A MAGAZINE Guest Editor Professor Paul Anderson Dean, School of Design A MAGAZINE Contributing Editors Briony McArdle-Oakley Guest Editor: Professor Paul Anderson Head of Alumni & Supporter Dean, School of Design Engagement
Peter Piatkowski I am both delighted and honoured to be able to Alumni Relations Manager address you, my fellow Royal College of Art alumni, Jessie Bond Content Editor as Guest Editor of our magazine – and to introduce
Sarah Macdonald myself as Dean of the School of Design. Publishing Manager
Hannah Williams The College has changed immeasurably since I joined Assistant Content Producer as an Industrial Design student in October 1984, Design a newcomer to London. I met a wide range of students Jörg Schwertfeger from every corner of the globe, all of whom went on to Cover Artwork Le Gun make varied and valuable contributions to the world
See page 30–31 for bios of all our of design. The MA was in many respects a very relaxed contributing alumni writers, illustrators affair, with our tutors visiting occasionally and us and photographers. students frequenting the Art Bar on a regular basis – We’d also like to thank our Alumni Council: some things never change! Sir David Adjaye OBE (MA Architecture, 1993) I am passionate about multiple aspects of design Frank H Auerbach and am happy to see so many of them represented here – (ARCA Diploma Class I Painting, 1955) Christopher Bailey MBE celebrating innovation that comes through a (MA Fashion Womenswear, 1994) David Constantine MBE commitment to diversity is a particular highlight. (MDes Computer Related Design, 1990) Sir James Dyson CBE, OM Another element close to my heart is digital design – (MDes Furniture, 1971) I founded Glasgow School of Art’s Digital Design Studio Tracey Emin CBE Television Design that gave basic training (MA Painting, 1989) in 1997 – so I’m extremely enthusiastic about the new in film-making to a select few students. Lady Hamlyn There was no department as such, only (DesRCA Diploma Fashion, 1955) approach to robotics here at the RCA. a Bolex clockwork camera, an instruction Thomas Heatherwick CBE COMING (MA Furniture, 1994) The way that we approach design has changed book and a light meter. The head of David Hockney OM CH RA dramatically over the last two decades: we no longer the course was George Haslam, a talented (ARCA Diploma Class I Painting, 1962) television designer, who was our tutor, Alison Jackson limit the discipline to purely object-oriented activities. FULL CIRCLE (MA Photography, 1999) adviser and supporter. Asif Kapadia STEM to STEAM is a growing agenda, and system, Image: Boy and Bicycle (film still), I presented my script for a short film (MA Film & Television, 1997) Ridley Scott, 1965 Boy and Bicycle to George, who allowed Orla Kiely OBE experience and service design are now integral parts me to borrow the Bolex for a month to (MA Knitted Textiles, 1992) of RCA disciplines. Director, producer and Royal College of Art alumnus, Sir Ridley Scott (ARCA shoot the film in North Hartlepool. I was Professor Magdalene Odundo OBE (MA Ceramics & Glass, 1982) The inventiveness of the RCA community never fails Diploma Graphic Design, 1961) is celebrated for his distinctive visual style also given £65 to finance the film and Dame Zandra Rhodes DBE and ability to craft memorable and atmospheric cinematic worlds. From the processing – a big budget, and something (DesRCA Diploma Class I Textile Design, 1965) to astound. Just flicking through these pages will take dystopian cityscapes of Blade Runner (1982), through the iconic deserts I’m still grateful for. Peter Schreyer you from fondly remembered visionary John Minton of Thelma & Louise (1991), to the evocation of second-century Rome While at the College, films of differ (MA Vehicle Design, 1980) Sir Ridley Scott to the pioneering research happening at our Intelligent in Gladiator (2000) and chilling psychological scenes of Hannibal (2001) – ent genres, languages and locales, (ARCA Diploma Graphic Design, 1961) Scott is an innovator of the filmic form. In 2018 Scott received the highest especially those with a certain grittiness, Emma J Shipley Mobility Design Centre, as well as insights from our accolade from BAFTA, the BAFTA Fellowship for lifetime achievement. had a particular impact on me. I should (MA Textiles, 2011) This year, Scott’s company created a film for the RCA. Directed by Juriaan name Saturday Night and Sunday Clare Waight Keller foremost thinkers on the challenges and opportunities (MA Fashion Knitwear, 1993) Booij (MA Visual Communication, 2009), the film launches GenerationRCA, Morning (1960), The Seven Samurai of globalisation. the College’s largest fundraising campaign to date and a celebration of (1954), Citizen Kane (1941) and The In the end, it’s all about people – whether artists, every past, present and future generation of talented RCA students and staff. Third Man (1949) – Kurosawa and Welles Here he talks about his time as a student at the RCA and the process of making were masters. designers, writers, or theorists – and what they his first film, Boy and Bicycle (1965), with his brother, the late filmmaker There aren’t very many devices can achieve together. I hope you enjoy the stories in Tony Scott. I employ cinematically that I can trace back to my student days. You try not this magazine, and that you keep in touch with the ‘From an early age, it was film that attracted me. All my free time in Stockton- to repeat yourself, or at least, I try not to. College and with each other. on-Tees was spent at the local cinemas, watching everything and learning. You never At the RCA, I was focused on my own stop learning. You can even learn from so-called ‘bad’ films and television; there is desire to become better; curiosity usually something that makes you react or ponder. and determination are still needed I was a Graphic Design student so there were few opportunities to work with film on every film I make and develop. That while at the RCA, although I was fortunate to be offered a one-year course in Film and process never stops.’
2 1 Giulia Garbin (MA Visual Communi- ‘Spending two years solidly include researching in the cation, 2013). Giulia Garbin is a concentrating on my library, sampling in the print ALUMNI London-based, Italian-born art director, sculptures, with the luxury room, drawing at my desk, graphic designer and illustrator. having discussions with STORIES Characterised by her passion for of time purely dedicated to mixing traditional and modern print building up or picking that peers and pursuing collabor Writer: Jessie Bond (MA Critical Writing processes, she believes in the apart, meant that I could ations. We also had some in Art & Design, 2014) importance of craftsmanship within really focus my research and great sessions from diverse both digital and analogue design. thinking. While studying, visiting tutors. Drinks in the Giulia began her career working Art Bar were essential at for renowned branding and design I was thinking a lot about companies in Portugal, Switzerland scale and how that linked the end of the week to unwind!’ and the Netherlands. She produces with the content of my work. editorial and exhibition designs for Ideas around the body, and clients including Penguin Books, insides and outsides, Ryan Mario Yasin (MA Global Rizzoli, Fedrigoni and the V&A. Her Hugo Eccles (MA Industrial Design, Innovation Design, 2017). Ryan’s work has been published internatio naturally happen with larger 1995) comes from a family of petrol graduate project Petit Pli proposed an nally in sources such as Pulp Journal sculptures, so I was thinking heads. His father commuted to innovative solution to ill-fitting (Italy/UK), Brain (Japan), Creative about the details and how work on a metallic orange 1975 Suzuki children’s clothing. His waterproof Review, Grafik, It’s Nice That and YCN I could address some of my GT250, dressed in a suit and tie under outerwear uses engineered fabric that and exhibited across Europe and concerns without using the a one-piece waterproof, which was expands bi-directionally to grow with the USA. In addition to her studio ‘quintessentially James Bond’ in a child from age three months up to practice, Giulia works in partnership size of the works to fall back Hugo’s eyes. After graduating from three years. The design has been as senior designer with Studio PSK, on. So, in short, the detail MA Industrial Design with a Furniture awarded the James Dyson UK Award and as art director for Luncheon within the works became Design Award, Hugo went on to David Rayson (MA Painting, 1997) as well as the D&AD Impact Promise magazine. much more of a focus to me.’ work with the likes of Ross Lovegrove, is a London-based artist who was Award, and Ryan is currently develop Rodney Fitch and Terence Conran, Professor of Painting at the Royal ing Petit Pli with support from ‘Studying at the RCA is a but retained a love of all things College of Art from 2006 to 2017. InnovationRCA, the College’s centre one-time opportunity to meet mechanical, especially motorcycles. His early work concentrated on for enterprise. incredible people from He met fellow RCA graduate Adam meticulous paintings of urban and Nan Li (MA Womenswear, 2015). Kay, founder of Untitled Motorcycles, suburban scenes, in particular the ‘The RCA has an incredibly different disciplines, who After graduating from the RCA, Nan Li through the London motorcycling Ashmore Park Estate in Wolver tight-knit, driven and will influence and inspire the returned to Berlin to launch the label community and in 2014 opened the hampton where he grew up. David engaging community. Every way you work. At the RCA Namilia with fellow designer Emilia San Francisco workshop. has exhibited widely in the UK and Pfohl. Their first collection ‘My Pussy, one is so passionate about I met friends and collabo internationally and his work is rators, and mastered My Choice’ was selected for VFiles ‘It’s fabulous to be part of included in major collections including what they do; it’s truly an Runway in 2015 and was subsequently processes – from letterpress a community of like-minded Tate, the British Council, Deutsche inspiring place. The inter featured in fashion magazines and people in an environment Bank, Brooklyn Museum and the to linocutting – that form blogs including Vogue Italy, LOVE disciplinary nature of the where excellence is the norm. Contemporary Art Society. College and Programmes the backbone of my practice Magazine, Dazed & Confused and i-D. today.’ Since then, their playful and provo Studying at the RCA confirm ‘My time as a student at the ensure that new approaches cative collections have debuted ed that other people shared RCA was a time of living and perspectives are always in runway shows each season at my obsessions with quality, through extreme opposites reflected in people’s work. New York Fashion Week. thoughtfulness and attention Emma Shipley (MA Textiles, 2011) – unravelling my habits, Independent working was a to detail. Many of the people huge part of life at the RCA is a graphic artist specialising in fine ‘The RCA is one of the putting myself back together drawing, luxury scarves and cushions. I met at the RCA I later for me. It’s armed me with the greatest schools in the world and in short, slowly building She launched her own label, Emma and there’s a reason for that. worked with professionally… confidence and ability to J Shipley, at London Fashion Week in up a meaningful practice. It They expect the best from Postgraduate education was about being surrounded execute ideas and remain 2012 and won the Emerging Brand really equips you with the prize at the WGSN Global Fashion you, which in the beginning by a peer group going resilient when faced with any wherewithal to think later challenge.’ Awards and the Newcomer Award at can be challenging because through the same turbulent the UK Fashion & Textile Awards in they set the bar very high. ally and create meaningful, cycles. It was a day-to-day 2013. Emma has collaborated with It was tough, but it was enduring designs, and to reality… as was the nightly brands including Disney, Aspinal of continue to grow throughout London and Atelier Swarovski. definitely all worth it! You unreality of the Art Bar – could feel that the tutors your career.’ opening at bang on 5.30pm.’ ‘I felt inspired every single really cared about each day. I remember feeling this student, and they supported Holly Hendry (MA Sculpture, 2016). very real buzz of energy and each student in their own Since graduating, Holly Hendry’s site-responsive sculptures and ideas – that feeling of not individual way. You could installations have been shown in being able to sit still because really do what you wanted London, Liverpool, Manchester, there were so many thoughts, and explore your own design Copenhagen and Berlin. Holly, potential plans and experi identity.’ a teaching fellow at the Slade School ments to explore. Each day of Fine Art at UCL, recently partici pated in the Liverpool Biennial 2018. was different but could
2 3 through dynamic initiatives like our ‘Liveability’-related issues are Dr Rathna Ramanathan interesting definition of globalisation: Executive Education programmes and increasingly prevalent in developing Dean, School of Communication it is the process by which a given local the development of fully international countries that have unignorable For us in communication, globalisation condition succeeds in extending its THE BIG delivery such as our Global Innovation populations and economy sizes, such offers an understanding of the individual reach over the globe and, by doing so, Design Programme, which has as China and India. The huge impacts that is more complex and the result of develops the capacity to designate a partners in Japan, China, Singapore of the process of urbanisation will various conditions – gender, race, rival condition as local. It’s interesting QUESTION and the USA, enabling students to not be limited to within these history, nationality, sexuality, religion, because it raises important questions gain experience in different cultures countries, but will inevitably affect ethnicity – as well as aesthetics. To around the asymmetries of power WHAT DOES GLOBALISATION MEAN and contexts. Building on these, we our lifestyles, health and environment, consider all these audience needs is an that globalisation produces, but also FOR ART AND DESIGN? are establishing new strategic global which all require better design exciting challenge for us to work with. because it implies that the idea of partnerships that will support solutions. Additionally, being more aware local and global are somehow Illustrator: Ben Westoby (MA Photography, 2015) students to be more mobile, and to and connected to other cultures has contingent and intertwined. In terms enable the whole RCA community Professor Juan Cruz eased the task of international experts of art and design, this suggests Professor Naren Barfield, Deputy Vice-Chancellor & Provost, shares his to be more engaged in the important Dean, School of Arts & Humanities working together in interdisciplinary certain principles that might inform thoughts on what globalisation and internationalisation mean for art and challenges that creative education Globalisation requires me to work very teams on crucial projects – for how we think about engagement in an design, alongside staff from across the College. and research is uniquely placed to hard at challenging my inherited example, working on typefaces for international context. Firstly, to be address. responses in an attempt to recognise endangered languages, finding sensitive to the exchange and The Royal College of Art is a diverse and incredibly rich community of creative the world from a range of perspectives. low-cost mobile solutions for rural distribution of benefits as they arise people – possibly the most concentrated community operating at postgraduate Dr Stephen Wang I find it more and more difficult to markets and empowering margina from international collaborations. and research level anywhere in the world. Students and staff from more than Head of Programme, RCA/ICL Global determine what art and design should lised peoples through innovative Perhaps most importantly, it suggests 65 countries work here in a dynamic, challenging and intercultural environment. Innovation Design and Innovation be, or what it should look like. I need publishing frameworks. that a principle of reciprocity should As such, the RCA is a beacon for creativity globally, and also carries great Design Engineering to spend increasing amounts of time At the Royal College of Art, this act as a guiding ethos for thinking responsibility for creating intercultural understanding and sharing knowledge. To me, the term globalisation can be looking at the conditions and contexts mix of cultures when grounded in a about the duration, format and Our work, thinking and creative production transcend geographic, national interpreted as globalised urbanisation, in which things that I or others might community with a common purpose structure of everything from field and disciplinary boundaries and bring together people of diverse backgrounds and my research interests have identify as art and design arise, is capable of wildly innovative, work and trips, to collaborations and and experiences to work in teams and to learn from each other, bringing new been focused on its significant issues which it does in many more situations progressive and genuinely vanguard joint projects. insights to problems and global challenges through collaboration. and associated challenges on a than I am currently able properly work that is built on the values and Internationalisation is firmly underpinned by the values of mutuality: it’s not only planetary scale. to acknowledge. Importantly though, priorities of people from different Professor Saeema Ahmed-Kristensen about what is good for the RCA and our community locally, but about what benefit While many people may derive I am also wary of any complicity in cultures and backgrounds. Head of Programme, Design Products can be brought to partners, organisations and communities around the world, greater economic benefits from appropriating these instantiations Globalisation brings both opportunities through incredible ideas that lead to impacts and improvements in people’s lives. globalisation, the ever-expanding into our existing hierarchies and aim Dr Adrian Lahoud and challenges – economic, social and As well as the RCA being committed to providing a welcoming environment population in cities worldwide instead to find other and more gene Dean, School of Architecture political – to designers, manufacturing for the world to come to, equally our approach is about going out into the world presents a host of various challenges. rous ways to avoid getting in the way. Boaventura de Sousa Santos has an firms and design research.
