DOCSLIB.ORG

Annual Report & Accounts 2017/18

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ANNUAL REPORT &ACCOUNTS 2017 2018 CONTENTS 2 Vice-Chancellor’s Foreword 6 Facts & Figures 8 Student Nationalities & Numbers 10 Review of the Year 32 Embodying the RCA’s Values 50 Research, Knowledge Exchange & Innovation 62 Development & Alumni Relations 77 College Honours & Appointments 79 Donors & Supporters ANNUAL REPORT 81 Trade Union Facility Time 85 Key Financial Highlights 87 Treasurer’s Report 105 Scope of the Financial Statements 106 Public Benefit Statement 107 Corporate Governance Statement 111 Council & Committee Members 112 Senior Officers & Advisers 113 Auditor’s Report 115 Statement of Comprehensive Income & Expenditure 116 Balance Sheet 117 Statement of Changes in Reserves ACCOUNTS 118 Cash Flow Statement 119 Statement of Principal Accounting Policies 124 Notes to the Accounts 1 Annual Report & Accounts 2017/18 VICE- FOREWORD CHANCELLOR’S Dr Paul Thompson 2 Annual Report & Accounts 2017/18 This is where the legendary creativity of an RCA mind has measurable impact: leveraging a scientific base of knowledge and solving real-world problems. Welcome to our review of 2017/18, designed by alumni These disciplines work well with the aspirations and Scott Doran and Ian Vickers of Eureka! intellectual curiosity of our students and research faculty; together, they enrich and accelerate the The past year has witnessed some real successes, solutions to some of the global challenges the RCA is as new initiatives dreamed of in our strategic plan tackling. Our students may go on to design revolutionary 2016–2021 started to roll off the assembly line: the systems that reduce our reliance on plastics; or create new Burberry Material Futures Research Group, led environments in which AI technologies are harnessed in by Burberry Professor Sharon Baurley; the successful a humanising way for older people; and they will ensure funding bid to EPSRC by our robotics lead Dr Sina that the new ‘smart’ cities of the future are not so smart Sareh, whose research focuses on using robots in and so efficient that they become joyless and alienating, dangerous or complex environments; the growth of our at a time when loneliness and poor mental health are on School of Architecture, with new MA Programmes in the rise. This is where the legendary creativity of an RCA City Design and Environmental Architecture; and in the mind has measurable impact: leveraging a scientific School of Communication, MA Digital Direction, which base of knowledge and solving real-world problems. examines media and storytelling in the digital age. On 25 January the RCA received consent to create a In July, we bid farewell to an outgoing cohort of 868 radical, new crucible in which to experiment with these MRes, MA, MPhil and PhD students – and, snatching collaborative ways of working: a new factory for ideas our breath for just one moment – welcomed in that designed by world-leading architects Herzog & de same month, a fresh group of 50 students to an entirely Meuron, which will be the most significant new building new RCA offer – Graduate Diploma Art & Design, led by in the 180-year history of the RCA. As well as placing alumnus Gary Clough. sculptors alongside design engineers, and filmmakers and fashion students next to a robotics hangar, labs for Last year, I articulated my vision of the RCA at the immersive and augmented realities, the Helen Hamlyn vanguard of the STEAM agenda, placing critical value Centre for Design and our Intelligent Mobility Design on the catalysing power of the creative arts (the ‘A’) Centre will all be housed under one, bold roof. alongside science, technology, engineering and maths (STEM). The need for greater interdisciplinarity within Once these exciting new reactions and interactions our education system is often articulated, and I have been occur, our role will be to take these early-stage student especially pleased to announce the appointment of a projects and transform them into innovative businesses number of new faculty members at the RCA – Dr Elif in our incubator, InnovationRCA. Like all alchemy, this Ozden in the field of composite nano structures in takes time, patience – and investment. I am delighted textiles, Professor Saeema Ahmed-Kristensen, whose that we have this year been able to partner with Venrex research includes the internet of things, and climate to find the substantial investment funds required to change expert Dr Godofredo Pereira. seed InnovationRCA start-ups and build capacity in our very talented InnovationRCA team. Especial thanks to Mark Esiri of Venrex. The Clore Innovation Centre is featured on p. 65. 