrial Design
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5.1 Post Graduate Course
Industrial Design
of the discipline
++ You want to further investigate and
hone your position in the design field.
++ You will receive input from professionals from the entire field who contribute
international experience.
++ You will work in a nurturing environment on new creative discoveries and
be given time to expand on them.
Industrial Design at the KABK
ID is a part-time course for professionals
who would like to learn more about both
product design and the process of creating as a craft. Concept, skills, culture and
industry are presented in the appropriate
proportions. From its inception in 1950,
many prominent names have been associated with the postgraduate course in ID.
Designers including Gerrit Rietveld,
Frans de La Haye and Renny Ramakers
were either lecturers or students. ID is the
oldest recognised course in the field of
design and industrial design in the Netherlands. The curriculum provides a realistic view of the field because it is taught by
lecturers with a full-time design practice.
Guest lecturers are invited on the basis
of their particular expertise and skills. The
range of professional backgrounds represented by the students from the Netherlands and abroad is likewise valuable.
5.1.2 Description of
the study programme
Real artist
In this block, you will explore your personality and the context in which you create
your work. You will gain a clear overview
of the world of galleries, museums, cultural events, institutes, grants and awards,
magazines, presentations and in-house
productions. You will develop a personal
opinion as an independent designer and
become aware of your position in relation to curators, journalists and opinion
makers.
Cool industry
You will immerse yourself in the question of how design is embedded in the
process side of product design. Marketing, corporate identity, technical expertise,
customer relations, tenders and acquisition all play a role. You will also frequently
work in an international context; after all,
clients, manufacturers and consumers
are by no means confined to the Netherlands. What does that entail?
Presentation
Freehand drawing
You will learn freehand drawing and the
basics for 2D design drawing using various techniques and materials, working
individually on different assignments that
are an extension of your design assignments.
Computer skills
Just like drawing competency, having
computer skills will expand your expressive capabilities as a designer. You will
focus on the basics of various software
packages and rendering techniques.
The programme consists of six blocks,
each of which lasts six months. You will
receive a certificate for the individual
blocks and an overall diploma.
Subjects
Industry & culture
You will explore how the industry and culture of designing interlock. This involves
sophisticated combinations of different
disciplines and skills: industrial design,
building prototypes, applied art, mechanics, marketing, manufacturing everything
from limited batches to mass production,
the consumer market, retail and business to business. You will learn your way
around Milan and Frankfurt, where the
most important trade fairs are held, and
the ID programmes offered by Delft University of Technology and Eindhoven University of Technology.
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Personal skills, contemplation
and culture
Personal skills
Designers must be able to do more than
produce good designs; they must also be
able to communicate with myriad individuals and stakeholders and convey their
personal conviction. These classes will
help you develop your personal skills,
communication skills (verbal and written),
consultant skills, negotiation techniques
and smart project management.
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Contemplation
You will learn to see your position as
designer in the social and theoretical
context of the field. You will also become
aware of your personal vision of design
in this context. By engaging in discussion you will increase each other’s ability to reflect.
Culture bearers
You will become familiar with the cultural and commercial embedding of
design. The guest lecturers are recognised authorities in the cultural, political
and corporate sectors. From their unique
perspective they will provide insight into
the context in which design functions and
designers have a role, giving you an upto-date view of design today.
Who should apply?
This postgraduate course is intended for
design graduates and design professionals who wish to delve deeper into their
field. The course offers the perfect opportunity to hone your expertise and skills in
conjunction with pursuing your career.
For starters, both the schedule, which is
divided into six-month semesters, and the
condensed curriculum beautifully accommodate a professional practice.
5.1.3 Staff*
Head of department
++ Ernst Bergmans
Coordinator ++ Jacob de Baan
Lecturers
++ Jacob de Baan
++ Erlynne Bakkers
++ Alfred van Elk
++ Jantje Fleischhut
++ Maaike Roozenburg
++ Roselien Steur
Guest lecturers
++ Erik Tempelman
++ Mark de Weijer ++ Bas Sanders ++ Heather Leslie
++ Nicole Uniquole
++ Joris Castermans
++ Theo van Dusseldorp
++ Maartje de Haan ++ Sam van Haaster
++ Siem Haffmans ++ Frans de La Haye
++ Ineke Heerkens
++ Milou Ket
++ Josée Koene
++ Wilfred Löwensteyn
++ Hans Menkveld
++ Bruno Ninaber
++ Ingeborg de Roode
++ Loes Wagemans
++ Jólan van der Wiel ++ Romy Kuhne
*
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6.
PhD Doctoral
Programme
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6.1
PhDArts
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6.1 PhDArts
The PhDArts programme is a high-level
international doctorate programme in visual art and design. PhD candidates follow individual research trajectories. An
appropriate team of supervisors is sought
for each doctoral student. The PhD candidates also participate in the doctoral
study programme, which consists of lectures, seminars, trainings and workshops.
The PhDArts programme is a collaborative effort of the Leiden University Academy of Creative and Performing Arts and
the Royal Academy of Art (KABK) in The
Hague.
The PhDArts programme is a platform for artists who regard theoretical
reflection and artistic practice as intrinsically related and complementary. Together
with a team of supervisors, staff members
and guest teachers, the doctoral candidates in the PhDArts programme form
an inspiring and challenging research
environment. A unique programme in
the Netherlands, PhDArts creates new
possibilities for art and its practitioners
by questioning and breaking down existing boundaries between art theory and
art practice.
About PhDArts
Artist/designers-as-researchers take the
initiative to make statements about their
thinking processes and the production
of their work. Researchers allow others
to participate in this research process,
entering into discussion with them, opening themselves up to critique. Researchers seek discussion within the public
domain. Without public discussion and
the exchange with peers the research
lacks its reason for existence. When this
exchange takes place in an academic
context (e.g. within the framework of
research for a PhD), certain conditions
apply. For example, the research should
yield fresh insights, not merely into the
researcher’s personal work, but into art
or design in the broader sense as well.
Supervision plays a crucial part in the
critical evaluation of contribution to the
artistic domain. Oral presentations and written text
play an important part in the research in
various ways. The researcher needs to
invent a language that enables them to
communicate with others and that enables the evaluation of the research. Also,
the researcher needs to devise a viable
research methodology. 208
PhDArts doctorate
Artistic research or research in and
through art is an inseparable part of the
art or design practice of the researcher.
This research has no predetermined
goal, nor does it take place according to
predetermined general procedures. The
outcome of the research is open. This
openness is a condition for conducting
research in art and design.
There is a unique relationship
between the artist/designer, the research
method and the outcome of the research.
This research is made possible by the artistry of the artist and, conversely, the artist
develops artistry through the research.
The outcome is therefore an artistic product, combined with a discursive product
(i.e. the dissertation), which does justice
to the artistic product.
The ultimate outcome of this type of
research, which is speculative by nature,
cannot be restricted to any particular
form. Therefore PhDArts does not specify
a fixed ratio between the written dissertation and the artistic production.
Certain conditions apply to the
PhDArts doctorate. First, a high level of
artistry/design is a prerequisite for acceptance into the PhD programme. Each
applicant should have a clear research
theme, as well as a research plan. In addition, the context of the research should
be clearly described.
The research should offer new
insights, not only into to the work of the
maker, but also into the field of art and
design in the broader sense. The research
should contribute to knowledge about art/
design, as well as to the international discourse in the field of research. Researchers are expected to be in the vanguard of
their fields of research.
The research must take place in an
appropriate research environment. Experimentation is an important part of both
the process and the result. Critical
engagement is inseparably related to the
research theme and its results.
The final product will be communicated both visually and in writing, and
thought and reflection must be clearly
manifested in several ways. First, a discursive text will provide insight into the
departure points, methods and results of
the research. Second, the work itself will
be deliberative, containing reflection as an
integral component. Research that fulfils
these conditions will be innovative and
relevant to contemporary developments
in the world of art and design.
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At the end of the PhDArts trajectory,
the work will be presented to a committee of experts for evaluation.
As part of their research, doctoral
students attend the doctoral study programme, including the various assessments. Students participate both actively
and passively in conferences (e.g. by
preparing lectures, papers, conference
reports) and events. They periodically
exhibit new work in order to explicate the
artistic development and the relationship
between their research and their artistic
work. In addition to this, students publish
writings on their work, development and
research.
Coordinator
++ Judith Westerveld
Contact
++ [email protected]
For more information please visit:
www.phdarts.eu
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7.
Research
Domains
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7. Research Domains
7.1 What is a research domain?
Research domains (in Dutch: lectoraten)
are the research groups of universities
of applied sciences, whose purpose is
to make connections in socially relevant
areas between education, practice and
practice-based research. Each research
domain is led by the appointed professor
and consists of a number of visual artists, designers and theorists from various
disciplines. In addition, contact is maintained with people who are active in the
relevant field of practice or who conduct
relevant research. People both inside and
outside the academy can contribute to the
research of a research domain. Sometimes students also work on (research)
projects in the context of their study
programme. Research domains share
knowledge with companies and institutions, conduct applied research and
develop new knowledge in co-production.
They maintain partnerships with companies and institutions at the local, regional,
national and international levels.
The University of the Arts (the Royal
Academy of Art and the Royal Conservatoire) gives a high priority to artistic
research. There is a partnership that is
unique in the Netherlands between the
University of the Arts and Leiden University, which takes the form of the Academy of Creative and Performing Arts
(see PhDArts). At Master’s level, the University of the Arts runs an artistic research
project, in which the Royal Academy of
Art (KABK) and the Royal Conservatoire (KC) work together. Two university
research domains are devoted to artistic
research: the Henk Borgdorff research
domain (KC) and the Janneke Wesseling
researc domain (KABK).
7.2 Lectorate in Art
Theory & Practice
Janneke Wesseling is head of the Lectorate Art Theory & Practice at the KABK
and co-director of PhDArts, the PhD programme in visual art and design at the
Academy of Creative and Performing Arts
(ACPA) of Leiden University. Wesseling
also writes as art critic for the daily Dutch
newspaper NRC Handelsblad.
The Lectorate Art Theory & Practice
investigates ways in which art and theory
can be brought together in art education.
To this end, the lectorate has established
the Art Research Programme, consisting
of interdisciplinary and thematic courses
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for Bachelor students. In collaboration
with the various departments of the
KABK, Wesseling organises interdisciplinary pilot projects that integrate different approaches from art practice and art
theory. The lectorate also collaborates
with various partners to organise symposiums, workshops and lectures in the
area of artistic research.
Research in art currently plays a
major role in art education. This is due to
the fact that both artists and theorists are
paying increasing attention to the theoretical aspects of artistic practice, as well
as to the cognitive function of art works:
art as a way of gaining knowledge about
reality. The practice of contemporary artists is, in many cases, characterised by
continuous and critical (self-)reflection
and research.
The introduction of the BachelorMaster structure at universities and universities of applied science on a European
level also calls for reflection on aspects of
research in art practices. Wesseling’s lectorate has an initiating role in the interaction between art education and research.
Lector
++ Janneke Wesseling
Coordinator
++ Lotte Betting
7.3 Research in Arts
Dr. Henk Borgdorff has been professor
in Research in the Arts at the University
of the Arts in The Hague since September 2010. The focus of Borgdorff’s own
research is on the political and theoretical rationale of artistic research. This is
research where the making of art (creating, designing, composing, performing)
is central to the research process, and
the outcomes of the research are also
artworks and art practices (images, compositions, installations, performances).
Research Catalogue
In The Hague Borgdorff has co-founded
the ‘Research Catalogue’, an international
online multi-medial database and workspace for the archiving and exposition
of artistic research. This Research Catalogue is employed by the Royal Conservatoire as a platform for the collaboration
between Master and PhD students and
their supervisors and for the publication
and dissemination of the research outcomes of students and faculty.
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Society for Artistic Research
Borgdorff represents The Hague in the
Society for Artistic Research (SAR), which
he co-founded in March 2010, and serves
as an editor of the Journal for Artistic
Research. In April 2015, Borgdorff was
appointed President of the Executive
Board of SAR.
Other activities
Borgdorff is member of the Committee
for Research of the Vereniging Hogescholen (Netherlands Association of Universities of Applied Science), the international
Quality Advisory Board of Konstnärliga
Forskarskolan (the national school for
artistic research in Sweden) , and the
Steering Group of TAhTO, the doctoral
programme for artistic research in Helsinki, Finland. Borgdorff regularly acts as
a reviewer for several funding agencies
and research councils in Europe and is
member of the expert panel for Cultures
and Cultural Production of the European
Research Council, Social Sciences and
Humanities, Consolidator Grant.
Research Group Royal
Conservatoire
At the Royal Conservatoire the research
group Research in the Arts, chaired by
Borgdorff, constitutes a link between the
Bachelor, Master and PhD levels. Borgdorff initiates, facilitates and promotes
permanent or ad hoc research at each
of these levels tailored to the specific discipline. By conducting research in the
framework of the research group teachers contribute to the research culture at
the conservatoire, which also stimulates
students to acquire an inquisitive attitude.
Teachers are facilitated in supervising
research by students, and some teachers decide to study a PhD. The research
group also arranges for the results of
research to be circulated, externally by
giving lectures and presentations, through
publications and by organising seminars,
and internally by actively participating at
relevant meetings. Research results are
disseminated to the wider public via the
website of the Royal Conservatoire.
Henk Borgdorff occasionally gives
seminars for the doctoral programmes
DocArtes (music) and PhDArts (visual
arts and design) and for the Master programme Artistic Research at the KABK.
Professor
++ Henk Borgdorff
For more information please visit:
www.kabk.nl > research department
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8.
General
Study Information
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8.1
Educational
Structure
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8.1 Educational structure
The following competencies are addressed
in the programmes:
The purpose of the study programmes
at the Royal Academy of Art (KABK) is
to prepare students for the profession of
artist or designer. The educational programmes have been designed to make
this feasible. The educational structure
consists of the propaedeutic year and
the main phase, which is divided into the
main study phase and the final phase.
Programmes at the KABK are
designed according to the principles
of competence-based education. The
programmes offered can be seen as a
foreshadowing of professional practice.
We pay close attention to career orientation and preparation. Important to these
aspects is the expectation that students
will take on increasing levels of responsibility for their studies throughout the
years of the programme. This is particularly explicit in the case of the Individual
Study Track. Students are also introduced
to a wide range of different teaching formats. The internship is a very important
part of career preparation.
8.1.1 Competencies & domains
Competencies
Competencies (i.e. abilities) indicate the
coherent set of knowledge, skills, attitudes
and other personal qualities of individuals
that enable them to perform tasks adequately and successfully, as well as to
find and apply solutions in specific work
situations.