4 5 provided by Teresa and John Bird; and the exhibition, which took place in the CELEBRATING RCA galleries. AM 25 YEARS I’m struck by the artist names in those early exhibitions: Vito Acconci, Matthew Barney. It’s incredible to OF CURATING have such high-profile artists in a student exhibition. Can you tell me CONTEMPORARY more about that? VW The exhibition was designed to be a ART talent-spotting initiative, identifying and introducing London audiences Interview with Victoria Walsh, Head of Programme, Curating Contemporary Art to cutting-edge artists and exhibitions. (MA Visual Arts Administration, 1994) Very quickly, even as a group of ten, there was a sense between us that different people were attracted to different kinds of curating. This was about creating new knowledge and experiences that would come out of working with artists in new spaces. It wasn’t about reproducing academic models, or cultural studies.
AM It sounds like it differed from the usual practice of curation at the time.
VW One can’t underestimate how curating evolved as the practice of commis Victoria Walsh, Head of Programme, Curating Contemporary Art sioning began to emerge. The idea of Large firms have long been globalising scene is in a confused state of flux, (MA Visual Arts Administration, 1994) has a unique insight into the past, working with artists to create new their value chains, beginning with due to independent art activity present and future of curation at the Royal College of Art. As one of work in site-specific environments manufacturing processes, to gain being denied during the Cultural eighteen students selected to the Arts Council-funded Programme rather than handling objects that access to new markets, reduce costs Revolution and an uncertainty in 1992, she returned to become Head of Programme in 2013. She talked belonged to dealers or lenders really and gain new competencies. Emerging of identity in the emergence of both to A Magazine about the changing face of curation, international visions transferred that relationship into a markets require new approaches to art and design in ceramics. As China and the lingering smell of turpentine… much more dynamic one. It became designing for users and infrastructures has opened its doors during the time much more of a dialogue. that are distant or need results for I have been travelling there, the lower costs. These methods are also impact of cultural exchange on ideas A MAGAZINE AM AM needed for local firms to remain and work has been very visible. It has I’m interested to hear about your time That sounds incredible. What was it about the Programme competitive despite globalisation. not been just a matter of taking on as a student on the new Visual Arts that enabled you to keep pushing at Beyond the economic issues, a ‘western’ outlook, but more about Administration MA – it’s fascinating VW what it means to be a curator? globalisation requires designing with developing and absorbing new that you’ve been both a student and a Yes, the core of the first year was responsibility, shifting from designing approaches and influences to create head of Programme. saturation and immersion, meeting VW for market need to pushing technology a new language that is authentically people, networking and travelling. Although there was no formal to address global needs – sustain Chinese. VICTORIA WALSH Looking back, I can say that one of the programmed interaction, being in an ability, environment, health and This exchange is also evident I have a particular perspective, having things the Programme has always art school meant that there were wellbeing – in different contexts. This the other way round, and I find been part of the first cohort of the done, and continues to do, is give chances for connection with different means developing an industry agenda my work has transformed through Programme. It’s hard to communicate students the appetite and confidence types of artists. The confidence you with disruptive technologies that are the possibilities that China has offered now just what that moment was like, for risk. Rather than accepting things gain as young curators to talk to sensitive to globalisation and its effects. to make work and operate in comple and what the climate for contem as they were, everything was about artists about practice, and the smell, tely new ways. It has opened up porary art was like. The art world was changing. There were no biblio tactility and messiness of it – you Felicity Aylieff my practice beyond my expectation. much more localised and fragmented. graphies or course texts. It was about walked into a building every day that Senior Tutor (Research), MA Ceramics I would say that cultural and global Teresa Gleadowe, who had been lecturers, artists, curators and critics smelled of turpentine – meant that a & Glass exchange is creating opportunities Head of Information at Tate and had coming in and discussing what they sense of experimentation was imbued I have been going back and forth for a fresh, and much-needed worked at the British Council curating were doing, and students getting in us that couldn’t be found in books. to China for over ten years, and re-evaluation of ‘identity’ and an exhibitions, would bring in the most involved in those projects. The art school context can’t be for the last five years have established excitement in the art world – it has extraordinary list of artists, curators The dynamic – you could say it underestimated, and it’s why I’m a studio in Jingdezhen, renowned become the important ingredient and museum directors. In that first was a Modernist dynamic – was that delighted that Curating Contemporary historically for its porcelain, the for moving ideas and thinking forward. year we had people like David nothing was to be left as it was. Art is now part of the School of Arts & material I work in. Sylvester, Kasper Koenig and John It was building towards two elements Humanities, supporting the idea of While China can boast a remark Thompson – an extraordinary roster that continue to define the ethos of contemporary art curating as a able ceramic history, its contemporary of names. the Programme: the theory, which was transient and transcultural practice.
6 7 so curating is about fictional scenarios, spaces and speculative ‘My time on the contexts, which would have been unimaginable 25 years ago. That’s CCA Programme exciting because it reflects how the arts have transformed, and how that showed me the convergence is being driven and supported by the rise of technology. importance AM of a curatorial Can you expand on how you think curation will continue to transform? practice that VW engages with One important factor is that we’re still understanding how to work with marginalised art technology in curatorial practice; there’s a whole new world opening up histories both with digital-born works online. We’ve come to understand that through the locally and students as much as through artists. Over the next 25 years, we won’t abroad. The The inaugural CCA exhibition, Acting Out, 1994 just be working through the gallery or in public spaces, but in online, virtual coursework, AM VW spaces. As the noise gets louder, Turning to your role as head of Pro CCA offers projects that encourage I believe that curators will remain lectures, read gramme, can you talk a little about students to think about inter much-needed interpolators and inter current context around the Programme? disciplinary collaboration in relation preters of our culture. ings and tutors – to public programming and audience VW development. Public discussion, people like Jean Over 25 years, we’ve had 300 students whether it’s through seminars or ‘MA Curating Contemporary from 42 different countries. Whereas performances, is an established and Art provided me with an Fisher – helped the Programme was originally set up crucial form of practice, particularly invaluable opportunity to to help foster British curatorship and in a global world with changing defini me to reconsider support the creation of Tate Modern, tions of art. There’s no longer the further research artists we’re now in a completely saturated same language of public art, now it’s whose work resists what exhibition cultural field. The word ‘curating’ much more the about working with traditional categorisation. can now cover any number of types planners, communities and developers. This was explored both making and of practice and activity, and our That’s why, for example, one of through my thesis Curating students come from countries of the projects encourages students research from different curatorial practice. We no to develop their practice with external Art After the Internet, and longer have – or would want to have – partners. These are extraordinary by working closely with these perspec a fixed idea of curating. organisations such as Gasworks in artists to realise exhibitions south London, which involves one of including Planta: Notes on tives could be.’ Every Second in Between, Kyung Hwa Shon, 2018 AM our alumni, and Delfina Projects. Botanical Dissidence, And how is that reflected in the work We’ve also launched projects with Victor Wang of the students? Beaconsfield, one of the oldest artist- an investigation into the (MA Curating Contemporary Art, 2014) led spaces. conceptual potential of VW Similar to 25 years ago, we make plants and Sound Field, What we do is introduce all our sure that students have enough skills, which featured immersive ‘In a few short phrases, the Curating students to the two foundations of knowledge and experience to take works by Ain Bailey, Mark Contemporary Art Programme curating: the theory and the practice. risks and hopefully go on to be the at the Royal College of Art provided There’s still a dissertation – writing kinds of people who will help foster Fell and Florian Hecker. time, resources and support for is fundamental to being a successful that and create more opportunities in The experience of realising my personal and professional curator. In their final year, students their careers. these projects equipped growth. It stretched my limits and also choose the type of curatorial me for my current position showed me the viability of marrying practice that they want to focus their AM as Camille Henrot’s studio theory with practice. It reinforced group projects on. Compared to 25 How do you see this environment my values on collaborative working years ago, where the emphasis would developing in the future? manager, where I have processes and group consensus. have been on object-based curating organised exhibitions It supported cross-disciplinary or commissioning inside galleries, the VW including Days Are Dogs at experimentations and learning from projects now reflect the spaces in One of the shifts we’ve seen is in the Palais de Tokyo (2017), different school of thoughts. which curating currently takes place. emergence of the ‘curatorial’, a new Henrot’s largest solo show It sharpened my critical awareness form of practice in which it’s very hard and mind.’ AM to distinguish between the practice to date.’ Can you talk more about the projects of the artist and that of the curator. Grace Storey Jennifer K Y Lam 林家欣 that students can participate in that Programming and commissioning (MA Curating Contemporary Art, 2016) (MA Curating Contemporary Art, 2015) help to facilitate these ideas? have collapsed that relationship, Who Cares? A Radio Tale, 2018