3 Annual Report & Accounts 2017/18 WE WERE VERY HONOURED TO RECEIVE THE NEWS THAT HIS ROYAL HIGHNESS THE PRINCE OF WALES GRACIOUSLY AGREED TO SERVE AS ROYAL VISITOR TO THE ROYAL COLLEGE OF ART. HIS INTEREST AND PASSION FOR THE WORK OF THE INSTITUTION IS MUCH APPRECIATED. WE WERE ALSO DELIGHTED TO WELCOME SIR JONY IVE INTO HIS NEW ROLE AS CHANCELLOR OF THE RCA. IT IS DIFFICULT TO IMAGINE A MORE FITTING AMBASSADOR AND ROLE MODEL FOR DESIGN AND CREATIVE EXCELLENCE THAN SIR JONY. 4 Annual Report & Accounts 2017/18 2017/18 was a year of great significance, and we were Finally, as ever, I would like to thank our Council, in very honoured to receive the news that His Royal particular the Pro-Chancellor and Chair Baroness Highness The Prince of Wales graciously agreed to Rebuck and Treasurer Caragh Merrick, whose expertise serve as Royal Visitor to the Royal College of Art. His and tireless support of the university is truly remarkable; interest and passion for the work of the institution is the Presidents of the Students’ Union; our funding much appreciated. We were also delighted to welcome body the Office for Students, and all members of our Sir Jony Ive into his new role as Chancellor of the RCA. Chancellor’s Circle, whose philanthropy has enabled It is difficult to imagine a more fitting ambassador and us to invest in the future of this institution and its role model for design and creative excellence than brain trust. New members of the Chancellor’s Circle in Sir Jony. And we are pleased, too, to welcome three 2017/18 are Ms Ling Liu, Prosit Philosophiae Foundation exceptionally gifted experts to join our governing body, and John Studzinski CBE, who have supported the Council: Senior Partner at McKinsey Michael Birshan, ‘People and Projects’ pillar of our GenerationRCA Chief Executive of buildingSMART International Richard campaign, with scholarships and the new Genesis Petrie, and publisher, author and philanthropist Sigrid Professor of Innovation. The Clore Duffield Foundation, Rausing. The Monday Charitable Trust, Apple, Sir Jony and Lady Ive, and Lydia and Manfred Gorvy, have all made Working within the world’s leading art and design exceptionally generous new donations this year to the university demands especial commitment and talent, new Battersea South building project (see p. 38). and I wish to thank all of the faculty and staff who’ve contributed to the successes of the past few years. In I hope you enjoy reading about this remarkable terms of remuneration, we reported a median gender institution and look forward to welcoming you to our pay gap of 0%; this compares to a 14.3% gap in the campus. higher education sector. While the RCA can be proud of these results, there are areas where we can do more to support gender equality, diversity and talent. Dr Paul Thompson Vice-Chancellor We ended 2017/18 in a good financial position, generating a surplus of 2.5% and an operating cash flow that represented 24% of total income. Our goal is to ensure continued financial resilience through a sustained 5% annual surplus year on year, as this is the minimum level of cash I forecast is required to invest in infrastructure upgrades, so vital if we are to provide state-of-the-art facilities for our students and faculty (see Treasurer’s Introduction, p. 85). 5 Annual Report & Accounts 2017/18 28 28 PROGRAMMES 4 SCHOOLS 228 POSTGRADUATE RESEARCH STUDENTS 4 228 1 450 OVER 450 CONTRACTED STAFF NO. 1 ART & DESIGN UNIVERSITY 4TH YEAR RUNNING* *QS World University Rankings by Subject 1,000 389.4k OVER 1,000 VISITING LECTURERS 389.4K SOCIAL MEDIA FOLLOWERS 6 Annual Report & Accounts 2017/18 2,1542,154 STUDENTS 1.02m 1.02M WEBSITE VISITORS 1 RESEARCH GROUP 1 76 NATIONALITIES 4 RESEARCH CENTRES 5050 START-UPS LAUNCHED BY 75 GRADUATES 47 Annual Report & Accounts 2017/18 Annual Report & Accounts 2017/18 7 14 10 2 9 5 6 22 10 AUSTRALIA AUSTRIA BELARUS BELGIUM BRAZIL BULGARIA CANADA CHILE 342 3 1 1 1 7 5 29 CHINA COLOMBIA COSTA RICA CROATIA CUBA CYPRUS CZECH DENMARK REPUBLIC 2 2 5 15 69 77 1 33 ECUADOR EGYPT ESTONOIA FINLAND FRANCE GERMANY GHANA GREECE 23 5 1 36 6 7 26 9 HONG KONG HUNGARY ICELAND INDIA INDONESIA IRAN IRELAND ISRAEL 81 24 1 2 4 7 1 2 ITALY JAPAN JORDAN LATVIA LEBANON LITHUANIA LUXEMBOURG MACAO 4 3 1 5 1 24 5 4 MALAYSIA MALTA MAURITANIA MEXICO MOROCCO NETHERLANDS NEW ZEALAND NORWAY 5 4 1 27 13 5 10 5 PAKISTAN PERU PHILIPPINES POLAND PORTUGAL ROMANIA RUSSIAN SAUDI ARABIA FEDERATION 8 5 4 6 122 31 3 26 SINGAPORE SLOVAKIA SLOVENIA SOUTH AFRICA SOUTH KOREA SPAIN SRI LANKA SWEDEN 15 2 59 13 1 15 2 7 SWITZERLAND SYRIA TAIWAN THAILAND TRINIDAD TURKEY UKRAINE UNITED & TOBAGO ARAB EMIRATES 714 96 1 1 UNITED UNITED VENEZUELA VIETNAM KINGDOM STATES OF AMERICA 8 Annual Report & Accounts 2017/18 Programmes Number of Students Number of Applicants Enrolled Students 2017/18 2017/18 2017/18 School of Architecture MA Architecture 359 85 137 MA City Design 30 7 7 MA Environmental Architecture 13 6 6 MA Interior Design 255 37
Recommended publications
  • Table of Contents