Students are considered competent
or suitable for particular jobs or assignments when they are able to integrate
the appropriate knowledge, skills and attitudes effectively in successful behaviour
in specific situations. In other words, in
addition to knowing how and why something must happen, students must also
demonstrate their ability to make it happen.
Competence-based art education
is characterised by an integral approach
to knowledge, skills and attitudes. It is an
educational form with a high degree of
self-study, aimed at the future careers of
the students. The emphasis on the personal development of the students and
their talents results in flexible education
with a variety of study tracks. Within the
programmes, the professional field is
always represented by teachers who are
active as artists or designers in addition
to their teaching practice. Advisers and
guest lecturers from various disciplines
are frequently invited.
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++ Creative ability
++ Capacity for critical reflection
++ Capacity for growth and innovation
++ Organisational ability
++ Communicative ability
++ External awareness
++ Capacity for collaboration
Creative ability, capacity for critical reflection and capacity for growth and innovation are the key competencies for art
education. External awareness is equally
relevant, as it stresses the importance
of current developments in professional
practice.
The capacity for critical reflection
and external awareness are strongly interrelated, differing primarily in perspective
(i.e. internal and external) . The remaining competencies are organisational and
communicative ability and capacity for
collaboration.
Domains
The competencies can be divided into
three more or less overlapping areas
(domains). The division focuses more on
difference in emphasis within the domains
than it does on any sharp demarcation.
In recent years, we have been
working towards a further integration of
these domains in our education, and this
process will continue. Therefore, many
courses are no longer clearly positioned
in one of these domains but cover two or
even all three of them.
In the artistic technical domain, students
develop their specific creative abilities and
their capacity for critical reflection. These
abilities or competencies are considered
most typical and important for students
graduating in the field of visual arts. All
art and design courses develop the students’ abilities in this area. This domain
also includes the capacity for growth
and innovation, referring to the potential
expansion of the artistic or design practices of students (i.e. their personal interpretations of the professional situation)
in depth and development.
Theoretical domain
The making of art and design is intellectual work. Art and design are judged
according to artistic objectives for their
relevance to national and international
standards of professional practice. This
means that knowledge of the theory of the
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profession is a necessary component of
the skill set of any artist or designer. This
theory covers several areas: historical and
contemporary art history, art theory and
art history related to the discipline. The
socialisation of the art and design process also requires knowledge derived from
other disciplines, including philosophy,
media history and communication science. In this regard, we distinguish art
theory as including art history, philosophy, art observation and artists’ theories,
in addition to special workshops and lectures guided by art theory teachers. The
practical teachers contribute by providing
grounding for their insights on theoretical arguments. The history, background
and departure points of the various disciplines are further discussed and analysed in their respective theory courses.
++ s upervision of papers and the final
thesis
The seminars include discussions, analyses and debates based on contemporary
and historical visual material, exhibitions
and texts, presentations on theoretical
subjects and personal statements.
Practical education
Practical classes are designed in several
different ways:
++ S upervision and instruction for the
entire group, usually during the first
weeks of a course.
++ C ollective work discussions and
progress meetings between teachers
and students.
++ S tudio-based supervision, in which
teachers visit students at their work
sites or studios in order to discuss
their work on location (This can take
place either individually or in a group.
Many fourth-year students of the Fine
Arts department have their own work
sites within the Academy. Students in
the departments of Textiles & Fashion
and Interior Architecture departments
work in shared studio spaces).
++ Workshop-based supervision, in which
students work both independently and
with assistance in a workshop, under
the supervision of workshop managers.
++ Work discussions, in which teachers
discuss the work of individual students,
often in a group setting, thus allowing
students to learn from each other.
++ D igital supervision, particularly in
Graphic Design and Interactive/Media/
Design, in which students can be
supervised online when face-to-face
contact is not crucial.
Professional domain
This field involves almost all competencies: capacity for critical reflection, capacity for growth and innovation, organisational and communicative ability and
capacity for collaboration, as well as
external awareness. Art and design have
always had a strong foothold in society,
and they are created through interaction
with the social developments in almost
every area. In almost all study components, therefore, students are provided
with examples of how things work in the
practice of an artist or designer. The business element forms a part of the career
preparation, including such skills as presenting work, dealing with budgets and
interacting with clients.
In the descriptions of the various
disciplines, the heading ‘professional
domain’ focuses on the business-related
aspects of preparation for professional
practice. We would like to ensure that students are able to function appropriately
as artists or designers after – or even durInternship and other participaing – their education, whether independtion in the professional field
ently, as part of a partnership (e.g. artists’ Students complete internships with cominitiatives), working at a design bureau or panies and institutions, as well as with
in some combination of these settings.
independent artists, designers and photographers. Because fewer internships
8.1.2 Teaching formats
are available in Fine Arts and ArtScience,
students participate in external producStudents encounter a variety of teaching tions and projects.
formats during their studies at the KABK.
Special activities
Theory education
Visiting exhibitions, project weeks,
Theory education is provided in various
excursions and workshops
ways:
In addition to, and integrated with, the curriculum, several activities are organised
++ lectures
++ seminars
each year. The organisation of these spe++ work discussions
cial activities (e.g. workshops, projects,
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excursions and project weeks) is predominantly the responsibility of the various
departments. The activities are therefore
often discipline-related.
In some cases, project weeks and
excursions have a very specific purpose
(e.g. a visit to a fashion trade fair), while in
other cases, they have a much broader
character (e.g. a visit to Berlin or the Venice Biennale). Many of the latter type of
activities are also open to students from
non-organising departments. The travel
and accommodation costs associated
with the excursions and project weeks
are covered by the participants. Contributions from the School Fund are possible,
and they are always made collectively.
Students may submit proposals to the
head of the department for excursions,
project weeks or workshops.
Self-study
Students work independently on their art
or design work for a large part of the programme. This work can take place both
in the Academy and at home.
8.1.3 Individual Study Track
General procedures
Each student draws up an IST plan using
the IST form. The plan describes the proposed activities, motivation and learning
objectives, and should be discussed with
the coach. In the conversation with the
coach, the IST plan is evaluated to determine whether it can truly add breadth or
depth to the study programme. Once the
plan has been approved, it can be started.
Once the activity or activities have been
carried out, a formal external evaluation
is conducted (e.g. in the case of minors
and electives). Students are also asked to
assess the learning results and the learning process. The coach provides a final
assessment.
Practical information
Beginning in the second year, full-time
students are exempt from compulsory
study components on Wednesdays,
which are reserved for individual scheduling to deepen and specialise the curriculum. To this end, introductory courses
and electives are scheduled for Wednesdays. Part-time students are also allowed
space in their schedules for the IST.
The Individual Study Track (IST) is part
of the main phase of the Bachelor’s
programmes, and of the Master’s programme in ArtScience. The IST focuses
on the discovery and development of
the fascinations and preferences of students, as well as on their personal artistic
attitudes. It is important for students to
discover their personal possibilities and
ambitions. Competence-based education
requires students to learn to set their own
learning objectives (e.g. for self-study) .
The IST plan offers an excellent opportunity for students to customise their studies.
IST and internships
The credits reserved for the IST in the
internship semester can be used either
for the internship or for the continuation
of a minor.
The Individual Study Track can include
the following:
Credit allocation IST
The work carried out within the framework of the Individual Study Track is not
always part of the collective assessment.
For example, this is the case when the
IST involves a minor or elective at Leiden
University. In such situations, students
are assessed externally. The coach provides a Credit Statement (a form that is
available at the Student Administration
office). After the final evaluation and signing by the coach, the credits are added
to the collective assessment form. The
credits are allocated after the collective
assessment.
++ taking one or more electives or introductory courses at the KABK
++ taking one or more elective courses
outside of the KABK
++ participating in external projects
++ conducting practice-based or theoretical research
++ enrolling in a minor at the Academy of
Creative and Performing Arts
++ e ngaging in various organisational
activities for the KABK
IST credits (EC)
The Individual Study Track does not start
until after the propaedeutic year, and 12
EC are allocated to the IST in each subsequent year. In all, this amounts to 36
EC in three years. For an overview of the
relevant credits, please refer to the appropriate discipline.
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8.1.4 Internationalisation
The KABK strives to provide an international learning environment for its students, first, by creating an international
climate in the building, and second, by
the encouraging temporary tracks abroad
in the form of:
++ study abroad programmes
++ internships
++ postgraduate programmes
The advantage of a temporary track
abroad is that it brings students into
contact with different cultural and living
environments and teaching methods.
In addition, students learn to function in
an international context, which will benefit their future careers. Through a variety of mobility programs, the European
Union (EU), the Dutch government and
several foundations offer many scholarships each year for students to follow
part of their programmes, internships or
research abroad. In most cases, the foreign residency takes place in the third
year of the programme. The length of stay
varies from three months to a full academic year. The Erasmus exchange has
a maximum length of six months.
Temporary study abroad
A well-developed study plan forms the
foundation for the application to study
abroad. Students can obtain advice and
information about academies abroad
from the International Office and the head
teacher. The head of department makes
the final decision concerning the study
period abroad. For foreign study abroad
programmes taking place in Europe, students are eligible for the Lifelong Learning
Erasmus scholarship. For additional information on the KABK’s European partners,
the application process, the application
form and the amount of the scholarship,
please visit www.kabk.nl or the International Office of the KABK. Application
deadlines are listed on the websites of
the institutions.
The KABK has established relationships with art schools both within and
outside of Europe, including in:
++ Tirana, Albania
++ Jerusalem, Israel
++ Tokyo, Japan
++ Beijing, China
++ Minneapolis, United States
++ Bangalore, India
++ New Delhi, India
++ Seoul, South Korea
The current list of partner institutions is
available on the KABK website.
Cumulus
The KABK is a member of the international
network of leading art schools ‘Cumulus
International Association of Universities
and Colleges of Art, Design and Media’.
This membership provides students with
the opportunity to study temporarily at
one of the member schools, and it has
significantly expanded the international
offerings available to KABK students.
An overview of associated art schools is
available at www.cumulusassociation.org.
Internship
Please also read the general information
on internships (Section 8.1.6).
Internships can take place both in
and outside Europe. For questions about
internship positions, students should contact their own department. The KABK
offers scholarships for internships abroad
through various sources, including the
Lifelong Learning Erasmus Programme
of the EU.
For additional information on the
criteria, the application process and the
amount of the scholarship, please visit
www.kabk.nl or the International Office
of the KABK.
Funds and scholarships
Studying at a postgraduate institute
abroad is a costly proposition. It is not
unusual for students to need an average
€30,000 for one academic year, in order
to cover tuition fees, travel and accommodation. Students can apply to several
foundations for scholarships. Simultaneous applications to different foundations
are allowed. Possible foundations include
the following:
International Association of Universities
and Colleges of Art, Design and Media
++ w ww.cumulusassociation.org
European League of Institutes of the Arts
++ www.elia-artschools.org/members/index
Association of Independent Colleges of
Art and Design (US)
++ www.aicad.org
International Directory of Design
++ www.penrose-press.com/idd/edu
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www.vsbfonds.nl/beurzen
++ VSB Fund scholarship programme
www.vsbfonds.nl/beurzen
8.1.5 Career orientation
and preparation
++ Cultural Agreements
www.nuffic.nl/cultureleverdragen
++ Fulbright Scholar Program (for US)
www.fulbright.nl
++ Institute for International Education
(for US)
www.fundingusstudy.org
++ Mondriaan Fonds
www.mondriaanfonds.nl/en/about/
++ Additional foundations are listed at
www.beursopener.nl
The following tips are important when
applying for scholarships:
After graduation
Postgraduate programme
Several high-quality postgraduate programmes are available for students wishing to continue their studies abroad after
graduation. Timely preparation is required.
Most admission procedures for foreign
postgraduate programmes begin in January. This means that students should
start their orientation to the available programmes at the beginning of the examination year. The following websites can
assist students in their search:
tion is performed by an internal selection
committee of the University of the Arts,
The Hague. The selection committee proposes a number of candidates (predetermined by the VSB Fund) to the Board
of the University of the Arts, The Hague.
Additional information on criteria
and procedures is available at the International Office or on the website:
++ M ake sure that the application looks
presentable and that it is free of language errors.
++ Provide arguments for your plans in a
well-written cover letter.
++ In the application, state whether you
have already been admitted to the institution of your choice.
VSB Fund Scholarship
Students graduating from a Bachelor’s
programme between 1 March 2014 and
31 December 2015 and wishing to pursue further studies or conduct research
abroad after graduation are eligible for
VSB Fund Scholarships. Continuing
programmes should last a minimum of
three and a maximum of 24 consecutive months, and they must be completed
within that period. The grant can amount
to a maximum of €10,000. The scholarship is not intended for internships, and
applicants cannot be older than 29 years
at the start of the programme. The application form is available on the website
of the VSB Fund. All applications can
be submitted to the International Office
of the KABK, along with original documents. The first written and oral selec-
During the course of the study programme, students increasingly approach
the level of a starting professional, thereby
contributing to the further professionalisation of their own work in their chosen professions or occupations. The educational
programmes of the Academy can be
seen as a foreshadowing of future professional practice. Students encounter this
practice in various forms throughout their
years of study, and they master its various
components. The process begins with an
introduction to professional practice in the
courses, which are taught by artists and
designers, almost all of whom have their
own professional careers. The link with
the professional field is made even more
explicit through internal projects, through
work presentations in internal and external exhibitions and through lectures and
workshops. The link is made externally
during visits to (and participation in) exhibitions and events. During the course of
their studies, students gain knowledge
and experience through career orientation
and, later, through career preparation. The
ability of students to function independently becomes increasingly important. In
the main phase, we offer the course Writing a Business Plan.
Career orientation/field
orientation during the
propaedeutic year
Especially in the first year, career orientation is important for both the student and
the Academy. Both the KABK and the student must be able to determine whether
the student has enrolled in the right
programme. Students visit exhibitions,
designers and artists, both in groups and
on their own, and they prepare reports on
these visits. This process also serves as
training in written expression skills, and it
provides students with the opportunity to
reflect further in an oral presentation. This
type of career orientation is part of the
study programme of each department.