8 9 in Extreme Environment’, a large project funded by Innovate UK that will INTRODUCING investigate how the application of robotics can make the maintenance of offshore wind turbines safer ROBOTICS and more efficient. ‘RCA Robotics is particularly AT THE RCA interested in developing technologies for situations when human access or Illustrator: Eva Papamargariti (MA Visual Communication, 2016) human safety is a problem,’ explained Dr Sareh, ‘such as mobile robotic manipulation technologies that can Interdisciplinary research in art and how robotics work, but also how they enable operation or teleoperation in design has always been at the heart can augment human capabilities extreme conditions or hard-to-access of the Royal College of Art. As the and when to take risks. We are strong environments. There are also cases College evolves into a STEAM proponents of understanding failure where we want to augment human (Science, Technology, Engineering, in order to produce effective design abilities for protected presence in Art and Mathematics)-focused post solutions.’ such environments – for that we are graduate university, it is leading One of the primary focuses of the developing stiffness-controllable the way in demonstrating the RCA Robotics Laboratory is to exploit wearable robotics that can enhance outcomes and insights that design advances in soft materials and occupational safety.’ methodologies bring to intersecting manufacturing methods for the The lab’s developments on the human, material and digital deve development of new technologies for latter theme will be informed by lopments. A key part of this process robot mobility, manipulation and Dr Sareh’s long-term research on has been the establishment of attachment in unstructured medical and rehabilitation robots and several new research centres – environments. ‘Soft robotics is not integrates institutional expertise in the Intelligent Mobility Design only about using soft materials in the areas such as materials and textiles Centre, the Burberry Material construction of robots’, Dr Sareh with robotics. He is currently principal Futures Research Group and the stated. ‘In fact, through learning from investigator on ‘PULSE’, a project cross-College RCA Robotics Labo nature, it is about looking at making funded by MedTech SuperConnector, ratory – home to a fast-moving new robotic systems that have a which is developing soft wearable research group which places better ability to interact with the devices for therapeutic applications students, world-leading researchers natural world. Using a set of and builds on the research capacity and academics alongside scientists mechanical stiffness design tech within this theme. and engineers, led by Academic niques, learned from such abilities in The many potential cross-College Leader in Robotics, Dr Sina Sareh. an octopus’s arm, or stiffness- collaborations paint a compelling gradient design observed in the picture of what the future Robotics As an area of technology that brings structure of bone, muscle and skin in centre at Battersea will achieve. together many strands of enquiry, the the human body, are two examples of As bio-design and bio-inspired artificial RCA Robotics Laboratory has very different approaches to those intelligence lead to new forms and established an innovative research used in the development of adaptations in robotics, the RCA programme of design-led, human- conventional rigid link robots. This has Robotics Labatory’s close links to the centred robotics. Since joining the applications from surgery to smart RCA’s wider research community will College in May 2017, academic leader wearables to integration with drones.’ see new bio-inspired materials that of Robotics Dr Sina Sareh has secured One area of interest within the lab have particular characteristics – three major research grants and is ‘anchors’, or how a mobile robot such as water-proofing, folding, self- welcomed the first PhD students to such as a drone might attach itself to repairing or the ability to dissolve – the lab, where they are researching different surfaces in different as well as new manufacturing methods soft wearable robotics, soft mobile environments. ‘An octopus attaches that allow 3D printing of parts or robotics and smart software platforms itself to a rock to withstand a storm; upscaling through the cloud. ‘How for architectural planning. With new a bird perches in a tree or high we integrate robotics’, Dr Sareh postdoctoral researchers joining the structures to rest’, explained Dr Sareh. pointed out, ‘is key to the future of team in early 2019, the lab will create ‘A mobile robot with an integrated human-centred design.’ greater research capacity in existing vision system might similarly anchor ‘Now is the time to be asking areas, formulate new cross- itself in place in varied environments big questions’, concluded Professor disciplinary research themes and underwater or in the air filming while Anderson, ‘questioning the prepare for a cutting-edge facility saving crucial energy.’ sustainability and ethics of what in the new building at Battersea. Dr Sareh has been awarded an technology is doing. Robotics have ‘Robotics isn’t a new area,’ EPSRC-UKRI Innovation Fellowship, an integral part to play in reaching explained Dean of Design Professor which has provided funding towards solutions and allowing us to integrate Paul Anderson, ‘but it’s still very much his project ‘Getting a Grip’. Taking cues with other disciplines, through associated with sciences and engine from the octopus, ‘Getting a Grip’ connectivity, networks and new ering. The RCA is approaching robotics develops a sensory-physical materials.’ from a different angle – design led anchoring module that can adjust the and human centred – building mode of interaction in response to the on our reputation for innovation and environment. Dr Sareh is also understanding that the designers of Co-Investigator on ‘Multi-platform the future need to know not only Inspection, Maintenance and Repair
10 HOWIE STREET QUADRUPLET On sunny days your dust lead to allergies and happiness, come the winter we Joshua Leon (MA Photography, 2017) huddled upstairs in your enclosed room; for warmth. 1. Frantic voices continuous in the labouring Open n’ unformed workshops, each awaiting their ecstatic moment. How Loose n’ unresolved soon our arrival becomes our departure; fighting the Consumed n’ unclothed, materials of making with unknowing tolerance, the vibration of the 19, alerting you from in-between the transitions we were undergoing quiet moments in your afternoon, the sawing motion This, “the birthing ground of potential”, a below, the grinding and congealing of metal sustained claret bronze undergoing several renewals from dusk to dawn, directing one’s illusion into fixed ritual, underpinning and in your garden, we ate, and in your garden, the consideration for the foundations that guide each we grew, and in your garden, we left our ash, renewed, decision, the quiet overtones of music peeping out of each feasted upon at the nearby diner, with its brown and gold individual’s headphones, exterior, sheltering under the bus stop, awaiting afternoon visits from a friend, coffee’s aroma left the after hours, where silence can enter once more, lingering for those tired seconds whilst seated at the and thought can combine with time, allowing the daily balcony’s view, fruits to flex their skinny muscles. our bodies intermingling as the material of an eight-year passage, segmented in two-year 3. accelerations, just before the decade’s end. unknown hustle The affection of place based in the affections of our faces liquidated by the deadline Will you remember us as we remember you? the work unfinished That which we ask ourselves. That which we dare to lose. like an Argo in transition, us at its These new fears that appeared, rotating around the making, us at the initiation of its beginning future of our dreams. Us, suspended in the rooms of each year. this building, delayed reality, until reality appeared, What are the consequences of our role? banging at our doors. The axiom of our platitude. So where do we go from here? How we rise. As if flying towards the void of questions, As if these inductions cannot sufficiently consume our unanswered by none other than ourselves, for it is only attentions, our attentions us we face un- detailed; as you held us up, gracing us with your caught between glances and whispered agendas wisdom, and your old head. Yet in the life of your the voice, auditioning for a place journey we were just affairs for the bigger glory not yet in existence. Circulating. awaiting you. Our futures hanging on your walls, Our voice; our voice, consistently changing mounted to your floors, as you prepare for glass, and its organic basis; residency. The featured works were slick linen on which we can play our individual tunes. crystalized, hardened, through errors in time. created by Carlos Jimenez (MA Photo The beats of our bodies complementing the storm of must this be our end? BATTERSEA graphy, 2015), Simone Mudde buses carrying us across Battersea. Planted in the an eclectic binding (MA Photography, 2018), Stewart history of the river’s children, we became the river’s the dancing in the last triplet, followed Ross Hardie (MA Photography, 2018) children, ghostly, before the night, when the aches of with a serenade of separation, at the corner, SOUTH and Martim Ramos (MA Photography, plaster blended into an amber. My friends, my friends, awaiting the tower, we the witnesses. 