    Table of Contents

    Table of Contents 1 President’s Message 100 Interdisciplinary Concentration 4 Academic Calendars 104 Liberal Arts and Sciences 8 Foundation 124 Toy Design 18 Architecture/Landscape/Interiors 134 Graduate Studies: Fine Arts 26 Communication Arts 140 Graduate Studies: Writing 44 Digital Media 145 Academic Policies 60 Fashion Design 153 Financial Policies 70 Fine Arts 155 Financial Aid Policies 86 ACT Program 163 General Campus Policies 90 Integrated Learning Program 167 Resources 92 Interactive Product Design 170 History 171 Board Members Otis College of Art and Design has the right to apply and enforce any and all of the rules and regulations set forth in this catalog, as well as any other rules and regulations of the College not set forth herein. The catalog and its contents, however, in no way serve as a binding contract between the student and the College. The information in this publication is subject to change at any time, for any reason, at the unilateral discretion of the College without prior notice to or approval of the student. Otis College of Art and Design is accredited by the Accrediting Commission for Senior Colleges and Universities of the Western Association of Schools and Colleges (WASC) 985 Atlantic Ave., Suite 100, Alameda, CA 94501, (510) 748.9001 and the National Association of Schools of Art and Design (NASAD). 3 President’s Message Dear Otis Students, This publication contains important information concerning the 2006-07 academic year. You will find the signature core classes of the academic departments that provide the best preparation for your chosen field. There is also a range of electives, both in and out of your departments, which broaden your training as well-rounded artists and designers.

  • Art, Design, and 1960S New York

    “The Entire Visual World”: Art, Design, and 1960s New York DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Amanda Gluibizzi Graduate Program in History of Art The Ohio State University 2012 Dissertation Committee: Professor Aron Vinegar, Advisor Professor Lisa Florman Professor Kris Paulsen Professor Ron Green Copyright by Amanda Gluibizzi 2012 Abstract My dissertation explores the relationship between graphic design and art by investigating their intersection at a pivotal time in their history: the long decade between the 1959 “creative revolution” in advertising and the release of the Massimo Vignelli- designed New York City subway map of 1972. During the course of my examination, I reveal that, far from remaining mutually exclusive, or from engaging in a one-way connection through which high art drew on mass culture, as is often assumed, art and graphic design regularly informed each other’s methods of production. Although it is well known that artists such as Andy Warhol appropriated advertising imagery, there are also instances in which artists and designers employed street signage to navigate through city streets and artistic compositions, or moments during which both designers and artists undertook to follow unwitting pedestrians, that signal a deeper understanding of the sympathies between design and art strategies than simple visual borrowing. With these aspects in mind, my dissertation involves the work of artists who have not often been discussed in terms of design, such as Robert Rauschenberg, Vito Acconci, Yoko Ono, Gordon Matta-Clark, and Hans Haacke, as well as designers such as Milton Glaser and Peter Chermayeff who debated the efficacy of designed objects in a city of such overwhelming visual stimulation.
  • 2010-2011 Course Catalog