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Career preparation
in the main phase
In the main phase, students become
increasingly independent, possessing
more technical and artistic skills and
greater conceptual and theoretical knowledge. Students are eager to become artists or designers, and their professional
careers are approaching. Participation
in workshops and projects or productions is a method for intensifying career
preparation. Each department employs
methods that are best suited to the discipline. Examples of methods used to prepare students for their professions and to
teach them how to present themselves as
designers or artists include the following:
++ case study: practical education involving a series of fictitious assignments
(sometimes simulations) that teach students to cope with authentic practical
problems (in the case) that reflect realworld assignments
++ d ocumentation of original work in a
portfolio (digital or otherwise)
++ digital recording of project, production
and workshop reports
++ describing the work presented at the
collective assessment and giving an
oral explanation of the work
Career preparation in the
final exam track/final phase
Even in the earliest phases of the programme, but explicitly in the final phase,
students demonstrate their ability to work
independently as professionals. They are
therefore supervised from this perspective. The final thesis and final examination
project are two elements in which students can make artistic statements. In the
fourth year, full-time students of Interior
Architecture and Furniture Design and
full-time students of Textile and Fashion
work at their internships.
8.1.6 Internship
The internship is part of the career preparation for the profession of artist or
designer. During their internships, students experience the working conditions,
methods, techniques and limitations of
their future professional fields. They are
thus an important part of the career preparation. The KABK attaches considerable
value to the internship, regarding a strong
relationship with the professional field
as an essential part of the programme.
Internships are not yet compulsory for
part-time students. Given the difficulty of
arranging internships in their fields, full-
time students of the Fine Arts and ArtScience departments work on external
projects in lieu of internships.
The ability of students to function as
aspiring artists or designers during their
internships is an important addition to the
programme. The process by which students, clients and teachers define learning objectives prior to their internships
and assess their achievements at the
end allows for the evaluation of what students have achieved thus far. By working in the professional field, students also
have the opportunity to develop important
contacts.
Work placements do not qualify as
internships unless on-site supervision is
available. For students participating in
projects in lieu of internships, the KABK
arranges regular supervision. The KABK
guarantees the effective contribution of an
internship to the programme based on
the internship guidelines for the interim
and final assessments. Guidelines have
also been created for communication with
internship companies.
Each department has an internship
coordinator, who is often the internship
supervisor as well. Numerous websites
contain information and tips for students
with regard to internships. The KABK website provides an overview of several useful sites.
Internship objectives
The internship must offer the student the
opportunity to demonstrate insight into
situations that are typical of the future profession, as well as the ability to act appropriately, based on this insight. Students
formulate their own learning objectives
for their internships, which are intended
to prepare them for their future careers.
During their internships, students
must therefore:
++ b ecome familiar with the profession
and their future careers
++ acquire the professional skills and professional attitude expected of starting
professionals (designers/artists)
++ learn to participate in the working/business world
++ learn to integrate theory and practice
++ discover their own qualities and learning objectives
++ explore possible specialisations
++ network: establish contacts in order to
minimise the transition to the professional field
++ o btain an understanding of and gain
experience in the field under professional conditions
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++ gain experience in professional manufacturing methods and techniques
++ w here applicable, learn to work in
teams and with clients and meet production deadlines, in addition to performing acquisitions, preparing quotations and managing budgets
Internship supervision
++ I nternships are supervised by the
department coordinator, who maintains
contact with the internship company
throughout the internship, in accordance with pre-defined arrangements.
++ T he internship company has a contact person, with whom the internship supervisor holds discussions as
needed throughout the internship, in
addition to a final conversation.
++ If the internship takes place abroad,
contact is usually maintained by email
or telephone.
++ T he KABK supervisor contacts the
internship company and the student
at least once during the internship.
++ The department can organise a collective internship meeting halfway through
the internship period.
++ T he coordinator always visits new
internship companies in the presence
of the student. If desired, contact with
established internship companies is
maintained by telephone.
++ In the event of problems, the internship
company and/or the student should
contact the coordinator.
++ T he coordinator is responsible for
processing the internship contract.
Organisation of the internship
The internship brochure provides detailed
information about the internship procedure. It also contains an internship contract and the interim and final assessment forms. The principles underlying the
internship policy and contract are also
included in English.
The interim and final assessment
forms are available in Dutch and English,
and can be obtained from the Student
Administration office.
An internship must comprise at
least half a semester, with a maximum
of one semester. During the actual internship period, sufficient time is devoted to
the preparation of an oral or written interim
report. Participation in the mid-internship
return days, completion of the timesheet,
the preparation and signing of the overview of activities by the student and the
internship company, and the preparation of the internship report are inextricably linked to the internship. No separate
credits are allocated for writing the report.
Internships should include the following
steps (please refer to the internship brochure for additional information):
++ creation of an internship work plan
++ locating an internship or internship
replacement activity
++ application
++ preparation of an internship contract
++ writing an interim report
++ p articipation in a return day (where
applicable)
++ a mid-term review with the external
internship supervisor
++ a final assessment from the internship
company
++ writing a final report
++ creation of a visual presentation about
the internship period (where applicable)
For situations in which internships are difficult to obtain (e.g. Fine Arts), the internship is replaced with other activities (see
the section on Internship Replacement
Activities below).
Starting conditions
Before a student can start an internship,
the internship plan must be approved and
prior study components must be completed. In exceptional cases, the head
of department may authorise an internship before completion of the prior programme. Necessary preparations must
have been made during the period preceding the internship (e.g. by attending
the internship return days held halfway
through each internship period). Students
are also advised to consult the internship
brochure.
Internship replacement
activities
It is more difficult to find internship positions for students of the Fine Arts and
ArtScience departments than it is for
design students. Occasionally, individual
students work in the studios of or participate in projects with artists, but such
positions are very limited.
One solution to this problem
involves a non-continuous period (e.g.
one or two days per week). Institutions
including Stroom Den Haag, the GEM,
the Museum of Contemporary Art, the
Gemeentemuseum and various artists’
initiatives provide a proper context for
conducting research on more general
issues (e.g. on the operation of the process of making art available to the public within the professional field) . Many
Fine Arts students participate in external
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projects or the organisation of exhibitions
in lieu of the internship.
Students of the interfaculty ArtScience department work on various
productions and projects (e.g. the SonicArt Festival). This department prefers to
approach education, research and production as an integrated whole.
The head of department appoints
a supervisor for each internship replacement activity. The rules regarding credit
allocation and the conclusion of these
activities are the same as those applying to regular internships. The writing of
a report on the replacement activity is
compulsory.
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academy-wide education
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8.2
Academy-wide
Education
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8.2 Academy-wide education
8.2.3 Entrepreneurship
In addition to their departmental programmes students participate in academy-wide courses. From the first year,
collaboration between students from
different departments and disciplines is
hence actively encouraged.
Some components of academywide education are part of the compulsory
programmes. In these cases, the specific
courses are included in the departmental
credit overviews. In other cases academywide programmes may refer to elective
subjects.
Courses and subjects organised
at an academy-wide level are described
below.
8.2.1 Research & Discourse
The first-year course that relates making
to thinking and gets students into contact
with all departments within the academy.
During the whole first year they
look at different aspects of artistic practice and research. The practice of an artist or designer is all about making, but is
there any making without thinking? This
programme asks questions, discusses
visions and both visually and mentally
invites students to get informed about
the contemporary discourse of the Arts.
They explore their position in the fields of
art and design and learn how to speak or
write about this position.
The Research & Discourse programme consists of Research seminars
and Discourse lectures. It is a compulsory
part of the first year of the Bachelor’s programmes. Details are published on the
KABK website:
www.kabk.nl/researchanddiscourse
8.2.2 Propaedeutic
Project Week
In the world of professional designers
and artists it is all about realising projects
and ideas. To do this, choices are made
and decisions are taken. But one needs
more! You may have a very strong concept but how do you realise this idea?
How do you get to work on projects as
artists or designers? How do you apply for
a grant? What do you do if your artwork
will be exhibited in a museum? How do
you organise a performance? How do you
make a budget and what do you include
in an offer? How do you start cooperation
with a partner or other organisations? And
what do you include in a press release?
To answer all these questions you need
certain skills and you should know how
the business-side of the professional
world looks like. The entrepreneurship
course enables the professional practice
of art and realise ideas.
Entrepreneurship is an interdisciplinary course where students are prepared for the business-side of the professional practice. With a broad academic
programme we work on the development
of knowledge and skills in the areas of
project management, business development and entrepreneurship. The students learn how to organise and shape
the practical and financial parts of their
own design or art companies/studios. The
central themes vary from budget control,
budget en project planning to acquisition,
being able to sell yourself and presenting the ideas.
Ellen Schindler, partner/business
director of design studio Kossman.
dejong, will teach this course in cooperation with teachers from the different
departments giving seminars. This course
is compulsory for students of the 3rd and
4th year depending on the department/
programme they follow.
8.2.4 Labs
The Propaedeutic Project Week is an
academy-wide project week for all firstyear students. This week is about working across the boundaries of the different
disciplines in art education. The aim is
to promote collaboration and strengthen
connections between the different departments. The KABK strives to stimulate an
inspiring ‘open culture’, in which individual
experience and skills, connect and collide.
This project week is a compulsory
part of the first year of the Bachelor’s programmes.
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In order to further explore and deepen the
research orientation of the programme
and the students’ development in artistic research, we organise a number of
‘research labs’. The labs are experimental and, most of the time, researchbased interdisciplinary working groups,
offered by one or more departments and/
or research domains. In the labs, the
research orientation of the programmes is
further explored and deepened by encouraging students to work together on particular themes with students and teachers
from other disciplines.
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8.2.5 Studium Generale
The activities of the Studium Generale
(SG) are designed to broaden students’
knowledge and keep them up to date
with regard to cultural and social developments. During the activities of the Studium Generale, all students of the KABK
are invited to look beyond the boundaries of their own disciplines, in order to
question the current events taking place
in the world around them and to be confronted with ideas from other disciplines.
This helps them to develop a critical way
of looking at their own disciplines and to
engage in conversation with other students. The exact content of the SG programme for 2015-2016 will be published
on the website.
The Studium Generale is a compulsory part of all Bachelor’s programmes;
the semester/year in which it is included
in the programme may differ between
the departments. Participation in other
semesters/years is encouraged.
For additional information about the
programme and participation, please visit:
www.studiumgeneralekabk.nl
8.2.6 Activities of ’t Hart
’t Hart organises lectures, film and video
screenings and discussions in the KABK.
The association also provides discounts
on special theatre and opera performances. Information is available in various
locations, including the ’t Hart stand in the
hall of the Academy. Many of the activities organised by ’t Hart are planned in
collaboration with students.
If you are interested in these activities, please contact Christie van der Haak:
[email protected].
8.2.7 Electives
Students at the KABK may follow various
electives during the main phase of their
study programme.
With the approval of their coaches,
students may take these electives within
the framework of the Individual Study
Track.
Furthermore, the academy offers
a range of special elective courses that
are not part of the regular programmes.
These elective courses vary from short
skills training courses, in which students mainly learn new techniques, to
full semester courses. Elective courses
are open to students from all departments
and can be included in the Individual
Study Track if the department approves
a student’s proposal to do so before the
beginning of the course.
External electives
Through the Academy of Creative and
Performing Arts, students may follow
external electives at Leiden University or
at the Royal Conservatoire.
Current information about all the
external electives is provided in the e-Prospectus: www.studiegids.leidenuniv.nl.
More information about the enrolment procedure is provided at
www.hum.leiden.edu/
creative-performing-arts
Enrolment in an elective course at the
Royal Conservatoire does not require
registration as a guest student at Leiden
University. In this case please contact
R. Schneemann: [email protected].
8.2.8 Electives for students
from Leiden University
Through the Academy of Creative and
Performing Arts, students from Leiden
University may take electives at the Royal
Academy of Art and the Royal Conservatoire.
More information is provided on the
website and in the e-Prospectus from Leiden University where students can register online:
++ www.studiegids.leidenuniv.nl/en
(elective choices)
Internal electives
As part of the IST, students are allowed
and encouraged to take elective courses
either within or outside the academy. The
research labs mentioned above can
serve as an elective course, for example. Another option is to take parts of a
programme of another department as
an elective.
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assessment in ar t education
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8.3
Assessment
in Art Education
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Assessment in ar t education
8.3 Assessment in art education
During their studies at the KABK, students
are assessed in a specific, extensive
and very thorough manner. The assessment methods used in art education differ from those used in other forms of
higher education, in which students are
usually assessed through examinations.
The assessment methods applied at the
KABK can be observed even during the
admission process. For example, prior
education is not the only decisive factor
in the decision to accept prospective students to the KABK. Their creative abilities, motivation and ambition are assigned
equal importance, as is their potential for
talent development.
The individual development of students places special demands on the
method of assessment. Within the KABK,
assessments are intended primarily for
didactic purposes: they should provide
students with insight into the progress
of their development as artists or designers. In addition to addressing the form
of the work, assessments focus on the
strength of the concept, the way in which
the result has been achieved, the process and the student’s theoretical knowledge. This analysis of the students’ work
and designs is made during the individual reviews and collective assessments.
The conclusions form the basis for discussions with individual students. These
conversations are led by the coordinator
or head of department, in order to clarify
the specific issues at hand. Information on
the various assessments, the composition of the different committees and their
authoritative reach are specified in the
Education and Examination Regulations
(Section 7). It is particularly important for
first-year students to read the rules on
the propaedeutic assessment.
In the department of Fine Arts, and
in several years of the programmes in
other departments, the individual reviews
and collective assessments are combined into a single assessment.
8.3.1 Individual reviews
Individual reviews aim to give students
feedback on their achievements thus far
and recommendations for next steps in
their studies. The main focus, therefore,
is not on grading and assessing, but on
discussing with students how they are
developing artistically, professionally and
personally, and on that basis, giving the
students useful guidance to get the most
out of themselves.
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8.3.2 Collective assessments
The collective assessment evaluates the
integral development of the students, as
well as their processes, products and
skills. In addition to its evaluative purpose,
the assessment has the didactic objective of providing feedback to students with
regard to their attitudes, their work and
the way in which they have approached
the work or assignment, as well as the
strength of the concept and their theoretical knowledge.
The collective assessment is based
on the presentation of the student’s work,
as well as on its developments in comparison with previous assessments, taking into account the feedback from the
teachers of the various study components. Additional information is provided
in the ‘Credit Allocation’ section.
The competencies of visual communication/product/spatial designers and
those of visual artists are described in
their original form in the Educational Profiles of the OBK. The competencies for
each academic year are specified in the
curriculum descriptions of each department.
8.3.3 Registration and archiving
++ All collective assessments are signed
by the head of department, on behalf
of the assessment committee.
++ Each student receives a form, signed
by the head of department, in which the
result of the collective assessment is
stated.
++ One copy of the form is kept in the student’s file at the Student Administration
office.
8.3.4 Credits (EC)
Study load is expressed in terms of European credits (EC).