2018) in response to the changing my friends, do not lament the falling walls, for there Lasting this final stint. Exiled to the home. Image: Herzog & De Meuron site at Battersea, and the exhibition are falling walls in far off places that require greater Our creations left to flourish, untamed by limitations, was curated by Agata Kik (MA lamenting. And the eggshell shade that awaited you, unrestricted Curating Contemporary Art, 2018). will find itself renewed, echoed down the line, as we by the politic of space, feasting in the grandeur of Between 2018 and 2021, the Royal recognises the potential for innovative Alongside videos, photographic prints return, over, and over. ambiguous design. College of Art is transforming its creative works to be generated when and a series of zines, the exhibition interlude Battersea estate with the construction architecture and photography take included a performance of a eulogy our voice in crowded rooms, the interwoven textures 4. of a new building designed by Herzog place simultaneously. to the former Sculpture Building of taste and similarities between her, and you, and I, Now, fall & de Meuron. This is the most exten Over four years, including the first Howie Street Quadruplet by poet and like the piano keys played in chorus, such is us; if not for this hesitation sive building project in the College’s year of academic occupancy, the artist Joshua Leon (MA Photography, we are the chorus our hearts – in reverse history, surpassing Robin Darwin’s project will create opportunities for 2017). Together these works form of the building inking our last epigraph visionary concentration of a disparate students, staff and local communities the beginnings of a future archive for transitioning upon the toilet walls RCA into the Kensington site in the to reflect on the transformation of the College. from the first to say – I was here early 1960s. The new flagship building the Battersea site – including the end encore at the end and the beginning will provide space for ten new Pro of 25 years of occupancy of the into the second symphony. slumped in these elegant chairs grammes and the expansion of Sculpture Building – and generate a Now, fall research and knowledge exchange sense of ownership of the new 2. at once centres including computer and building by its future occupants. Blees Cast in stone, a single word what resistance we had, will turn to honey materials science, advanced manu Luxemburg’s artistic research will also Stages the un- once this moment comes. facturing and intelligent mobility. contribute to the historic archive of written song. How soon our arrival becomes our departure. To document the progression of the College, creating a visual record of Howie street, at last. Turning that corner, one strip of Like flints meeting; a spark, a quick shot, a hot flush the new building, while also generating this period of transformation. privacy, ours. We serenaded you with wine, and beer, Rising and falling in a chain of steel and aluminium new aesthetic material, the College The exhibition Ariadne Project, and conversation. Bitterly we accepted your changes, and we watch, has appointed Rut Blees Luxemburg which took place in Battersea in bitter only because we did not know any better, bitter and we watch, as Senior Research Fellow and artist in September 2018, was one of the first because we wanted the most for ourselves. Yet our and we watch, residence. Blees Luxemburg’s work outcomes of Blees Luxemburg’s dreams did not sleep. and we watch.
12 13 WOMEN IN INNOVATION
Writer: Lucy Biddle (MA Critical Writing in Art & Design, 2014) Illustrator: Marta Hernandez (MA Visual Communication, 2016)
Over 100 years ago, the Represen to you’, says Helen Steed (MA Graphic tation of the People Act in the Design & Art Direction, 1993), Creative UK granted the vote to women over Director of Aruliden and former 30 years old. Last year, the RCA Creative Director of Glossier. ‘I think hosted alumna Anita Corbin’s (MA it’s also about always looking for Elena Dieckmann Photography, 1983) First Women UK opportunities to learn, and to grow.’ (MA Innovation Design Engineering, exhibition, which coincided with At the RCA, Steed was taught 2016) this centenary and celebrated by Margaret Calvert, ‘a cool, strong achievements of women in the woman in what was still predomi twenty-first century. The exhibition nantly a man’s design world’, who featured portraits of 100 women taught her that design didn’t have to who were the ‘first’ in various fields be all about style but about tackling including rockstar Suzi Quatro, things that improve lives. While Steed poker player and television host has noticed changes in the sector Victoria Coren-Mitchell, First over the years – female designers and Minister of Scotland Nicola innovators are no longer such rare Sturgeon, business leader Dame figures – she is certain that there is Inga Beale and Olympic gold medal- more to be done: ‘we definitely need winner Nicola Adams. more women in tech, more female VCs, and, I would add, more women The College is proud to celebrate over 50!’ successful women who have passed through our doors, from women’s rights pioneer Sylvia Pankhurst Helen Steed (Decorative Painting, 1906) – whose (MA Graphic Design & Art Direction, ‘angel of freedom’ emblem was 1993) essential to the visual language of the suffrage campaign – to Lubaina Himid, (MA Cultural Studies, 1984), one of Desire for diversity across gender and ‘We definitely need more women the first artists involved in the Black age is shared by Elena Dieckmann Art movement in the 1980s and who (MA Innovation Design Engineering, continues to celebrate black creativity, 2016), who won Innovate UK’s Women in tech, more female VCs, and, while challenging institutional invisi in Innovation award in 2016. The bility through her paintings, prints and co-founder of Aeropowder, Dieckmann installations. captures the properties of bird I would add, more women over 50!’ Alongside celebrating the achieve feathers and turns the vast amount of ments of our alumni, the College is waste materials generated by the Helen Steed also committed to supporting and Michela Magas poultry industry into an additive for empowering future female innovators, (MA Graphic Design, 1994) composites and paints. The company entrepreneurs, artists and designers. began life as an MA project and has has launched Industry Commons – she has come to see herself as an desperate need. Taking part was a way While the passing of the 1918 Act been supported in its development by a platform for designers and inno innovator. Her decision to study for her to counter the lack of visible paved the way for universal suffrage, the College’s business incubator vators that attempts to bring a at the RCA was a result of the reali role models for women in engineering, the representation of women InnovationRCA, which Elena describes creative approach to problem solving. sation that simply being able to science and technology. Above all, continues to be a pressing issue, as as ‘a protected zone where you get Applying one kind of system to ‘communicate a problem’ wasn’t she explains, it was to make the point seen in revelations on the gender pay to try stuff out’ and ‘a bridge that gets another can be tricky, she admits: enough. She wanted to solve them. that ‘in order for something to gap and the fact that in the UK, the you from where you were as a student ‘You’re constantly seen as an It was during her time at the be successful, it has to be diverse’. number of female entrepreneurs is to a fully professional level’. interloper, a disrupter, an outsider.’ College – which she says ‘completely around half that of their male Another alumna winning accolades The results, however, have been telling. turned my life around’ – that Steel counterparts. for her work is Michela Magas (MA During the testing stage, Industry found herself in a minority: only one We spoke to four RCA graduates – Graphic Design, 1994), who was Commons enabled faster, more nimble third of her year group was female. working in music technology, human- named the 2017 EU Woman Innovator forms of innovation, with ideas She has continued to feel in a minority centred design, material science of the Year by the European moving to patent stage far quicker throughout her entire career. and branding – about their thoughts Commission. Founder of Music Tech than anticipated. This experience has been a driving on diversity, making change and Fest, she studied Graphic Design at This emphasis on human-led force for Steel’s work; she was the women who’ve inspired them. the RCA before going on to establish innovation is shared by Ruby Steel featured in the BBC Two reality TV Innovation is about ‘solving prob Ruby Steel the design research and innovation (MA Innovation Design Engineering, programme The Big Life Fix, in which lems without looking behind you, over (MA Innovation Design Engineering, lab Stromatolite with fellow RCA 2012). Now Senior Strategist in designers worked together to solve your shoulder, or at the person next 2012) alumnus Peter Russell-Clarke. Magas Design at Smart Design, she says that real-life problems for people in