    2010-2011 Course Catalog

    Provost’s Message The oldest independent art school in Los Angeles, Otis College of Art and Design is deeply committed to academic excellence, diverse learning styles, creative perspectives, and the unique development and education of every student. Studying at Otis prepares you to be innovative, collaborative and self-driven with informed knowledge and adaptable skills in a range of contemporary art and design practices. In the graduate programs, students develop individual relationships with internationally recognized faculty, and quickly become part of the local and global community of Los Angeles artists and designers. This creative and vibrant context provides personalized support, helps establish networks in the field, and advances your work and professional opportunities in art, public practice, writing or graphic design. Central to Otis’ undergraduate education is the Integrated Learning program, an interdisciplinary, collaborative experience that engages students with Los Angeles and its communities, providing insight into the cultural, social, environmental, and political issues of the city. Through this program you learn to work in teams with others from across the College, gaining an understanding of the ways artists and designers contribute and initiate change in the world. Otis has a growing commitment to sustainability. In addition to specific studio projects in the major, Otis is integrating the teaching of sustainability into its core curriculum through courses in Foundation, Liberal Arts and Sciences, and Integrated Learning. By developing an awareness of sustainability, you are better prepared to ask the right questions, to take a position, and to contribute positively to the future. The ongoing use of the Learning ePortfolios across the curriculum provides a way for undergraduates to collect work, reflect on their learning, and make connections between courses, from year to year, inside and outside (within and beyond) the classroom.
  • Looking Westwards and Worshipping: the New York ‘Creative Revolution’ And

    Looking Westwards and Worshipping: the New York ‘Creative Revolution’ And

    Looking Westwards and Worshipping: The New York ‘Creative Revolution’ and British Advertising, 1954-80 In 1993, Martin Boase, founding partner of the British advertising agency Boase Massimi Pollit (BMP), addressed an audience at the Institute of Practitioners in Advertising (IPA) in central London. In his speech, delivered to mark the twenty fifth anniversary of the founding of the company, he recalled how in 1968 ‘New York was the Mecca of advertising’. ‘London’, he suggested, ‘faced westwards and worshipped the work being done by Doyle Dane Bernbach (DDB), Wells Rich Greene and the long defunct Jack Tinker’(Boase, 1993). Boase’s reference to the inspiration provided by New York advertising in the 1960s served to remind his audience of a set of influences upon the domestic industry that were slipping out of view after a decade in which the creativity and financial power of British advertising had eclipsed that of its US counterpart (Mattelart, 1989; Mort, 1996; Nixon, 1996). Yet Boase was not alone in drawing attention to these influences. In 1996, the British Design and Art Directors Association (D&AD) acknowledged Helmut Krone’s unique contribution to advertising (D&AD, 1996a: 114-120). Krone had been one of DDB’s key art directors at the height of its powers in the late 1950s and 1960s, famously art directing its celebrated ‘Think Small’ press advert for Volkswagen. In The Art Direction Book , published to promote good practice in advertising and design, D&AD singled out Krone as the most significant figure amongst its 28 strong list of the world’s best art directors (D&AD, 1996a:114).
  • 2009-2010 Course Catalogue

    2009-2010 Course Catalogue

    President’s Message Dear Otis Students, This publication contains important information concerning the 2009-10 academic year. You will find the signature core classes of the academic departments that provide the best preparation for your chosen field. There is also a range of electives, both in and out of your departments, which broaden your education as well-rounded artists and designers. In addition, this catalog contains important polices, procedures, and other pertinent details for your reference. I invite you to pay special attention to a unique curricular feature at Otis: Integrated Learning. The innovative Integrated Learning program focuses on interdisciplinary collaboration by students from different departments and outside professionals on community-based projects. These experiences, bridging academic and real-world learning, reinforces the development of 21st century professional skills and social responsibility. Please also note that the Artists, Community, and Teaching (A.C.T.) program, for several years only available to Fine Arts majors, will now be accessible to students from several other departments. If you are interested in teaching art and design, please consult with your faculty advisors and the ACT Coordinator. Otis strives to provide students with the strongest curriculum, faculty, and services, including academic advising. The department chairs are dedicated to bringing top practicing designers and artists to the classroom so you may learn from the best. Co-curricular activities, career services, and student leadership opportunities exist expressly to support your success at Otis. The positive outcome of an Otis education is evidenced by the many awards our students win from professional groups, as well as the numerous career achievements of our alumni.
  • Affect and the Experimental Design of Domestic Products