The European credit is a unit of
measurement used to calculate the study
load, which includes all the activities that
a student undertakes within the framework of a specific study component. In
addition to contact hours and classes,
the measurement includes hours of independent study. One study year consists of
42 weeks of 40 hours, for a total of 1680
hours. One EC equals a study load of 28
hours. One year of a full-time programme
thus consists of 60 EC (60 x 28 hours =
1680 hours).
A Bachelor’s programme covers
four years, each amounting to 60 EC.
The propaedeutic phase comprises 60
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EC, with the main phase and final phase
covering the remaining 180 EC. Students
must obtain a sufficient number of EC
each year in order to continue the programme, and they must receive all of the
programme’s 240 EC in order to complete the Bachelor’s degree.
The Master’s programme in Type
and Media covers one year, amounting
to 60 EC. The Master’s programme in
Interior Architecture covers two years,
amounting to 120 EC.
Credit allocation
The study load of the various components
is expressed in EC. Individual reviews are
followed by the collective assessment.
This applies to both the full-time and parttime programmes.
All study components in one semester have a combined study load of 30 EC.
During the collective assessments, the
assessment committee decides which
components have been completed successfully or not, and awards credits for
each of these components, or for clusters
of strongly related components, accordingly. Therefore no grades are given or
pass/fail decisions made during the individual reviews.
Please note: Due to the different
structure of the study programme in the
ArtScience department, the allocation
of credits takes place after the collective assessment that is linked to the final
presentations of each semester.
Credit allocation for
international exchange
KABK students participating in foreign
exchange programmes receive their
credits according to the system of the
host institution. Many countries currently
employ the EC system. For those that
do not, a manner of converting the credits is formulated. The study load of the
exchange programme is determined prior
to the exchange by the policy officer for
internationalisation, in cooperation with
the head of department. Credits allocated
by the host institution must be formally
verified and registered by the assessment
committee of the student’s department
at the KABK.
International exchange students
studying at the KABK fall under the protocol of the Academy. Individual arrangements are made in the event that the
credit systems differ.
Assessment in ar t education
Credit allocation
for guest students
Students from other institutions (e.g. Leiden University) who would like to take
classes at the KABK require approval from
their own institutions, as well as from the
Academy. After a positive assessment,
these students receive statements specifying the study load of the programme to
be followed in EC.
Credit allocation for internships
Prior to the internship, each student draws
up an internship plan. Interim and final
evaluations are part of the internship, and
each student is expected to make a presentation and write a report at the end of
the internship. Credits are allocated once
all conditions have been met. Please also
refer to the internship brochure, which
contains with extensive information on
internships.
Credit allocation for
Individual Study Tracks
Credits are reserved for the Individual Study Track (IST). The work carried
out within the framework of the IST is
not always addressed in the collective
assessment (e.g. minors or electives at
Leiden University). In such cases, the students are assessed by external parties.
The plan is signed in advance by the
coach, who subsequently issues a Credit
Statement upon completion, if everything
is in order. A standard form is available
for this purpose. As with all other credits, any credits earned through activities
in the IST are not allocated until after the
collective assessment.
Credit allocation for minors
Pending positive final results, KABK students taking minors at Leiden University
can use a maximum of 36 EC for their
programmes. This is the space offered
by the Individual Study Track. If the study
load of a minor exceeds 36 EC, the additional credits earned are noted, but they
are not counted towards the compulsory
programme.
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8.4 Study
and Progress
Guidance
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8.4 Study and progress
guidance
8.4.2 Student counsellor
The KABK distinguishes between guiding students in the content of their programme and artistic development, and
supervising their study progress. The
guidance of the student’s artistic development takes place continuously through
constant discussions between students
and teachers with regard to the work and
work process.
8.4.1 Mentors and coaches
Mentors and coaches monitor students’
study progress. Mentors guide students
in the propaedeutic year, while coaches
guide students in the higher years.
Mentors meet with the student twice
each year. At the end of the first semester, all full-time first-year students receive
provisional interim recommendations
concerning their study progress. A final,
binding decision follows at the end of the
second semester.
The mentor is a teacher of the relevant discipline. The tasks of the mentor
focus on the following:
++ discussing the student’s study
progress
++ discussing the assessment
of the first semester
++ discussing the assessment
of the second semester
++ keeping a concise record of the date
and content of the conversations
Coaches are available to students in the
main phase. The coach is a teacher of
the relevant discipline. In some cases, the
head of department assumes the role of
coach. The tasks of the coach focus on
the following:
The KABK has an independent student
counsellor who supplies information of a
more general nature. The student counsellor represents the individual interests
of the students and is bound by an agreement of confidentiality. The counsellor
may also mediate or make referrals to
agencies or individuals outside the Academy. Third parties are contacted if necessary, but only with approval of the student.
The counsellor provides information on and assists (if possible) with the
following matters:
++ study grants and financial issues
++ applications for funding and grants
++ housing
++ problems in study progress
due to illness
++ personal problems
++ professional procedures
++ adjustment difficulties, study motivation, study planning, performance
anxiety, switching programmes
++ conflicts with teachers
++ information on de-registration
++ information on postgraduate
programmes
The KABK student counsellor is Paul
Deneer. Paul Deneer is also a confidential
contact person, along with Pauline Schep.
Appointments can be made by email.
++ Paul Deneer
[email protected]
++ Pauline Schep
[email protected]
++ discussing the student’s
study progress
++ pre-approving the IST plan
++ assessing the IST plan after
completion
++ recording and filing the
students’ IST plans
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Qualit y assur ance
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8.5
Quality
Assurance
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Qualit y assur ance
8.5 Quality assurance
8.5.2 Quality assurance
at the KABK
Quality assurance refers to the totality of
measures with which an institute systematically defines, monitors and improves
the quality of education in the broadest
sense of the term.
8.5.1 Accreditation
Accreditation is a designation indicating
that an educational programme meets
the requirements set by the Minister of
Education, Culture and Science. It is a
condition for the recognition of diplomas,
for the funding of the programmes and for
grant applications. An external committee
reviews and evaluates the programmes
and reports to the Accreditation Organisation of the Netherlands and Flanders
(NVAO). The designation is granted by the
NVAO. A list of accredited programmes
is available on the NVAO website:
www.nvao.net
Quality assurance is an important part of
the accreditation process. It involves the
continuous examination of the performance of both the education and the organisation. This is accomplished through
interviews and evaluations (see below).
If the outcomes of the assessments are
negative, improvements will be made.
The KABK Bachelor’s programmes
and the Master’s programme in Type and
Media were accredited in July 2015. The
Bachelor’s programme in Autonomous
Fine Arts (ArtScience and Fine Arts) was
assessed as ‘good’, while the Bachelor’s
programme in Design (Graphic Design,
Interactive/Media/Design, Interior Architecture and Furniture Design, Photography and Fashion and Textile) and the
Master’s programme in Type and Media
were assessed as ‘excellent’.
The Master’s programmes in ArtScience and Artistic Research were
accredited in September 2013 as ‘excellent’ and were recognised for ‘internationalisation’ as a distinctive quality feature
(as a specialisation in the Master’s programme in Music).
The Master’s programme in Interior
Architecture was accredited on June 8th
2010 and is due for accreditation by the
end of 2015.
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The staff, students, alumni and professionals of the different departments are
actively involved in the internal quality
assurance process of the KABK. Great
importance is attached to solid quality
in policy, both throughout the Academy
and within the departments. The Academy considers opinions concerning
the programmes and their results. This
takes place internally with students and
staff members, as well as externally with
alumni, committee members, key figures
in the art and design worlds, internship
companies and art institutions from the
professional field.
At the KABK, quality assurance consists of the following:
Satisfaction surveys
Written or digital surveys are used to question students about their satisfaction with
the educational programme in general, as
well as with regard to specific parts of the
programme. Aspects addressed in the
surveys include the level of the course,
assessments and the level of difficulty.
The surveys are developed in close collaboration with the ICLON department at
Leiden University, which also performs the
automatic processing of the responses.
Participation in national
satisfaction surveys
The KABK regularly participates in
national satisfaction surveys, in order to
ensure its compatibility with other institutions of higher education in the arts.
Student panels/class
representative meetings
Within each course, meetings are scheduled regularly (at least once a year)
between the head of department and the
class representatives. The class representatives also meet at least once a year
with the director of the KABK.
Course Committee
The Course Committee (in Dutch, Opleidingscommissie, or OC) plays an important role in the developments in the programmes and in quality assurance, by
providing solicited and unsolicited advice
on all matters concerning education. The
committee is also involved in finding the
best way to gather information on education. The Course Committee consists of
students and teachers. The meeting dates
are provided in the Academy calendar.
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Departmental meetings
Teachers and the heads of departments
meet regularly to discuss operations and
the quality of the education. This information is then used in the further development of the programmes.
Qualit y assur ance
Exit surveys
All students leaving the KABK without a
diploma are also asked to complete a
questionnaire. The information obtained
through these surveys could be useful for
the development of the education.
Study days
The director, heads of departments and
other staff members participate in study
days several times each year, in order to
discuss the current developments within
the academy and to develop new ideas.
External assessors
Each year, renowned experts, artists and
designers are involved in the final examinations as external assessors. They are
asked about their experiences and findings in relation to the department. Departments use this information to develop
their programmes. The assessors are
also questioned about their findings in
writing.
Professional advisory
committees
A professional advisory committee has
been established within each department, in order to ensure compatibility
with the professional field. There is also
a professional advisory committee for
the academy as a whole. These committees consist of respected people from the
professional field who advise the KABK
and comment on the content of the programmes, the final objectives and the final
level, as well as on developments in the
field and the resulting demands for the
education and organisation.
Internship companies
The companies at which students complete their internships are asked about
their findings, with regard to the level of
the students and their needs in the professional field.
Alumni studies
Since 2003, all alumni who have completed their studies successfully are
asked about their experiences. This takes
place about three months after graduation. For the first few years, these questionnaires were distributed by post. For
the past few years, alumni have had the
option of completing the questionnaire
digitally. The response rate is high for this
type of research, around 40%. In the near
future, an additional survey will be conducted on the manner in which alumni
are able to establish their own positions
within the world of art and/or design.
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education and e x amination regul ation
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9. Education
and Examination
Regulation
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9. Education and
Examination Regulations
This part of the Education and Examination Regulations specifies the rules
and provisions that apply to the education at the Royal Academy of Art (KABK)
as a whole, in conformity with art. 7.13.2
a–u, of the Higher Education and Scientific Research Act (Hoger onderwijs en
Wetenschappelijk onderzoek (WHW)) .
It has been approved by the Board of
Governors of the University of the Arts,
The Hague, formerly the School of Visual Arts, Music and Dance. These regulations came into force on 1 September
1998, and they were modified in part by
the Board of Governors (most recently in
July 2015) for all programmes of study at
the Royal Academy of Art.
The general description of the education provided at the Academy and the
concise description of the curriculum for
the programmes in this Study Guide are
an integral part of these regulations.
These regulations apply to all
cohorts of students of the programmes
and courses referred to, and to the 2015–
2016 academic year.
By way of exception to the above, if
the 2015-2016 Education and Examination Regulations have not been completed
as of 1 September 2015, the 2014-2015
shall remain in force until the 2015-2016
take effect.
++ Article 13: Determining the result and
awarding credits
++ Article 14: Propaedeutic phase assessment/regulations (WHW art. 7.8; only
applies to Bachelor’s programmes)
++ Artikel 15: Regulations concerning the
recommendation on continuation of
studies and rejection (WHW art. 7.8b;
bachelor’s programmes only)
++ Article 16: Green light assessment
++ Article 17: Sequence of the assessments
++ Article 18: The assessment committees
++ Article 19: Semester assessments of
the assessment committees
++ Article 20: Regulations for the semester
and propaedeutic assessment committees
++ Article 21: Final assessment committee: Composition and working method
++ Article 22: Final examination regulations for the Royal Academy of Art
Resits, exemptions,
substitute activities
++ Article 23: Exemption
++ Article 24: Resits/retakes and compensation
++ Article 25: Substitute activities due to
financial reasons
++ Announcement and registration of
results; statements and certificates
++ Article 26: Registration and announcement of assessment results: Validity
of results
++ Article 27: Declarations and certificates
(WHW art. 7.11)
General
++ Article 1: Applicability of the regulations
++ Article 2: Definitions
++ Article 3: Degree programmes offered
Safekeeping
++ Article 28: Safekeeping
Admission
++ Article 4: Admissions
Irregularities during
assesments/examinations
++ Article 29: Irregularities
++ Article 30: Misconduct
Duration and structure
of the programmes
++ Article 5: Duration of the programmes
++ Article 6: Propaedeutic phase (WHW
art.7.8)
++ Article 7: Admission to the main phase
of the Bachelor’s programmes
++ Article 8: Main phase of the Bachelor’s
programmes
++ Article 9: Structure of the Master’s programmes
Objection and appeal
++ Article 31: Regulations for objections
and appeals
Other provisions
++ Article 32: Copyright
++ Article 33: Tests and examinations
(assessments) for students with disabilities
++ Article 34: Reference title
++ Article 35: Effective date
Assessments
++ Article 10: Semester assessment
++ Article 11: Individual reviews
++ Article 12: Collective assessments
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General
evaluation of the results of that investigation. We make the following distinctions:
Article 1
Applicability of the regulations
These regulations apply to the education
and examinations of the following programmes and courses of study:
++ Fine Art Bachelor’s programme
(CROHO 39110), with the ArtScience
and Fine Arts courses
++ D e s i g n B a c h e l o r ’ s p r o g r a m m e
(CROHO 39111), comprising Photography, Graphic Design, Interior Architecture and Furniture Design, Textiles
and Fashion, and Interactive/Media/
Design courses
++ Interior Architecture Master’s programme (CROHO 49238)
++ Type and Media Master’s programme
(CROHO 49106)
Article 2
Definitions
Academic year:
The period beginning on 1 September
and terminating on 31 August of the subsequent calendar year: An academic year
has two semesters.
Academy for Creative
and Performing Arts:
This is a collaborative partnership
between the University of the Arts, The
Hague and the University of Leiden.
Admissions committee:
A committee established by the institution’s management, represented by the
faculty director, to bear responsibility for
assessing the attitude and suitability of
prospective students for specific study
programmes (WHW art. 7.26a).
Admissions review:
A review of the suitability of prospective
students.
Assessing:
Assessing is an accepted term in higher
art education that is equivalent to ‘administering examinations’ in regular higher
education. (see WHW art. 7.10, para. 1).