14 15 ‘What makes a JOHN MINTON painting itself REMEMBERED and not a memory, Writer: Jessie Bond (MA Critical Writing in Art & Design, 2014) an association, a story, a souve With works by Frank Auerbach, ‘The warmth and heart of the school Francis Bacon and Lucian Freud all was John Minton, whose compassion, nir – is the highlighted in the major Tate Britain sophistication and wit were immensely exhibition All Too Human, 2018 reassuring. You realised at once that complete trans proved to be a landmark year for the he was aware that the problems he ‘School of London’ group of post- faced were in essence common ones. lation of what war British artists, many of whom He was much loved by the students.’ cut their teeth at the RCA. Emerging Bridget Riley (ARCA Diploma the painter from this context is another key Painting, 1955) figure: John Minton, painter, knows into a illustrator and much-loved tutor at ‘He stressed the importance of subject – the RCA between 1949 and 1956. and the urgency attendant on catching visual structure, The subject of a BBC documentary, an experience before it vanished… Mark Gatiss on John Minton: I… found him clear-sighted and very or formula. The Lost Man of British Art, and direct when anything seemed to him the emotional centre of Martin sham or inadequate. This was rather It is there not Gayford’s biography of the scene, stimulating…’ Frank Auerbach Modernists & Mavericks, the last (ARCA Diploma Painting, 1955) through talent, year has seen a serious reevaluation and reexamination of Minton’s work. ‘He was always a great friend to the or skill, or students... I remember my interview A dynamic and bohemian character at at the College when I was 17. I’d had a emotion, it is the College, Minton often taught by really bad cycling accident and I’d example, painting alongside his really cut my face up and knocked all there only students in the life room. He took an my teeth out. I did the interview soon active role in College life, creating sets after that… I must have looked like a through under for theatrical productions and monster and I was faced with this frequently transforming the College inquisition… at one end of the table standing. It for hops and balls by painting sat Johnny Minton… he was the nice enormous decorations. Purportedly policemen. He was always like that… cannot be taught, he once spent three days decorating a very nice man, a big influence. He’d the entire College for a party and was actually sit down and teach you how it can only be still one of the last people dancing. to do things.’ Peter Blake Minton wasn’t afraid to voice (ARCA Diploma Painting, 1956; found. There is harsh criticism, but was much loved Tutor, Painting, 1964–76) by his students, and as Frances only this for Spalding observes in her biography of ‘Minton was very brilliant. He burned Minton: ‘What made his criticisms very brightly. He was perceptive and the painter to acceptable was the care with which erudite as a critic and as a teacher. he assessed work and the genuine I was very impressed by him even do, to search. intimacy this created between student before I went to College. He was a star, and teacher.’ he had charisma like a star, and he And that is all.’ was very, very famous.’ Robyn Denny ‘He was a very good tutor. He told me (ARCA Diploma Painting, 1957) John Minton a lot of home truths. I started with (Tutor, Painting, 1949–56) ideas that I was the reincarnation of ‘He was very, very charming. He Cézanne, but he soon brought me always complained that he couldn’t back down to earth! He was one of draw! He was a rather sad figure in a Image top: John Minton’s cover for those rare people who can criticise way, too, but he was part of a terrific The Plaster Fabric, Martyn Goff constructively. He could instruct gaggle… Lucian Freud, Francis Bacon, (Putnam, 1957) and enthuse you at the same time.’ the Soho crowd. They were all up in Image below: John Minton’s cover design for Dennis Bailey (ARCA Diploma the Senior Common Room and the Points of Contact Graphic Design, 1953) drinking used to go on until four in the (Contact Books, 1946) afternoon… Very racy, flat out… They were very impressive people in a strange way, quite terrifying really!’ Richard Guyatt (Professor of Graphic Design, 1948–78; Rector, 1978–81)
16 implications far beyond the sector. For us, it’s also about exploring the INTELLIGENT wider implications of a technological product; city planning, architecture, leisure spaces and healthcare provi MOBILITY sion are all within the compass of these developments. Writer: Professor Dale Harrow, Chair of Intelligent Mobility Design Centre and Head of Programme, MA Intelligent Mobility INTELLIGENT MOBILITY Illustrator: Miguel Valdivia (MA Visual Communication, 2013) DESIGN CENTRE
The future of intelligent mobility at the What can the RCA – the inter RCA is embodied by the Intelligent Mobility Design Centre (IMDC). nationally renowned art and design Launched in May 2016, the IMDC is leading research at the intersection university – contribute to the of people, mobility and technology within a complex and changing urban imminent arrival of intelligent and global environment. Dr Cyriel Diels has recently been mobility? appointed as Deputy Director of IMDC. He has a background in psychology It is clear that we are witnessing a design intelligence are key to survival and human factors, and industry shift in the perception and design of in a world where traditional product expertise in driver behaviour and vehicles. The invention and adoption development models are being performance. Senior Research Fellows of technologies and applications such disrupted. But we recognise that Dr Jiayu (Zoe) Wu and Dr Artur Grisanti as artificial intelligence, open data, intelligent mobility isn’t just about the Mausbach are leading research projects autonomous navigation, high-speed automotive industry, it is about at the centre. telephony and integrated personal transport in the broadest sense, Dr Wu’s interests focus on the devices – are all driving this including people and goods, the built interactions between vehicles, people, transformation. environment, and how planning and and environments, looking to a future We believe that the future of policy can address the shift in where individuals will have un intelligent mobility isn’t just about mobility. precedented involvement in every design or technology; it is about the In the field of automotive design, facet of transportation services. combination of technology and design the RCA has been creating design Dr Mausbach’s holistic design with people and culture. Through leadership by training the designers of research practice crosses the fields the philosophies, methodologies and the future for over 30 years. The 35 of urban planning, architecture, historical precedent of design intelli alumni design directors in global and product and mobility design gence, we recognise that design is mobility corporations – from Jaguar through a humanistic approach that fundamentally different from engine Land Rover, Volvo, BMW and Audi aims for sustainability through the ering or technological development, Group to Rolls Royce and Bentley – application of intelligent design. and highly value what it can bring are testament to the relevance of our The team at IMDC work across to the table. We know that design can knowledge and experience. The RCA disciplines with technologists, unpack the challenges and oppor has been a key partner in Gateway – engineers, the automotive industry, tunities of new technologies and pull the UK’s only interdisciplinary study the built environment sector and all the strands of enquiry together, of autonomous vehicles covering government agencies to research and ‘At the RCA, we work in a demonstrating that it’s not just government policy, technology and design for intelligent mobility. Projects technological advances but how they commerce in real conditions. so far have included research with are applied that matters. New concepts of mobility services Hyundai-Kia exploring the future of creative space to experiment, At the RCA, we work in a creative that have been imagined and tested luxury and the relationship between space to experiment, test, understand – including vehicle-sharing, high- technology and emotions. and interpret. The technology to speed urban commuting and robotic IMDC will provide insights and real test, understand and interpret.’ develop autonomous vehicles is on delivery – intersect with user data about human culture and the horizon, and our research shows expectations. For users, the adoption behaviours that are crucial to future Professor Dale Harrow that the challenges are not with the of any particular mode of transport mobility developments. In doing this, technologies themselves (people can depends on affordability, experience, it will harness the whole College in adopt technologies, as evidenced by style, privacy and utility. There are its research and project work, as one the success of smartphones), but with some areas of particular sensitivity, in a network of centres that support the understanding of how to work such as the future of shared transport each other and work collaboratively with new innovations, the sorts of – and the extent to which people across intelligent mobility, material products and services that arrive from can be persuaded to forsake their futures, inclusive design and robotics them and whether they will be used private cars. within the context of the inter by all members of the population. Intelligent mobility is not without nationally renowned university. In a sector where attention has consequences. The UK car industry been centred on brand for decades, alone employs 170,000 people and the focus has now shifted to delivers 4 per cent of GDP, which technology. Industry needs to means that the effects of disrupting understand that both creativity and that economic model have
18 19 People – creating a significant Scholarship WELCOME TO Endowment that will support talented GENERATIONRCA individuals, no matter Writer: Helen Protheroe, Director, Development & Alumni Relations what their background, Illustration: Will Davey (MA Visual Communication, 2017) to study at the RCA.