    Affect and the Experimental Design of Domestic Products

    Affect and the experimental design of domestic products Guy Keulemans A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Design Faculty of Art and Design The University of New South Wales Australia August 2015 Abstract This research is concerned with the experimental design of furniture and homewares, and their affective relationships to issues of production, consumption and the environment. Most mass- produced domestic objects use standardised designs and materials, which, apart from their often- noted detrimental effects on the environment, also limit the possibilities for expressivity and affective encounter. Experimental design practices can open up spaces for affective relations with domestic objects. This research proposes that a particular process, that of ‘repair’, can facilitate these encounters. Transformative practices of repair mobilise intensities, which create new possibilities for re-situating our thinking about, and place within, production and consumption. These different modes of repair are conveyed through the practice-based research, which forms the core of this thesis. Three experimental design groups from the last fifty years – Italian radical design, Dutch conceptual design and critical design – are examined in this dissertation as the context in which this practice-based research can be located. Practices of these groups which implicitly resonate with concepts of affect are identified. Focus is given to works that address issues of environmental concern, such as consumerism, pollution and product obsolescence. Concepts of affect from the philosophers Gilles Deleuze and Félix Guattari are used illuminate these relationships and interrogate how domestic objects and their perception might be better understood. The quality of ‘anomaly’ – objects that seem to exist outside or on the border of their design type – is shown to be pivotal to these affective operations.
  • Industrial Design and the Problem of Anoetic Technologies

    Industrial Design and the Problem of Anoetic Technologies

    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2008 Artefacts, Technicity and Humanisation industrial design and the problem of anoetic technologies Thompson, Stephen James http://hdl.handle.net/10026.1/2739 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Artefacts, Technicity and Humanisation industrial design and the problem of anoetic technologies Stephen James Thompson A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY Trantechnology Research School of Computing, Communications & Electronics Faculty of Technology July 2008 2 Abstract Artefacts, Technicity and Humanisation industrial design and the problem of anoetic technologies Stephen james Thompson This thesis concerns the intellectual heritage and autonomy of West European and American industrial design as a discourse community at a moment when biotechnological developments are challenging the certainty of what it means to be human. Proceeding from the assumption that industrial design is an autonomous intellectual engagement played out through the interpretation of technology as an artefact, the thesis identifies how this is a critical moment for industrial designers, who appear to be unable to respond to a problem of the apparent disconnection and the progressive displacement of the human in reference to technology.
  • Brownjohn Remembered with Hugh Hudson and Alan Fletcher

    Brownjohn Remembered with Hugh Hudson and Alan Fletcher

    Brownjohn Remembered Drug addict, alcoholic – and all-round creative genius: Hugh Hudson and Alan Fletcher recall the ups, downs and enduring influence of Robert Brownjohn By Creative Review on October 1, 2005 Hugh Hudson: How did you meet Bj? Alan Fletcher: I think I met Bj first in 1957, when I was a student in New York. There were three young guys that had just started up a studio there, Brownjohn, Chermayeff&Geismar. BJ was the oldest, he lived in Greenwich Village, and I had a place there too, and my wife Paola and I used to go round in the evenings for supper. We used to play poker, at which I am totally hopeless, I could never remember the sequence, something BJ viewed with great contempt. But my wife was rather good, so she used to win a lot of money. HH: How old was BJ then? AF: 27 – BJ was about five years older than me. HH: By the time I met BJ it was the 60s, he was living in London, working for McCann Erickson [as creative director], and he was totally fed up. Myself and David Cammell had set up our company, Cammell Hudson, and we wanted to bring in someone from design, and so we contacted him. BJ joined us as a partner and the company became Cammell Hudson Brownjohn. He’d just done his first Bond titles [From Russia With Love]. We thought it would be good to have a really top designer and BJ was available and he was interesting. We started Cammell Hudson in 1963,Brownjohn joined us in 65 or 66.