Assessment:
A term in art education that is equivalent
to the terms ‘interim examination’ and
‘examination’ in WHW art. 7.3, para. 3 and
art. 7.10, para. 1. Assessments involve an
investigation into the knowledge, insights
and skills of the examinee, as well as the
++ in the Bachelor’s programmes: propaedeutic (first-year) phase assessment
following semester 2
++ semester assessment (comprising
individual reviews for the separate
study components and a collective
assessment, or an integrated assessment where these are combined)
++ final assessment
Assessment committee:
Committees of examiners (or assessment
committees) are established for the purpose of preparing and/or implementing
examinations and parts of examinations,
as referred to in WHW art. 7.12c, para. 1.
The examiners are responsible for setting
and assessing tests and examinations.
Assessment committees are established for the propaedeutic and main
phases of the Bachelor’s programmes
and for the Master’s programmes, and
are responsible for collective assessments. For the Bachelor’s programmes,
the Academy establishes assessment
committees for the propaedeutic assessment, the assessments in the subject
study phase and the final assessment.
For the Master’s programme, assessment committees are established for the
semester assessments and for the final
examination.
These assessment committees
have different powers, depending on their
tasks. Articles 18, 19 and 21 of these regulations specify the composition of the
assessment committees.
Bachelor’s degree:
Degree that can be earned after completing a four-year higher professional education (HBO) programme (or after completing a three-year university level (WO)
programme) . An HBO Bachelor’s programme usually lasts four years, each
worth a possible 60 ECTS.
Board of Appeals for Examinations:
The Board of Appeals, as referred to in
WHW art. 7.60, can be reached through
the Central Office of the University of the
Arts.
Board of Governors:
The Board of Governors of the University of the Arts, The Hague is the competent authority, bearing responsibility for
the education, organisation and management of the institution.
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Course:
The Fine Art and Design programmes
each have different courses that train students for a specific profession.
Block/Period:
This is half of a semester, with a maximum of four blocks/periods per academic year.
Coach:
A student counsellor for specialisation
students, possibly with responsibility for
coaching the Individual Study Track (IST).
Committee of Examiners:
See: assessment committee.
Competence:
Competence is the integral whole of
knowledge, skills, attitudes and other personal qualities that individuals possess,
which enable them to carry out tasks in
an adequate way, to find solutions and
to put them into effect in practising their
profession.
Component of a study programme:
A component of a study programme is
equivalent to that which is referred to in
WHW art. 7.3 as a unit of study. It is a
part of the educational programme, which
concludes with an assessment.
Degree programme:
As referred to in WHW art. 7.3, a degree
programme is a cohesive whole of
educational units designed to achieve
clearly defined objectives with regard to
the knowledge, insight and skills that a
person completing the programme is
required to possess. Each degree programme concludes with an examination.
The programmes at the Academy include
several study programmes.
EC/Credits:
A measure of the hours of study: One
European Credit is equal to a study load
of 28 hours (self-study and lectures). The
study load of a Bachelor’s degree HBO
programme amounts to 240 study credits: 60 in the propaedeutic phase and
180 in the main phase. The study load
of the Interior Architecture Master’s programme is 120 credits. The study load of
the Type and Media Master’s programme
is 60 credits
ECTS:
European Credit Transfer and Accumulation System: the European system for
exchanging and accumulating credits.
Education and
Examination Regulations:
The Education and Examination Regulations consist of two parts: One part provides a general description of the teaching
at the Academy and a concise description
of the curriculum of the courses at the
Academy and the Interfaculty ArtScience;
the other part includes the rules and provisions. Both of these parts are included
in the Study Guide.
Final assessment /
final examination:
The final assessment of a programme,
based on the final examination work –
usually referred to as “final examination”
in common parlance.
Examination:
A review of the candidate’s knowledge,
insights and skills and the evaluation of
the outcomes of this review. Examination Board:
For the purpose of administering, organising and coordinating examinations,
interim examinations and assessments,
the Board of Governors of the institute
has established an Examination Board
for each programme or group of programmes offered by the institute in
accordance with WHW art. 7.12.
At least one member of this board
must be a lecturer of the programme in
question and at least one member must
come from outside the programme.
The Examination Board for Fine Art
and Design is responsible for the examination procedures.
The Examination Board:
++ safeguards the quality of the interim
and final examinations (WHW art.
7.12.b, para. 1, sub a)
++ can provide invigilators with guidelines and instructions concerning the
assessment and determination of the
examination result (WHW art. 7.12.b,
para. 1, sub b)
++ applies exceptional regulations, including those governing exemptions, and
allows individual exceptions to the regulations in certain cases (WHW art.
7.12b, para. 1, sub d)
++ is empowered to take measures in the
event that fraud is committed by a student (WHW art. 7.12b, para. 2)
++ appoints the invigilators, including the
chair of a committee of invigilators
(WHW art. 7.12c)
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++ awards the certificate once the student
has taken the required examinations
and once the Board of Governors has
determined that the procedural requirements for awarding the certificate have
been met (WHW art. 7.11).
Examiner:
A member of the Committee of Examiners, as referred to in WHW art. 7.12c:
Individuals who teach within the relevant
degree programme may be designated
as examiners, as may experts from outside the programme.
External students:
Students enrolled at the University for the
sole purpose of participating in the propaedeutic or final examination, or parts
thereof.
Faculty:
Organisational unit: The University of the
Arts, The Hague comprises two faculties:
the Royal Conservatoire and the Royal
Academy of Art. Additional units include
the Interfaculty ArtScience and the Interfaculty School for Young Talent.
Head:
Official in charge of an educational unit
or a study programme at the Academy.
Individual Study Track:
In the main phase of the Bachelor’s programmes (and also in the ArtScience
Master’s programme) , study load is
reserved for a study component with individually determined contents approved
by the department. This is known as the
Individual Study Track (IST) . This track
allows students to realise their own ambitions and to focus on their own interests.
IST credits from full-time internships
and/or the final examination can be integrated into the internship/final examination assessment in a manner to be
approved by the Head of the department
of the course.
Interfaculty:
An Interfaculty is a partnership between
the Conservatoire and the Academy. ArtScience and the School for Young Talent
are Interfaculties. The ArtScience Bachelor’s programme provided by the ArtScience Interfaculty falls under the Fine
Art Bachelor’s programme in the Central Registry of Higher Education Programmes (CROHO) . The ArtScience
Master’s programme falls under the Music
Master’s programme in CROHO. Interim examination:
An investigation (written, oral or other) into
the knowledge, insights and the skills of
the student, as well as the assessment of
the results of that investigation. An interim
examination is usually referred to as an
‘assessment’ in common parlance at the
Academy.
Main (subject) phase:
The part of the Bachelor’s programme
that follows the propaedeutic phase of
the programme and is concluded with
its final examination.
Major-minor system:
Within the framework of the IST and with
the prior approval of the department, students of the Bachelor’s programmes may
take a minor offered by the other higher
education institutes within the applicable major-minor system. Students of the
University of the Arts in The Hague may
qualify for a minor at Leiden University
after completing the propaedeutic phase.
Conversely, Leiden University students
can take a minor at one of the University’s faculties after being admitted there.
Master’s programme:
A one-year or two-year advanced degree
programme (as a rule, subsequent to the
completion of a Bachelor’s programme)
at an institution of higher professional
education or a university.
Mentor:
A counsellor who assists propaedeutic
students in a bachelor programme with
regard to progress in their studies.
Participation Council:
The Participation Council, as referred
to in WHW art. 10.17: The council comprises elected representatives from various ranks within the institution: students,
teaching staff from each faculty and general support and educational support
staff. The University has a central council and two faculty councils, one for the
Academy and one for the Conservatoire.
Practical exercises:
Carrying out assignments or creating
designs, conducting research assignments, completing internships or participating in excursions and other necessary educational activities, with the goal
of achieving the required skills.
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Propaedeutic assessment/
propaedeutic examination:
The examination that concludes the
propaedeutic phase of a bachelor programme: The examination takes the form
of a propaedeutic assessment aimed at
determining whether the student meets
the requirements specified for the propaedeutic phase.
Recommendation: A distinction is made between:
++ The propaedeutic recommendation:
At the end of the propaedeutic or first
year of a bachelor degree programme,
a recommendation is made with regard
to the continuation of the course of
study. This recommendation is binding, and it may be negative. A negative
binding recommendation means that
the student will not be admitted to the
main part of the course in question and
that the student’s enrolment for that
course will be terminated in conformity with WHW art. 7.8.b.
++ Interim propaedeutic recommendation:
After the first semester in Year 1 for
full-time students and after the second
semester for part-time students under
the previous arrangements, a provisional non-binding recommendation is
made. This provisional recommendation will be issued at a date that gives
any student facing a negative binding
recommendation a reasonable amount
of time to substantially improve his/her
study results. Furthermore, the student
will be notified of this term.
++ Green light recommendation: Following
the penultimate semester of the programme, both in bachelor and master programmes a recommendation
will be issued regarding participation
in the final examination assessment if
all prior study components have been
successfully completed, and if there is
confidence in the ability of the student
to obtain a satisfactory result for the
final examination work based on the
questions and organisation. This recommendation will be binding in cases
described in article 16 of these regulations.
Semester:
Each academic year has two semesters.
A semester comprises blocks or periods.
Semester assessment:
A formal assessment conducted at
the conclusion of each semester: This
assessment is conducted by an assessment committee.
Specialisation:
A cohesive whole of educational units
within a study programme, focusing on
a specific domain within the visual arts
and/or design, particularly in the Bachelor’s programmes.
Student:
A person who is enrolled at the University
of the Arts, The Hague (full-time or parttime) to pursue a degree programme.
Student counsellor:
A confidential advisor who, if necessary
and as a supplement to the mentor,
coach or lecturer, provides advice and
information to students with regard to
matters relating to their studies: The student dean also helps students with personal problems of a material and immaterial nature, refers them elsewhere or acts
as intermediary.
Study load:
All supervised and unsupervised study
activities: practical exercises, excursions, internships, interviews, practical
and theory classes, lectures, workshops
and independent study within and outside
the Academy; also referred to as study
hours, and expressed in credits.
The Royal Academy of Art:
The Fine Arts and Design Faculty of the
University of the Arts, The Hague.
The Royal Conservatoire:
The Music and Dance faculty of the University of the Arts, The Hague.
The University of the Arts,
The Hague:
On 1 January 1990, the Royal Academy of
Art and the Royal Conservatoire merged
to form the School of Visual Arts, Music
and Dance. On 8 July 2010, the name of
the institution was changed to the University of the Arts, The Hague. The Board
of Governors is responsible for the daily
operations of the University. WHW - Higher Education
and Scientific Research Act:
The Act on Higher Education and Scientific Research, Bulletin of Acts, Orders and
Decrees 593, 1992; Implementing Decree
2008 Text, as in force on 1 July 2011.
WSF:
Act on Student Grants and Loans, Student Finance. 261
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Article 3
Degree programmes offered
Bachelor’s programmes:
Each Bachelor’s study programme has its
own propaedeutic phase. Students who
pass the propaedeutic phase are entitled
to advance to the main phase of their
chosen study programmes.
Fine Arts with specialisations:
++ Fine Arts, full-time and part-time
++ ArtScience, full-time, provided by the
Interfaculty ArtScience Design:
++ Graphic Design, full-time and part-time
++ Photography, full-time and part-time
++ Interactive/Media/Design, full-time
++ Interior Architecture and Furniture
Design, full-time and part-time ++ Textile and Fashion, full-time Master’s programmes and
postgraduate programmes:
The Academy has four postgraduate programmes.
++ Type & Media Master’s programme
++ Interior Architecture Master’s programme
++ ArtScience Master’s programme
++ Artistic Research Master’s programme
The latter two programmes are the result
of collaboration between the Academy
and the Conservatoire, and fall under the
of the Music Master’s programme of the
University of the Arts.
Admission
Article 4
Admissions
1. Students are admitted if they meet the
requirements relating to previous education, as specified in WHW art. 7.24, or
if they are exempt from those requirements on the basis of WHW art. 7.28.
2.In addition to the requirements specified in the first paragraph, the students
must meet additional requirements in
accordance with WHW art. 7.26a.
3. In order to determine whether a candidate meets the additional requirements
specified in the second paragraph, the
Board of Governors establishes an
admissions committee that provides
the board with a recommendation concerning the admissibility of the candidate (based on the specified requirements).
4. The Board of Governors establishes the
Admissions Regulations, which contain at least the composition, powers
and responsibilities of the committee
specified in the third paragraph, as well
as the procedures and criteria adopted
by that committee.
Duration and structure
of the programmes
Article 5
Duration of the programmes
The Fine Art and Design Bachelor’s programmes amount to 240 ECTS and last
four academic years.
The Type & Media Master’s programme amounts to 60 ECTS and lasts
one academic year.
The Interior Architecture Master’s
programme amounts to 120 ECTS and
lasts two academic years.
Article 6
Propaedeutic phase (WHW art.7.8)
Each Bachelor’s study programme at
the Academy has its own propaedeutic
phase, which corresponds to the main
phase of that specific study programme,
including the associated specialisations.
The propaedeutic phase counts for 60 EC
and takes one year of study. The phase
concludes with the propaedeutic examination, which takes the form of an assessment.
The study components in the propaedeutic phase constitute a cohesive
foundation for the main phase. The propaedeutic phase is arranged in such a
way that students obtain insight into the
content of the study programme and the
future profession, with the possibility of
referral and/or selection at the end of this
phase. The curriculum of the propaedeutic phase is described in the study guide.
In the Master’s programmes, no distinction is made between the propaedeutic phase and the main phase.
Article 7
Admission to the main phase of
the Bachelor’s programmes
1. Students who have successfully completed the propaedeutic phase of a
Bachelor’s programme can continue
their studies in the main phase of the
course in question.
2.A student who has gone through the
propaedeutic phase of a course but
has not yet passed the propaedeu-
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tic examination may only participate
in the main phase if the propaedeutic
assessment committee considers the
student’s chances of completing the
propaedeutic phase in the second academic year are good, and that repeating
the first year would not be worthwhile.
3.In consultation with the Head of the
department of the relevant course, a
student may be allowed to continue
his/her studies in a different course
within the Academy. The study components of the ‘new’ course that need
to be completed, as well as the amount
and type of credits earned in the ‘old’
course that can be transferred to the
‘new’ one, will be determined in each
case.
4.On the basis of a recommendation
from the admissions committee, the
Board of Governors can decide to
directly admit a student to the main
phase of a course. In such cases, the
Examination Board will assess the
exemptions from the study components of the propaedeutic phase of the
relevant course as soon as possible
after the start of the first year following
enrolment in accordance with article
23 of these regulations.