Projects – investment in research and knowledge exchange that will inform and inspire a new generation of visionary practice in the creative industries, and provide design-led solutions to global challenges.
Helen Protheroe Places – the development of a new flagship As the Director of Development & Alumni Relations, Battersea South Campus I’m very happy to have the chance to introduce and the refurbishment of myself to you and to announce the launch of the Darwin Building on GenerationRCA. Kensington Gore.
GenerationRCA is about you! It centres on the gene This issue of A Magazine rations of individuals who have made the Royal features stories of your College of Art the unique institution it is. You are fellow alumni. Their GenerationRCA, and we’d love for you to wear the contribution and accom enclosed pin badge with pride! plishment is what GenerationRCA will secure the future of the College GenerationRCA is all and ensure that it will continue to provide students about – making important with a world-class education. With this, our students strides and changes in go on to become leaders in every discipline of art their industries because and design, in much the same way you all have. of the work they did here GenerationRCA will enable the RCA to move into an at the RCA. We hope exciting and vital new era by supporting developments you enjoyed reading about in three key areas: them and we are looking forward to sharing more information about GenerationRCA with you.
#GenerationRCA
20 Stewarts RCA Secret returned in Rose Wylie (MA Cultural History, IN BRIEF Ming Kong’s (MA Innovation Design December 2018. A diverse group 1981), was awarded the 2018 South Engineering, 2015) touch-based, an exhibition AN of artists, illustrators and designers Bank Sky Arts Award for her exhibition Sir David Adjaye, OBE human-machine interface TG0 – (including RCA alumni and current at the Serpentine Galleries, Quack (MA Architecture, 1993) was a technology that uses smart material of work by students), such as Sir Ridley Scott, Quack. She was also honoured in the knighted during the 2017 to sense human touch without photomontage artist Peter Kennard, 2018 Queen’s Birthday List and electronic sensors – was named as INSIDE New Year Honours for women who were ceramicist Magdalene Odundo, profiled on BBC One’s Imagine a ‘startup to watch’ by Forbes. sculptor Alison Wilding and artist programme, where she shared details services to architecture. nominated for VIEW Celia Hempton, submitted a postcard- about her life and practice with sized artwork. The exhibition raised presenter Alan Yentob. In November 2018, Joyce Cairns Diyala Muir the prize hosted NEWS STORIES more than £48,800, which goes (MA Painting, 1974) was elected as FROM ACROSS THE RCA directly into the RCA Fund, providing the first female President of the (MA Animation, by Chester COMMUNITY scholarships and bursaries for Royal Scottish Academy of Art and students in need of support to Architecture (RSA) in 193 years. 2016) and Visual Arts, Number 1, again – April saw the complete their studies at the RCA. College named the world’s leading Renowned cinematographer, Emily Scaife from November university of art and design in the Michael McDonough (MA QS World University Subject Rankings Printmaking, 1991) has (MA Animation, 2018–March 2018. The RCA leads the league table of 200 of the world’s top programmes recently been accepted into 2017) were 2019. for the study of art and design. the Academy of Motion This is the fourth consecutive year Picture Arts & Sciences, finalists for the Susan Stockwell (MA Sculp that the RCA has taken the top spot, meaning he’ll help decide this ture, 1993) was featured in and consolidates its position as year’s Oscar winners. 2018 British a group exhibition, Across the world’s most influential university of art and design. Animation Boundaries at the Draiflessen Sir Jony Ive was appointed Astrid Stavro Collection in Mettingen, Chancellor of the RCA and attended Artist Idris Khan (MA Photography, Awards in the Germany, which included a his first Convocation in 2018, 2004) created site-specific work (MA Communi- range of maps dating back to conferring degrees on over 800 MA, to help recontextualise the British Student Film the sixteenth century MRes, MPhil and PhD students. Museum’s Islamic art collection. cation Art & Recently Jony and Apple hosted Comprised of an installation of category. Muir’s alongside the work of artists sunset drinks with US-based alumni, 21 unique paintings, the pieces are Design, 2004) who use or are influenced by giving them a chance to see the displayed in a scattered formation work, The Day cartographic techniques. new Steve Jobs Theater at Apple Park in the Museum’s new Albukhary joins Pentagram in Cupertino. Foundation Gallery of the Islamic After the Party, World. Khan also received an OBE London as a new Alumna Angela The RCA’s new Royal Visitor was in 2017. took home the named as HRH Prince Charles in May partner – the Palmer (MA 2018. He visited the Battersea campus prize. in November to meet staff, Ceramics second woman to Communication & Glass and Print students, and 2016 Turner Prize nominee start-up design innovators. The Prince be made partner Anthea Hamilton (MA Art & Design, of Wales succeeds His Royal Highness Painting, 2005) transformed The Duke of Edinburgh who was Royal alongside fellow 2007) created Visitor for 50 years from 1967, the Tate Britain’s Duveen year the Royal Charter was granted by RCA alumna Galleries with immersive a crystal Her Majesty The Queen, giving the artwork, The Squash, which RCA university status and the power Marina Willer featured a mixture of sculpture of to grant degrees. performance, sculpture and (MA Graphic installation. race-car driver Design, 1995). Susie Wolff’s Artist and curator Lubaina Himid (MA BBC Radio 4’s Cultural History, 1984) was honoured Erdem Moragliu (MA Fashion helmet for the in the 2018 Queen’s Birthday List. Womenswear, 2003) designed Women’s Hour 2018 also saw the opening of Himid’s costumes for the Royal Ballet’s Scottish National first exhibition, Our Kisses are Petals, performance of Christopher Craft Prize 2017 since she won the Turner Prize in 2017. Wheeldon’s single-act ballet, Portrait Gallery. Corybantic Games, for which he was winner Phoebe honoured with a Beazley Designs of Robin Gregson-Brown (DesRCA the Year award. Cummings Diploma Textile Design, 1960) has recently created an original work (MA Ceramics & for legendary naturalist Sir David Attenborough, which focuses on Glass, 2005) Gregson-Brown’s passion, is featured in lepidoptera.