Article 8
Main phase of the Bachelor’s
programmes
The main phase of the Bachelor’s programmes amounts to 180 ECTS and lasts
three academic years. The goal of the
main phase is to prepare students for professional practice in the field of fine arts
and design. The curriculum of the main
phase is described in the study guide and
on the Academy’s website.
Article 9
Structure of the Master’s
programmes
No distinction is made in the Master’s
programmes between the propaedeutic phase and the main phase. The oneyear Master’s programmes conclude with
an examination (a semester assessment
also takes place after the first semester).
In the two-year Master’s programmes, a
semester assessment takes place after
the first academic year to determine
whether the student will be admitted to the
second year, and the second academic
year concludes with the final examination (the usual semester assessments
also take place after the first and third
semesters).
Assessments
Introduction: The examination and assessment system continuously focuses on
supporting students’ development, in line
with their personal interests and needs,
with the goal of enabling them to eventually attain the final qualifications. For the
propaedeutic phase, the goal is to effectively orientate students within the course
of study and, if necessary, to ensure an
adequate selection and referral.
The assessments reflect (professional) practice in the field in which we
provide education and in which evaluation
largely depends on discourse between
creators, peers, critics and the public. In
our assessments, we therefore seek a
balance between individual and collective judgements, and emphasise the connection between the different study components, which should result in integral
development. Furthermore, our assessments are more formative than summative (with the exception of the propaedeutic and final examinations).
We make a distinction between individual reviews (of separate study components) and collective assessments.
These two have been combined to form
integrated assessments in a number of
courses, sometimes in the later years
of the programmes. The green light
assessment is a special type of collective assessment.
Article 10
Semester assessment
Every semester concludes with a semester assessment consisting of a collective
assessment preceded by or integrated
with individual reviews (see articles 11
and 12). In the last semester of the propaedeutic phase of the Bachelor’s programmes this is known as the ‘propaedeutic assessment’. In the last semester
of the Master’s programmes and the main
phase of the Bachelor’s programmes, it
is called the ‘final assessment’.
Article 11
Individual reviews
1.A semester consists of one or more
study components. For each study
component, an individual review takes
place in which the student’s development and results for the relevant study
component are discussed on the basis
of the learning objectives of that component.
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2.The individual review is conducted by
ter to be assessed, including the IST
the lecturer(s)/invigilator(s) responsible
and/or any study components comfor that study component.
pleted at other institutes. The assess3.The individual review is formative and
ment is performed on the basis of the
provides students with substantive and
results of practical and/or theoretical
qualitative feedback on their progress
work in those study components.
and results, as well as with instructions 5.An exception to paragraph 4 above
and suggestions for their further develis that the collective assessments in
opment during the course of study.
the ArtScience course of study, both
4.The result of the individual review is
the Bachelor’s and the Master’s prorecorded in writing and communicated
grammes, result in an evaluation of the
to the student.
student’s semester project because
5.The individual reviews normally take
the curriculum is organised differently.
place one or two weeks prior to the 6.Students are given the opportunity to
comment on their work presented at
scheduled collective assessments,
unless integral assessments take place
the assessments and on their develin the relevant course and academic
opment.
year. If the study component is not 7. The assessment committee assesses
completed at the end of the semesthe student’s work and determines the
ter, the lecturer will communicate the
assessment results after consultation.
date and time of the individual reviews 8. The collective assessment concludes
in a timely manner.
with a meeting of the assessment
6.The individual review does not result
committee, in which the assessment
in an evaluation (satisfactory/unsatisresults are formulated and registered.
factory) or a grade. Whether or not a
If necessary, the committee provides
study component has been completed
a recommendation on the student’s
satisfactorily is determined during the
continuation of studies or selection of
collective assessment based on the
specialisation.
student’s overall development.
9.The assessment committee gives a
7.An exception to paragraph 6 above is
positive assessment if the requirethat the individual reviews in the Artments established in advance have
Science course of study, both the Bachbeen met.
elor’s and the Master’s programmes, 10.
For students who receive a result of
do result in an evaluation because the
‘unsatisfactory’, the assessment comcurriculum is organised differently.
mittee determines how they can retake
the components or compensate for
Article 12
that result, and when and how this will
Collective assessments
be assessed.
11.
At the end of the academic year, the
1. The semester assessment committee
assessment committee determines
performs an assessment at the end of
whether the student will be admitted
each semester, known as the collecto the next academic year.
tive assessment.
12.
The chair of the assessment commit2. The collective assessment involves an
tee determines how many credits the
investigation into the extent to which
student has earned on the basis of his/
the student meets the criteria estabher assessment results.
lished in advance and the determination of the assessment result of that
Article 13
investigation. The criteria are described
Determining the result and
per academic year and course of study.
awarding credits
3.In the collective assessment, the student’s work from the last semester 1. Assessment results can be expressed
is assessed, and his/her individual
in grades (from 1 to 10, with a maxreviews and results for each sepaimum of one decimal) , on a qualitarate study component are discussed
tive assessment scale (unsatisfactory/
and weighed. Eventually, the semesborderline/satisfactory/good), or on a
ter assessment committee reaches a
two-point scale (unsatisfactory/satisfinal, collective and integral evaluation
factory).
based on the competencies formulated 2.For each study component, students
for the relevant course and academic
are notified of the applicable scale both
year.
before and during the assessments.
4. The collective assessment concerns all
of the study components in the semes264
3. The following applies to graded results:
result of 6.0 or higher are satisfactory;
results below 6.0 are unsatisfactory.
4.During the collective assessment, the
semester assessment committee
determines the result of each study
component and the number of credits earned. In addition to the evaluation
of the individual lecturer(s) concerning that component, the assessment
based on the student’s total development also plays a role. The committee
also determines whether, when and
how the student can retake specific
components or complete additional
assignments. Finally, at the end of the
academic year, the semester assessment committee determines whether
or not the student will be admitted to
the next academic year.
5. For clusters of study components that
are demonstrably and strongly related
in terms of content, the student’s result
can be determined at cluster level
instead of at the level of the separate
study components. In such cases, students are notified in advance which
study components make up the cluster and how the result of each component mutually influences the result at
cluster level.
6. Results and credits obtained within the
framework of an exchange at a different institute either in the Netherlands
or abroad, and formally recognised
in the exchange agreement (learning agreement and any subsequently
agreed changes to that agreement), are
determined in the collective assessment in the relevant semester. A statement concerning these credits from the
partner institute in question (transcript
of records) will serve as proof.
Article 14
Propaedeutic phase assessment/
regulations (WHW art. 7.8;
only applies to Bachelor’s
programmes)
++ The propaedeutic phase of a Bachelor’s programme concludes with a
propaedeutic examination, in the form
of the propaedeutic assessment.
++ The propaedeutic assessment is conducted by an assessment committee
for propaedeutic examinations.
++ The Academy has an assessment
committee for the propaedeutic phase
in each Bachelor’s programme, comprising the Head of the department and
supervising lecturers.
++ The assessment committee deter-
mines the extent to which the candidate
has met the specified criteria according
to previously established general and
subject-related criteria, procedures and
rules. The committee also determines
the assessment result for this review.
++ Students pass the propaedeutic examination by passing collective assessments of the propaedeutic phase and
completing all individual study components successfully.
++ The propaedeutic assessment concludes with a meeting of the assessment committee, in which the result is
decided and recorded.
++ The committee may advise the faculty
director to issue a binding negative recommendation on the continuation of
the study or choice of specialisation.
See Article 15 of these regulations.
++ Students passing the propaedeutic
assessment receive a certificate to indicate that they have passed the assessment and that 60 EC credits have been
obtained.
++ Full-time students and part-time students under the current arrangements
are required to complete the propaedeutic phase within two years of enrollment.
Artikel 15
Regulations concerning the
recommendation on continuation
of studies and rejection
(WHW art. 7.8b; bachelor’s
programmes only)
At the end of the propaedeutic phase of
the Bachelor’s programmes, all students
at the Academy, both full-time and parttime, receive recommendations on the
continuation of their course of studies,
within the programme or elsewhere. A
student who has not passed the propaedeutic assessment and whom the Academy deems unsuitable for the main phase
of the study programme (with due consideration for personal circumstances) may
receive a recommendation containing a
binding rejection (i.e. a binding negative
recommendation) . Candidates receive
signed, written notification of such recommendations from one of the faculty directors (or a deputy). The binding negative
recommendation refers to the procedures
that students must pursue if they wish to
file objections or appeals.
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The recommendation takes one of the
following forms:
++ Positive recommendation: Based on
the results of the study, the Academy
expects that the student will be able
to pursue the study successfully and
thereby promotes the student to the
main phase of the study programme
in question.
++ Binding negative recommendation:
This recommendation means that the
student will not be allowed to continue
the course of study and is not eligible to
enrol in the same study programme at
the Academy again. The binding nature
applies to both the full-time and parttime variants of the programme. Students receive this recommendation if
the assessment committee concludes
that they will not be able to complete
the programme successfully, based
on the results of their assessments.
++ Exceptional recommendations allowing
the possibility of re-taking the propaedeutic assessment (or parts thereof):
This recommendation may be issued
for students who show talent but whose
study results fail to reflect this sufficiently, if the assessment committee
expects that repeating the propaedeutic phase (or parts thereof) would provide them with a sufficient foundation
for successfully pursuing the remainder of the programme, notwithstanding the provisions of 14, para. 9. In the
recommendation, the assessment
committee states its reasoning for this
expectation.
An exceptional recommendation is possible on the grounds of extenuating personal circumstances, as listed below,
insofar as the assessment committee
deems that they have impeded the student from obtaining satisfactory results.
The following are considered extenuating
circumstances:
++ demonstrable and long-term illness of
the student
++ serious personal circumstances of the
student
++ pregnancy of the student
++ membership on the Participation Council
++ membership on the board of a foundation that, by virtue of its charter, operates student amenities, as referred to
in the WHW
++ membership on the board of a sizeable
student organisation or a comparable
organisation that primarily serves the
interests of the arts in society and that
organises activities to this end
++ circumstances other than those listed
above for which the assessment committee deems that a binding negative
recommendation would result in serious unfairness
Students should inform their mentors
about any extenuating circumstances
as soon as possible. If students do not
regard their mentors as suitable for this
purpose, they may contact the student
dean, who will inform the assessment
committee of the circumstances in writing. The information may serve no other
purpose than the study recommendation, and it is made available only to the
assessment committee, which adds it
to the student’s file separately, as does
the mentor.
A recommendation rejecting further
study can be made only if the following
criteria have been met:
++ The criteria and the procedure for the
study recommendation and the possibility of rejection are communicated
clearly in a timely manner.
++ The student’s mentor in the propaedeutic phase discusses the results
with him/her in (at least) one individual meeting.
++ During this meeting (or these meetings), the student’s study results are
made available to him/her. In addition
to these results, any special personal
circumstances are discussed.
++ Students receive an interim recommendation at a date that gives them
a reasonable period of time in which
to substantially improve their study
results. Students will also be notified
of this period.
++ The mentor records the result of these
meetings and includes it in the student’s file. Any special circumstances
are set down in a separate report that
is kept in the student’s file. The mentor keeps the assessment committee informed of such circumstances
in writing. A negative binding recommendation can
be issued so long as the student has not
yet passed the propaedeutic examination. It can therefore also be issued during the second year of enrolment in the
propaedeutic phase. Students who fail
to complete the propaedeutic phase by
the end of the second year of enrolment
automatically receive a negative binding
recommendation, unless the Examination
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Board decides otherwise on the advice
of the relevant assessment committee. Article 16
Green light assessment
only binding in case the student does
not show up at the assessment.
Explanation:
For the Bachelor’s programmes, the
above-mentioned provisions mean that:
1.Following the penultimate semester and the corresponding semester
assessment, a separate green light
assessment takes place.
2.The green light assessment is performed by (a majority of the members
of) the final assessment committee
and results in a recommendation as
to the student’s participation in the final
examination assessment (hereinafter
referred to as ‘the examination’ in this
article) based on the questions and
plans presented by the student for this
purpose.
3.Students are not usually permitted to
participate in the green light assessment for the Bachelor’s programmes
if they have not yet earned 180 credits
by the start of that assessment. The
assessment committee can decide
to admit the student to the green light
assessment anyway if it believes that
the student’s lack of progress would
not necessarily prevent him/her from
passing the final examination. Numerical criteria for participation in the green
light assessment do not apply to students of the Master’s programmes. In
the Master Interior Architecture, students are permitted to participate in
the green light assessment if they have
successfully completed the first year of
the programme and received a positive
assessment after the third semester.
4.The green light assessment takes
place four weeks prior to the scheduled final examination at the latest.
5.A positive recommendation (green
light) is given if, based on the student’s
objectives and approach for the final
examination, the assessment committee is confident that the student will
pass the final examination. If there is
some doubt over the student’s ability
to successfully complete the examination, an orange light recommendation
is given. A red light recommendation is
given where the committee lacks sufficient confidence.
6. The recommendation is only binding if
it is a red light recommendation AND if
it concerns a Bachelor’s degree AND
if the student has not yet earned 210
credits. In such cases, the student is
not permitted to participate in the final
examination. In the Master of Interior
Architecture, the recommendation is
++ a student with less than 180 credits
may only participate in the green light
assessment in exceptional cases (to be
determined by the assessment committee)
++ a student with 180–210 credits may
participate in the green light assessment, but a red light recommendation
will be binding
++ a student with more than 210 credits
cannot receive a binding red light recommendation
7.Notwithstanding the period stated in
paragraph 4 above, the assessment
committee can decide to offer the student the opportunity to retake or postpone the green light assessment if the
result would initially be an orange or red
light recommendation. In such cases,
the assessment committee determines
the period in which the assessment or
resit examination will take place.
Article 17
Sequence of the assessments
1.Students must pass the collective
assessment in the previous semester
before continuing their studies in the
programme.
2.Students may be allowed to continue
their studies if it is anticipated that they
can pass the next collective assessment. Article 24 of these regulations
will then apply.
3.In order to be allowed to start the last
semester of the study programme, students must have successfully completed all previous assessments and
earned the accompanying credits. A
student who has not yet earned all the
previous credits but who the semester assessment committee believes
is capable of catching up within the
current academic year can be admitted to the last semester. The decision
as to whether or not the student will
be admitted is made by the semester
assessment committee.
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Regulations for the semester
and propaedeutic assessment
committees
Article 18
The assessment committees
1. The Academy establishes assessment
committees for the semester assess- ++ The chair of the assessment comments and the final assessment of
mittee is responsible for the schedeach course. In the Bachelor’s prouling, organisation and coordination
grammes, the propaedeutic assessof the presentation of the work to be
ment is the de facto semester assessassessed. For this presentation, each
ment at the end of the propaedeutic
study component should be presented
phase. The assessment committees
in such a way that it provides a good
have different powers, depending on
impression of the performance of the
their tasks. A description of the comstudent to be assessed.
mittees and their powers follows below. ++ Voting: The committee may take a
2. The composition and working method
vote, if indicated by the outcome of the
of the semester assessment commitassessment. The committee’s decision
tees are set down in articles 19 and 20
is based on a majority vote. In case of
of these regulations.
a tie, the chair casts the deciding vote.
3. The final assessment is performed by ++ Postponed assessment at the end of
the final assessment committee. The
the first semester of the academic year:
composition and working method of
in the event that the work submitted by
the final assessment committees are
a student is incomplete, the chair can
set down in articles 21 and 22 of these
establish a period in which an assessregulations.
ment will take place and determine the
procedure to be followed.
Article 19
++ Postponed assessment at the end
Semester assessments of the
of the second semester of the acaassessment committees
demic year: if an unsatisfactory result
is obtained at the end of an academic
1.The Academy establishes an assessyear and the committee believes the
ment committee for each course and
student can continue his/her studies
academic year; each committee operafter obtaining a satisfactory result,
ates under the responsibility of the
the committee can decide to repeat
Examination Board and consists of a
the assessment again after a particuHead of the department and supportlar period.
ing lecturers.
++ Any assessment that is postponed in
2.The Head of the department of the
accordance with paragraph 3 or 4 must
course chairs the assessment committake place at the end of the next semestee, the mentor/coach or the coordinater at the latest.
tor serves as secretary, and the lectur- ++ Determining the number of ECTS
ers who teach the study components
obtained: The chair of the assessment
of the course form the other members.
committee determines the number of
3. The chair determines whether the stuECTS obtained.
dents to be assessed can attend the ++ Recording the results of the assessdiscussion about the outcomes of the
ment: The chair of the assessment
assessment.
committee is responsible for ensur4.The assessment committee for the
ing the maintenance of a record of
propaedeutic year of a course functhe study results. The chair dates and
tions as the propaedeutic assessment
signs the form indicating the results
committee. This committee formulates
of the assessment. After the form has
a recommendation on the continuabeen signed, the results are officially
tion of the studies and possibly on the
ratified. The chair is responsible for procontinuation of the studies in a particuviding the assessment results directly
lar course on the basis of the results
to the student administration office for
of that assessment. See Article 20 of
the purposes of declarations and certhese regulations. tificates.
++ Further procedure: The chair of the
assessment committee is responsible
for any further procedures arising due
to the assessment results. Students
whom the assessment committee has
deemed to have performed unsatisfacArticle 20
torily in any way must be informed of
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the consequences of the assessment
by means of a letter and/or a conference. The resulting decisions must be
reported on the assessment form.
++ The chair of the assessment committee informs the Examination Board
regarding all matters of a problematic
nature that will not be addressed by the
assessment committee, as well as with
regard to matters for which these regulations contain no provisions.
Article 21
Final assessment committee:
Composition and working method
1.The Academy establishes an assessment committee for the final assessment, known as the final assessment
committee, which operates under
the responsibility of the Examination
Board. The Head of the department of
the course serves as the chair of this
committee, which is made up of (a core
team of) lecturers that supervise the
student during the final study phase.
2.The Examination Board can add one
or more external experts to the final
assessment committee as members
of the final examination committee.
3.The final examination is transparent.
However, the transparency of the final
assessment never applies to the deliberations of the final assessment committee.
4. The final assessment committee determines the result of the final examination assessment.
Article 22
Final examination regulations for
the Royal Academy of Art
++ The final examination (or final assessment) is arranged in conformity with
the provisions of the WHW. The final
examination takes place in the form of
a final assessment.
++ The composition of the assessment
committee for the final assessment
(the final assessment committee) is
described in Article 21 of these regulations.
++ The final assessment committee
decides on the final examination work
in a collective assessment, in which the
substance of the verdict of the external
members is taken into account, as are
the assessments of the individual elements contained in the final examination phase. The work presented plays a
decisive role in this whole. The decision
of the committee concerns whether the
work, as a cohesive whole, manifests
an authentic vision of the visual arts
or design, and whether the individual
theme and research incorporated in
the work has been presented to the
public in an appropriate manner.
++ The number, subject, technique and
execution of the works are determined in consultation with the teachers
involved and the head of the study programme, based on the goal of the final
examination, as described in paragraph
3 of this article and in the description
of the programmes of the study programmes in the Education and Examination Regulations.
++ For the theory subjects, a written paper
is required, the subject and the size
of which is determined in consultation with the teacher in question. The
paper must be submitted in triplicate:
one copy for the student, one for the
teacher and one for the records in the
library. The copy of the final paper submitted to the teacher and the library
remain the property of the Academy. If
possible, the final paper must also be
submitted in digital form (preferably in
PDF format). The thesis is assessed
separately.
++ All papers/pieces of work submitted for
assessment must have been prepared
under the supervision of the teacher (or
teachers) in question, and they must
have been accepted as such by the
teacher (or teachers).
++ All pieces of work presented must be
verifiably the inalienable intellectual
property of the candidate.
++ The decision of the final assessment
committee is based on a majority vote.
In case of a tie, the chair has the deciding vote.
++ The secretary of the final assessment
committee notifies the candidate of the
outcome as soon as possible after the
final assessment, but within three days
at the latest. After the data have been
processed, the candidate receives a
judicium or verdict indicating the score
and the outcome. The formulation of
the score comprises a final grade, a
list of grades and/or a reasoned written declaration.
++ If the student has not passed all of the
required preceding components of the
study, a decision is taken with regard
to how and when the student will have
another opportunity to pass these components. The student is informed of
this decision by the chair or the secretary of the final assessment committee.
Completion (if possible) is to take place
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before the end of the current academic
year (i.e. by 1 September); otherwise,
the student will be required to re-enrol.
++ Awarding of certificates and declarations is described in Article 27 of these
regulations.
++ Resits: The final examination committee may grant the opportunity for a resit
to candidates who have failed one or
more parts of the examination.
++ During its meeting, the final assessment committee determines whether
one or more resits can be taken, if it
deems that the candidate would be
capable of passing the final assessment after taking one or more resits.
++ Candidates who are eligible to take one
or more resits must submit a request to
take one or more resits to the chair of
the final assessment committee within
seven days after the announcement of
the outcome.
++ The chair of the final assessment committee determines the date, time and
location of the resit, which must be
taken before the start of the new academic year.
++ The final assessment committee may
decide on an ‘extended examination’
(i.e. postponement of the final assessment) for candidates presenting incomplete final examination collections for
one or more parts of the exam. An
‘extended examination’ is conditional
on the final assessment committee’s
view that a resit (i.e. the presentation of
additional work or the re-presentation
of work) again is impossible before the
beginning of the new academic year,
and that the candidate is capable of
passing the complete final examination within the period of one semester.
++ Extended examination: Any candidate who has been declared eligible
for ‘extended examination’ must submit a request for postponement of the
final examination to the chair of the final
assessment committee within seven
days of the announcement of the aforementioned decision. The chair of the
final assessment committee determines the date, time and location of
the postponed final assessment, which
must take place no later than the end of
the semester following the final assessment. Candidates who do not wish to
take advantage of the extended examination are deemed to have failed.
++ Inability to participate in the final
assessment (or any part thereof) due
to illness, accident or serious family
circumstances must be reported to
the chair of the final assessment com-
mittee before the commencement of
the final assessment. Acknowledgement of these circumstances requires
written proof of the student’s inability
to participate. A new date for the final
assessment can be determined in
consultation with the chair of the final
++ Candidates may file appeals against
the outcome of the final assessment,
in conformity with the applicable rules
stipulated in Article 31.
++ A book and/or digital file will be compiled of the final examination work of all
candidates in the full-time and part-time
programmes of the Academy. Each
student is obliged to supply material
for this compilation by the specified
deadline.
++ A final examination candidate may participate in this publication of the final
work only once. An endeavour is made
to have the date of issue of the final
exam book and/or digital file coincide
with the graduation ceremony.
++ Participation in the final examination
exhibition is a one-off event and subject
to conditions. If the final assessment
committee or the coordinator of the
final examination exhibition (commissioned by the director) is of the opinion
that a student’s presentation is incomplete, the student may be excluded
from participating in the final examination exhibition.
++ The Examination Board decides in
cases for which these regulations contain no provisions.
Resits, exemptions,
substitute activities
Article 23
Exemption
1. At the request of a student and on the
recommendation of the assessment
committee, the Examination Board can
grant an exemption for one or more
study components on the basis of a
certificate, diploma, testimonial or other
document that proves that the student
has already met the requirements of
the relevant component.
2. The procedure for requesting an
exemption is described in the “Exemption Protocol” appendix attached to
these regulations.
3. The period of validity of any exemption
granted is unlimited, unless the content of the relevant study component is
altered due to changes to the Education and Examination Regulations. If an
270
exemption is granted, the student will
receive proof of the exemption. Announcement and registration
of results; statements and
certificates
Article 24
Resits/retakes and compensation
1.On the basis of the results of an
assessment, the assessment committee determines whether a student
is entitled to a resit and under what
conditions.
2.Resits of theoretical subjects: if a student fails the assessment of a theoretical subject, he/she may retake that
subject. This retake must be completed before the end of the year in
question.
3.Resits of practical subjects: if a student fails the assessment of a practical
subject, he/she may retake that subject. In certain situations, compensation
regulations may apply or the work in
a later semester may count as a resit
for assignments that the student failed
during a previous semester.
4. Collective assessment: in the event of
an unsatisfactory collective assessment, the semester assessment committee determines if and how the study
component can be retaken. The committee can give the student the opportunity to complete the study component
by passing the collective assessment
and earning a satisfactory grade in the
next semester.
5.If resits are taken by accomplishing
certain tasks in the next semester, the
associated obligations for the student
will be established as part of the result
of an assessment, and the fulfilment of
these obligations will be tested during
the assessments in the next semester.
6. The possible application of compensation regulations does not change the
fact that the student must achieve all
the final qualifications in order to earn
the diploma. In principle, a student can
only compensate for failing a particular
study component if he/she can demonstrate in another way that he/she possesses the required competencies.
Article 25
Substitute activities due to
financial reasons
Students who cannot participate in certain
compulsory study components (such as
excursions) for financial reasons will be
given the opportunity to fulfil their obligations by means of a substitute activity.
Article 26
Registration and announcement
of assessment results: Validity of
results
++ The assessment committee uses
a form to record the assessment
results for each student at the meeting following the collective assessment.
This form is signed by the chair of the
++ The student administration records the
outcome of the assessment for each
student in the student tracking system.
++ Students are notified of the outcomes
of assessments as soon as possible
after the collective assessment.
++ Each student receives a report of the
assessment after it has taken place,
including the assessment of the performance and the outcome of the
assessment.
++ As soon as possible after an assessment, students who have failed the
assessment receive an overview indicating whether a resit is possible.
++ For students temporarily interrupting their studies, the results obtained
remain valid for one year. As a rule,
after this period, students are required
to go through a new admissions procedure. The Admissions Committee
also formulate recommendations with
regard to the validity of credits obtained
earlier.
Article 27
Declarations and certificates
(WHW art. 7.11)
++ Each student receives a written declaration containing the outcome of
the assessment. Recommendations
(if applicable) are made as soon as
possible after the collective assessment, after the student administration
has recorded the assessment results.
++ After the propaedeutic assessment,
and after the student administration
has recorded the assessment results,
students who have passed the assessment receive certificates stating the
outcome, along with the recommendation on continuation of studies.
++ After the final assessment and after the
student administration has recorded
the assessment results, students who
have passed the final assessment
receive certificates stating the outcome
271
s tudy guide
of the final assessment and the status
of the diploma obtained.
++ The institutional board confers the
Bachelor’s degree and Master’s degree
on students who have passed the
final examination of a Bachelor’s programme or of a Master’s programme,
respectively.
++ The Board of Governors ensures
that the relevant professional field is
stated on the degree: Bachelor of Fine
Arts (Bfa) for Fine Art graduates and
Bachelor of Design (Bdes) for Design
graduates, Master of Design in Type &
Media or Master of Interior Architecture (M Interior Architecture) for graduates of the corresponding Master’s
programmes.
++ A student who has successfully completed multiple assessments but cannot be awarded a certificate as defined
in paragraphs 3 and 4 of this article, will
receive on request a statement listing
the successfully completed assessments from the Faculty of Fine Arts of
the University. The student must submit the request in writing to the faculty
director. Safekeeping
the final assessment, the assessment
committee can refuse to issue the certificate specified in WHW art. 7.11, para.
1, or can decide that the student concerned may only receive the certificate
after a new assessment of the components designated by the assessment
committee has been completed in a
manner to be determined by the committee.
3.Before any decision can be made in
the light of paragraphs 1 and 2 above,
the chair of the assessment committee
will hear both the assessment committee and the student.
4.The chair of the assessment committee will immediately inform the student
of the decision, either orally or in writing.
5.The chair of the assessment committee will inform the chair and secretary
of the Examination Board of the decision, and will also provide a statement
of the facts and justify the decision. In
accordance with WHW art. 7.12b, para.
2, the Examination Board will make a
decision with regard to the known facts
and possible penalties, while taking into
account the principles of a fair hearing
and proper administration.
Article 30
Misconduct
Article 28
Safekeeping
1.All relevant theoretical and practical
work must be retained for the duration
of any appeals procedure initiated by
a student. The student is responsible
for the safekeeping of these items.
2.All relevant theoretical and practical
assignments must be retained for the
duration of any appeals procedure
initiated by a student. The Academy
is responsible for the safekeeping of
these items. The director of the Acadmy will be notified of any misconduct, including damage
caused to the building and/or aggression
towards others, who will subsequently
take appropriate measures. Possible
measures include:
++ demanding the immediate repair of any
damage or ordering the repair costs
to be borne by the person responsible
++ suspension or restriction of access to
the buildings and grounds
Irregularities during
assesments/examinations
Objection and appeal
Article 29
Irregularities
Article 31
Regulations for objections
and appeals
1.If a student is guilty of any irregularity
with regard to any part of an assessment, the chair of the assessment
committee may forbid him/her to participate or continue to participate in that
assessment. Examples of irregularities
include (but are not limited to): fraud/
cheating or a clear attempt at fraud,
disturbances and misconduct.