22 23 RCA NOW
Photographer: Richard Haughton
Despite the College’s growth, its unwavering commitment to the vision, creativity and talent of its students remains as strong as ever. Take a glimpse at life at the RCA today across the four Schools:
ARCHITECTURE, ARTS & HUMANITIES, COMMUNICATION AND DESIGN
SCHOOL OF ARTS & HUMANITIES
24 25 SCHOOL OF ARCHITECTURE SCHOOL OF DESIGN
26 27 SCHOOL OF COMMUNICATION
28 29 Emma Shipley, Contributor Grace Storey, Contributor INTELLIGENT MOBILITY A MAGAZINE – ISSUE 3 (MA Textiles, 2011) (MA Curating Contemporary Art, CONTRIBUTORS Emma Shipley is a graphic artist 2016) Miguel Angel Valdivia, Illustrator Jörg Schwertfeger, Magazine specialising in fine drawing, luxury Grace Storey is a curator whose (MA Visual Communication, 2013) designer (MA Visual scarves and homeware. She launched practice is focused on the impact of Miguel Angel Valdivia is an illustrator Communication, 2014) COVER ALUMNI STORIES her own label, Emma J Shipley, the digital upon the production and and editor of the zine, Le Petit Néant. Jörg’s focus is printed matter, mainly at London Fashion Week in 2012. dissemination of art. She is currently His visual practice involves an ironic books, as well as visual identities Le Gun, (Neal Fox, Chris Bianchi, Jessie Bond, Writer (MA Critical Camille Henrot’s Studio Manager, view of our contemporary society, and their digital anchors and Bill Bragg, Robert Rubbish, Matthew Writing in Art & Design, 2014) Ryan Mario Yasin, Contributor where she has organised exhibitions inspired by dystopian science fiction, applications. Clients range from Appleton, Alex Wright and Stephanie Jessie Bond is a research student at (MA Global Innovation Design, 2017) including Days Are Dogs at Palais de and suggests a world in which the cultural to financial sectors, small von Reiswitz), Cover artist London College of Communication Ryan Mario Yasin is a designer and Tokyo (2017), Henrot’s largest solo communication between individuals and independent groups and Established in 2004, Le Gun is an art researching representations of inventor of Petit Pli. The innovative show to date. appears to have broken. individuals, to international corpo collective consisting of five artist conflict and the photobook. She has design, which uses engineered fabric rations. His practice is based in illustrators – Bill Bragg, Chris Bianchi, contributed to various publications that expands bi-directionally to grow Jennifer K Y Lam 林家欣, Contributor WOMEN IN INNOVATION Zurich, Switzerland, where he has Neal Fox, Robert Rubbish and Steph including Photomonitor, Calvert with a child, has been awarded the (MA Curating Contemporary Art, worked independently and in colla von Reiswitz – and two designers – Journal and Art Licks magazine. James Dyson UK Award as well as the 2015) Lucy Biddle, Writer (MA Critical borative settings since 2009. Alex Wright and Matt Appleton. All six D&AD Impact Promise Award. Jennifer is currently based in Writing in Art & Design, 2014) He is a member of sgv,‘Schweizer met on the Communication Art & Hugo Eccles, Contributor Singapore with the National Gallery Lucy Biddle is a freelance writer and Grafiker Verband.’ Design Programme, graduating in (MA Industrial Design, 1995) THE BIG QUESTION Singapore. Having read History of Art Interpretations Manager at the 2005. Hugo Eccles is an award-winning at the University of Hong Kong, she Hayward Gallery, London. PLEASE NOTE creative director whose work spans Ben Westoby, Illustrator has a comprehensive knowledge and INSIDE industries and categories from (MA Photography, 2015) experience in the fields of museum Elena Dieckmann, Contributor Every effort has been made to trace FRONT COVER service design and packaging, Ben Westoby is a photographer and and the market, and has good (MA Innovation Design Engineering, copyright holders and to obtain their to consumer electronics and concept visual artist based in London. As well relations with a wide scope of artists 2016) permission for the use of copyright Sir Ridley Scott, Contributor (ARCA cars. He has won numerous inter as individual exhibitions, he is the in Asia. Jennifer has engaged with Elena Dieckmann is the co-founder material. The College apologises Diploma Graphic Design, 1961) national industry accolades including photographer for the White Cube projects such as the Asia Art Archive, of Aeropowder, and supports this work for any errors or omissions in the above Sir Ridley Scott is an English film Business Week Consumers’ Choice, gallery. In his practice, he aims to Hong Kong; and the Singapore Art through a PhD project that explores list and would be grateful if notified director and producer, whose works D&AD and IDSA Awards. engage with the threshold between Museum, where her exhibitions the potential of waste chicken of any corrections that should include Alien, Blade Runner and production and consumption. include A History of Curating in feathers. In 2017, she won an Innovate be incorporated in future reprints or Gladiator (which won the Academy Giulia Garbin, Contributor Singapore, Of Our Own Making: UK Women in Innovation Award. editions of this magazine. Award for Best Picture). In 2018 Scott (MA Visual Communication, 2013) CELEBRATING Wysing Art Retreat 2014 and Whose received the BAFTA Fellowship for Giulia Garbin is a London-based art 25 YEARS OF CURATING Game Is It?. Marta Hernandez, Illustrator lifetime achievement. director, graphic designer and CONTEMPORARY ART (MA Visual Communication, 2016) illustrator. She works in partnership as ROBOTICS Marta Hernandez is an artist, GUEST EDITOR’S senior designer with Studio PSK, and Victoria Walsh, Contributor (MA freelance illustrator and expert in FOREWORD as art director for the lifestyle Visual Arts Administration, 1994) Eva Papamargariti, Illustrator silkscreen printing, who works under magazine Luncheon. Professor Victoria Walsh is Head (MA Visual Communication, 2014) the name Tuchi. She is the co-founder Paul Anderson, Guest editor (MA of Curating Contemporary Art at the Eva Papamargariti is an artist and of Horrible. Press and Ruda Print Industrial Design, 1986) Holly Hendry, Contributor RCA. She is a curator and researcher designer whose practice in both Studio. Professor Anderson is Dean of the (MA Sculpture, 2016) whose projects span the post-war time-based media and print/ School of Design at the RCA. He has Holly Hendry’s site-responsive period to the contemporary with sculptural installations explore the Michela Magas, Contributor an international profile in leading-edge sculptures and installations have been a particular focus on interdisciplinary relationship between digital space (MA Graphic Design, 1994) research into fundamental human shown in London, Liverpool, collaborations between artists, and (im)material reality. Michela Magas is the founder of UK computer interface issues associated Manchester, Copenhagen and Berlin. architects and designers. Prior to Design Innovation Lab Stromatolite, with 3D interfaces, haptics, 3D sound She is a teaching fellow at the Slade joining the Royal College of Art BATTERSEA SOUTH which built the Music Tech Fest and gesture-based interaction School of Fine Art at UCL. in 2012, she was Head of Public platform. She was named EU Woman supporting real-time 3D visualisation. Programmes at Tate Britain Joshua Leon, Contributor Innovator for 2017. Nan Li, Contributor (2005–11). (MA Photography, 2017) (MA Womenswear, 2015) Joshua Leon is a photographer, Helen Steed, Contributor Nan Li is co-founder of the fashion Victor Wang, Contributor performer, poet and curator who work (MA Graphic Design & Art Direction, label Namilia, with fellow designer (MA Curating Contemporary Art, has been presented in exhibitions 1993) Emilia Pfohl. Their playful and 2014) including The Creative Spark, London; Helen Steed is Vice President and provocative collections have debuted Victor Wang is an independent curator DAWN, Bernard Raphael Gallery, Creative Director at Aruliden. in runway shows each season at and exhibition-maker based in London; BP Spotlight Street Formerly, she led creative at Glossier, New York Fashion Week. Shanghai and London. His most recent Photography, Tate Britain, London; Bumble & Bumble and Jawbone. exhibitions include Michael Dean’s and Estuary, Museum of London. David Rayson, Contributor first solo exhibition in China, Analogue Ruby Steel, Contributor (MA Painting, 1997) LOL, ShanghART Gallery, Shanghai Scott Williams & Henrik Kubel, (MA Innovation Design Engineering, David Rayson is a London-based artist and the first presentation in the UK of Typewriter typeface design 2012) and was Professor of Painting at the Shanghai-based artist Xu Zhen’s (MA Communication Art & Design, Ruby Steel is Senior Design Strategist Royal College of Art from 2006 to 2017. XUZHEN Supermarket. 2000) at Smart Design London, with an Scott and Henrik are founding emphasis on human-led design. partners of London-based design She has worked across a variety of studio A2/SW/HK and type foundry industries with a particular interest A2-TYPE, as well as members of in healthcare and helping people live Alliance Graphique Internationale. with chronic health conditions.
30 31 School of Communication Show 2018, Makiko Takashima (MA Information Experience Design, 2018)
32 33 CONTENTS
Issue 3 Spring 2019
CELEBRATING COMING 25 YEARS OF JOHN FULL CURATING MINTON CIRCLE CONTEM REMEMBERED PORARY ART ALUMNI INTELLIGENT
STORIES INTRODUCING MOBILITY
ROBOTICS WELCOME TO THE BIG AT THE RCA QUESTION: GENERATION WHAT DOES RCA GLOBALISATION MEAN BATTERSEA FOR ART AND DESIGN? SOUTH AN INSIDE VIEW
WOMEN IN CONTRIBUTORS INNOVATION