2.If the irregularity is first discovered
after the propaedeutic assessment or
1.Students who deem that their interests have been directly damaged due
to what they perceive as the improper
application of the Education and Examination Regulations are entitled to file a
written appeal within 30 days with the
Board of Appeals for Examinations of
the University of the Arts, The Hague.
272
2. The Board of Appeals rules on appeals
that have been filed with regard to:
++ decisions to fail a student with a binding
study recommendation, as referred to
in Article 15 of these regulations
++ decisions regarding admission to the
green light and the final assessments,
as referred to in Articles 16 and 21 of
these regulations
++ decisions regarding the number of
credits obtained
++ other decisions by Assessment Committees, and Examination Committees
and examiners
3.An appeal may be lodged if:
++ the decision is in contravention of any
generally binding regulation (e.g. the Education and Examination Regulations)
++ in taking the decision, the body obviously used its power for purposes
other than that for which it was originally intended
++ upon weighing the interests in question,
the body involved could not have taken
the decision in all reasonableness
++ the decision is contrary to any other
principle of good administration prevailing as part of the general sense of
justice
++ the further provisions regarding the
procedure, the handling and the verdict can be found in the Legal Protection chapter of the Student Charter of
the University of the Arts, The Hague.
Other provisions
Article 32
Copyright
All of the work that students create during
their studies becomes part of the study
programme, and it serves as the basis
for the credits obtained during the programme. For this reason, the work created throughout the entire duration of the
student’s programme becomes the property of the Royal Academy of Arts. Students obviously retain the right of use.
Upon de-registration, the right of ownership passes to the student. The Academy
retains the right to use the work in the
future as well, without any remuneration
and within the context of its own objectives. Former students who become affiliated with intermediary copyright agencies
are obliged to inform their agencies of this
arrangement. The digital conversions of
the work assessed as part of the semester assessments must remain available
to the Academy for appropriate use within
the objectives of the Academy.
Article 33
Tests and examinations
(assessments) for students
with disabilities
Students with disabilities can participate in
tests and examinations in a way that considers their disabilities. To this end, they
may make arrangements with the head or
the coordinator of the study programme
and/or submit a request to this end to the
Examination Board, if necessary.
Article 34
Reference title
These regulations can be referred to as
the “Royal Academy of Art Education and
Examination Regulations 2015–2016” or
by the Dutch abbreviation “OER KABK
2015–2016”.
Article 35
Effective date
These regulations will take effect on 1
September 2015 or at a later date, once
this date has been formally established.
Appendix
Exemption protocol
1. Students must submit any request
for exemption to the lecturer/invigilator before the third meeting relating
to a subject in a semester at the latest (this enables students to better
familiarise themselves with the content of the subject and gives them the
chance to discuss the matter with the
lecturer/invigilator). In order to apply for
an exemption, students must complete
a form that states at least the following
information:
++ t he subject/subjects for which the
exemption is requested
++ the grounds on which the exemption
is requested
++ the number of credits for which the
exemption is requested
2. The request for exemption must be
accompanied by supporting documentation, as well as:
++ the content of the activity on which the
exemption is based
++ the activity must be completed with a
satisfactory result
273
s tudy guide
3. The lecturer/invigilator will judge the
request on:
++ the similarity to the content of the subject for which exemption has been
requested
++ the actual achievement of a satisfactory result
4. The lecturer/invigilator will advise the
Head of the department on the request
and supply the supporting documentation. The Head of the department
will ensure that the lecturer/invigilator
has based his/her recommendation
on solid arguments. If this is the case,
the Head of the department will adopt
the recommendation of the lecturer/
invigilator. The recommendation will
then constitute a recommendation to
the Examination Board.
5.The form signed by the Head of the
department will be submitted to the student administration, together with the
supporting documentation.
6. The student administration will register
the fact that the Head of the department
approves the exemption and keep the
form and the supporting documentation in the student’s file.
7. The student administration will compile
a longlist of exemptions with a positive
recommendation from the Head of the
department for the Examination Board.
8.The Examination Board will perform a
marginal assessment of the positive
recommendations and check that all
formal requirements have been met
(including the presence of supporting
documentation). As a rule, the Examination Board adopt these recommendations.
9.Once the board has adopted a positive recommendation, the exemption
will be officially granted. It will provide
the student administration with a list of
the exemptions granted.
10.
The student administration will register the granted exemptions and inform
the students by means of an adjusted
study progress overview.
If a request for exemption is rejected
11.
by the Examination Board, the board
will duly inform the relevant Head of the
department and the lecturer/invigilator,
stating the reasons for the rejection and
requesting the Head of the department
to assess the exemption request once
again.
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Basement
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PB.K15
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pc.k01
pc.k02
Storage: Student Projects
Storage: Textiles
Storage Space
Storage: Wood and Sheet Facility
Spray Booth
Facility Services Office
Storage Facility
Storage: Print Work
Tufting Room
Academy Shop the Hague
Storage: Wood Workshop
Wood Workshop
COURTYARD
BLEIJENBURG (BB)
PB.K21A
PB.K21B
PA.K21
PA.K10
PA.K08
PA.K06
PA.K12
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COURTYARD GARDEN
PRINSESSEGRACHT (BP)
PB.KTB
PB.K21
PB.K12
PB.KGD
PB.K10
PB.K06
PB.K19
PB.
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PB.KGA
PB.
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BA.018
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ENTRANCE HALL
BLEIJENBURG
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BA.001
BA.0HB
BA.004
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K01
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0GA
BA.0HA
ENTRANCE HALL
BLEIJENBURG
BA.0HC
BA.0TB
BA.
025
BA.0GG
BC.002
COURTYARD
BLEIJENBURG (BB)
BA.
023
BA.021
BA.027
BD.009
BD.011
BC.004
BA.0TD
BB.0T
BA.029
BD.007
BA.031
BC.0TB
BD.
003
PD.
025B
PC.015
PD.027
PD.019
PD.
17B
PD.
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PD.
17A
PD.015
PD.
025A
PD.0GD
PD.0GC
PD.007
PD.009
PD.0GB
PD.
003
PD.001
PD.0GA
PD.0T
PC.011
PC.0GC
Bleijenburg Building
ba.001 Auditorium
ba.002 Academy Staff Office:
Head of Type & Media
ba.004 Type & Media Classroom
ba.013 Theory Classroom
ba.016 Fine Arts Worksites
ba.018 Exhibition Space
ba.019 Lithography Workshop:
graining table / stone storage
ba.020 Practical Classroom: 2D techniques
ba.021 Graphics Workshop: Lithography
ba.023 Graphics Workshop:
Resin / Charcoal Room
ba.025 Graphic Workshop: Acid Room
ba.027 3D Workshop
ba.029 Photography Workshop:
Refined Techniques
ba.031 Graphics Workshop: Print Shop
ba.k01 Fine Arts Worksites
bc.001 Workspace Catering Staff
bc.002 Fine Arts Worksites
bc.004 Fine Arts Worksites
bd.001 Clay and Plaster Workshop
bd.007 Ceramics Workshop
bd.009 Ceramics Workshop
bd.011 Fine Arts Worksites
cd.001 Classroom Master Artistic Research
cd.002 Classroom Master ArtScience
ds.001 Coordinator Master Interior
ds.002 Classroom Master Interior
ds.101 Head of Master Interior Architecture
(INSIDE)
CD002
CD001
PD.002
PA.021
PA.016
PD.004
PA.0GD
PA.014
.008
PA.010
PA.015
PA.0GC
PC.002
PC.005
PA.006
PC.G0B
pa.011
pa.014
pa.015
pa.016
pa.021
pb.002
pb.004
pb.006
pb.012
pb.014
pc.001
pc.002
pc.003
pc.005
Prinsessegracht Building
Reception
Central Lending Desk
Director’s Office
KABK Gallery 1
Printing Room Offices
KABK Gallery 2
Executive Secretary’s /
Head of Operation Office
KABK Gallery 3
Communication & Marketing Office
Library
Studio / Webmaster
“Gipsenzaal”
Photocopy and Mail Room
Theory Classroom
Textile & Fashion Worksites
Textile Workshop (Sewing)
Textile & Fashion Workshop
Practical Classroom: 2D Techniques
Textile & Fashion Worksites
ColorLab
Metal Workshop
PA.009
PA.0GB
COURTYARD GARDEN
PA.011
PA.007
PC.003
PC.001
PA.0T
PC.0T
PC.0GA
pa.001
pa.002
pa.006
pa.007
pa.008
pa.009
pa.010
PB.014
PB.012
PB.0GB
PB.006
PB.004
PB.002
PA.0GA
L
PA.002
CENTRAL HALL
PA.0H
PB.0GA
RECEPTION
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BD.001
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First Floor
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BB.107
BB.1TA
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BB.1H
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110
COURTYARD
BLEIJENBURG (BB)
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106
BD.105
BD.109
BA.1GA
BA.1TA
CATERING
BA.103
BD.111
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PD.101
PD.1T
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BD.103
BD.1T
BD.101
PD.117
PD.1GB
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PC.1GB
PD.103
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PC.104
PA.1GA
COURTYARD GARDEN
PA.1T
PC.1T
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PC.1GA
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bb.103
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bb.105
bb.106
bb.107
BA.1TB
BB.
102
BB.104
BB.106
BC.108
Photography Workshop: Darkroom
Multimedia Desk
Photography: Consulting Room
Multimedia Workshop: Montage Space
Multimedia Classroom
Classroom
Theory Classroom
Academic Staff Office: Head of I/M/D
Classroom
Fine Arts Worksites
Academic Staff: Head of Master ArtScience
Fine Arts Worksites
Academic Staff: Head of Master Artistic
Research
Interactive Media Design Classroom
Office: Lectorate
Office: Janneke Wesseling
Fine Arts Worksites
Fine Arts Worksites
Fine Arts Worksites
Canteen
Fine Arts Worksites
Fine Arts Worksites
MR
BA.1TC
BB.111
BA.1GB
pc.104
pc.108
pd.101
pd.102
pd.103
pd.105
pd.117
Photography Workshop: Large Studio
Photography Lending Desk
Photography Workshop: Black Studio
Interior Architecture Workspace
Photography Workshop: White Studio
Photography Classroom
Photography Printing Room
Fine Arts Worksites (full-time)
Fine Arts Worksites (full-time)
Practical Classroom: 2D Techniques
Storage Space
Acedemic Staff: Head of Interior
Architecture and Furniture Design
Furniture Design Classroom
Classroom
Academic Staff: Head of Photography
Storage Photography
Interior Architecture Classroom
Theory / PGCID Classroom
BC.1GB
pa.102
pb.101a
pb.101b
pb.102
pb.103
pb.111
pb.115
pb.117
pb.119
pb.125
pb.127
pc.101
PB.1T
PB.103
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Second Floor
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BA.2G
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COURTYARD
BLEIJENBURG (BB)
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PD.2GC
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PD.2GB
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PC.202
COURTYARD GARDEN
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Interfaculty ArtScience
Storage Space
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BA.204
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pb.302
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BB.
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Graphics Workshop: High Pressure
Graphics Workshop:
Screen-printing Rinsing Room
Cinema
Graphics Workshop: Screen-printing
Graphics Workshop: Screen-printing
Illumination Room
Laboratory Workshop
Conference Room
ArtScience Workspace
Conference Room
Conference Room
Conference Room
Conference Room
IT Office
Conference Room
Office: Head of Finances of
Hogeschool
College Room
Theory Classroom
Dean / Doctor
Office: Hogeschool
Office: Hogeschool Secretary
Office: Head of Human Resources
of Hogeschool
Office: Human Recources of
Hogeschool
Third Floor
BB.203
BB.
221
PB.2GA
pd.210
BB.215
PC.2GB
pd.202
pd.208
Fine Arts Worksites
Fine Arts Worksites
Fine Arts Worksites
Fine Arts Worksites
Fine Arts Worksites
Fine Arts Worksites
Fine Arts Worksites
Fine Arts Worksites
SYT Classroom
Storage Space
Graphic Design Classroom
Graphic Design /
Academic Staff:
Head of Graphic Design
PC.2GA
pb.201
pb.203
pb.205
pb.207
pb.209
pb.211
pb.213
pb.217
pb.225
pb.227
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contac ts
s tudy guide
Director of the Royal Academy
of Art and Vice-President
of the University of the Arts,
The Hague
++ Marieke Schoenmakers
Secretary
++ Georgia Charitopoulou
[email protected]
Head of operations
++ Eric Privee
[email protected]
Computer helpdesk
++ George Vincentie
++ Constant Meeuws
[email protected]
Financial administration
++ Tino van Lieshout
++ Marja de Bruin
++ Annie Heins
[email protected]
opening hours
Monday – Thursday
8:30am – 10:00am
12:00pm – 1:30pm
3:30pm – 4:30pm
Wednesday 5:30pm – 8:00pm
8:30am – 10:00am
12:00pm – 1:30am
Facility management
++ Frans ten Bosch
[email protected]
Marketing & communication
++ Nienke van Beers
head
[email protected]
++ Wieneke Mulder
press and PR
w.mulder@ kabk.nl
++ Lizzy Kok
projectmanager events
[email protected]
++ Marieke Ladru
projects, alumni, partnerships
[email protected]
++ Angelina Tsitoura
webmaster
[email protected]
Quality control
++ Iskandar Serail
[email protected]
Reception
[email protected]
Student administration
++ Joop van Pijkeren
++ Silvia van der Kist
++ Julia Homoet
[email protected]
Confidential advisor
++ Pauline Schep
[email protected]
Student counselor
++ Paul Deneer
[email protected]
University of the Arts
++ Arthur Gieles
secretary of the board
[email protected]
International office
++ Aparajita Dutta
[email protected]
opening hours
Monday, Tuesday, Thursday
10:00am – 12:00pm
Participation Council
++ Winnie Koekelbergh
teacher Fine Art Theory – president
++ Vasiliki Giakoumi
student Fine Art – secretary
[email protected]
Royal Academy of Art
Prinsessegracht 4
2514 AN The Hague
www.kabk.nl
Planning (rooms & spaces)
++ Geoffrey Harteveld
[email protected]
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289
s tudy guide
colophon
Graphic Design
Koos Breen
Suzanne Bakkum
Photography
Gilleam
Trapenberg
Translation
UvA Talen
Edition
1700
Printing
Drukkerij Tielen,
Boxtel
Paper
Amber Graphic
240 g/m2
100 g/m2
Typeface
Berthold Akzidenz
Grotesk
The Hague,
October 2015
*
290
291
Disclaimer: we have tried to ensure that all information
we provide through this Study Guide is correct at the time
we included it. We apologise for any errors. For the most
current information, please visit www.kabk.nl.
the hague
the Hague

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