Koninklijke Academie van Beeldende Kunsten Royal Academy of Art
Hogeschool der Kunsten Den Haag Study Guide 2017-2018 University of the Arts The Hague Last update: 12 October 2017
Prinsessegracht 4 DISCLAIMER Please note that The Royal Academy of Art, The Hague will implement the study programme described in this prospectus, subject to alterations. Any changes made in the 2514 AN Den Haag-NL course of the academic year will be announced on the website and possibly by email. The list of staff and teachers for the academic year 2017-2018 is also subject to alterations. For the final version, please refer to the date of the web page containing the changed information. +31(0)70 315 4777 [email protected] www.kabk.nl
1. GENERAL ...... 4 1.1 Introduction ...... 4 1.2 Mission Statement ...... 6 1.3 Organisation ...... 6 1.4 Study information...... 8 1.4.1 Structure of the programmes...... 8 1.4.2 Final qualifications, competencies and learning objectives...... 10 1.4.3 Supervision and assessment ...... 11 1.4.4 Focus issues ...... 15 1.4.5 Academy-wide education ...... 17 1.4.6 Quality assurance ...... 19 1.4.7 Confidential Counselling...... 21 1.4.8 Voice and participation ...... 22 1.5 Student affairs ...... 23 1.6 Regulations & Procedures ...... 25 1.6.1 Procedures...... 25 1.6.2. Education and Examination Regulations ...... 29 General ...... 30 Article 1 Applicability of the regulations ...... 30 Article 2 Definitions ...... 30 Article 3 Degree programmes offered ...... 36 Admission ...... 37 Article 4 Admissions ...... 37 Duration and structure of the programmes ...... 38 Article 5 Duration of the programmes ...... 38 Article 6 Propaedeutic phase (WHW art.7.8)...... 38 Article 7 Admission to the main phase of the Bachelor's programmes...... 38 Article 8 Main phase of the Bachelor's programmes ...... 39 Article 9 Structure of the Master's programmes ...... 39 Assessments ...... 39 Article 10 Semester assessment ...... 39 Article 11 Individual reviews ...... 39 Article 12 Collective assessments ...... 40 Article 13 Determining the result and awarding credits ...... 41 Article 14 Propaedeutic phase assessment/regulations (WHW art. 7.8; Bachelor’s programmes only) 41 Article 15 Regulations concerning the recommendation on continuation of studies and rejection (WHW art. 7.8b; bachelor’s programmes only) ...... 42 Article 16 Green light assessment ...... 44 Article 17 Sequence of the assessments ...... 45 Article 18 The assessment committees ...... 45 Article 19 Semester assessments of the assessment committees ...... 46 Article 20 Regulations for the semester and propaedeutic assessment committees ...... 46 Article 21 Final assessment committee: Composition and working method ...... 47 Article 22 Final examination regulations for the Royal Academy of Art The Hague ...... 47 Internships ...... 49 Article 23 Internships ...... 49 Resits, exemptions, substitute activities...... 49 Article 24 Exemption ...... 49 Article 25 Resits/retakes and compensation ...... 50 Study Guide Royal Academy of Art, The Hague 2017/2018 2
Article 26 Substitute activities due to financial reasons ...... 50 Announcement and registration of results; statements and certificates ...... 50 Article 27 Registration and announcement of assessment results: Validity of results ...... 50 Article 28 Declarations and certificates (WHW art. 7.11) ...... 51 Article 29 Confidentiality of educational situations...... 51 Safekeeping ...... 52 Article 30 Safekeeping ...... 52 Irregularities during assesments/examinations ...... 52 Article 31 Irregularities ...... 52 Article 32 Misconduct ...... 52 Objection and appeal ...... 53 Article 33 Regulations for objections and appeals...... 53 Other provisions ...... 53 Article 34 Copyright ...... 53 Article 35 Tests and examinations (assessments) for students with disabilities ...... 54 Article 36 Reference title ...... 54 Article 37 Effective date ...... 54 Appendix: Exemption protocol ...... 55 1.6.3 House Rules ...... 57 1.6.4 Ethics ...... 57 1.6.5 Holidays & Opening hours ...... 58 2. STUDIES ...... 59 2.1 Bachelor programmes ...... 60 2.1.1 Fine Arts ...... 60 2.1.2 ArtScience ...... 107 2.1.3 Photography (FT and PT) ...... 110 2.1.4 Graphic Design ...... 113 2.1.5 Interactive/Media/Design ...... 207 2.1.6. Interior Architecture and Furniture Design ...... 210 2.1.7 Textile and Fashion ...... 218 2.3 Master programmes ...... 328 2.3.1 Master Type and Media ...... 328 2.3.2 Master Interior Architecture (INSIDE) ...... 337 2.3.3 Master ArtScience ...... 375 2.3.4 Master of Arts in Fine Art and Design – Artistic Research ...... 378 2.3.5 Master of Arts in Fine Art and Design – Industrial Design ...... 395 2.3.6 Master of Arts in Fine Art and Design – Non-Linear Narrative ...... 397 2.4 PhDarts (In cooperation with the University of Leiden) ...... 399 2.5. Research Domains ...... 401 2.6 Preparatory courses ...... 403 2.6.1 Orientation course ...... 403 2.6.2 Preparatory year...... 404 2.6.3 Kid’s Club ...... 405 2.6.4 School for Young Talent ...... 406 2.6.5 Combined education ...... 406 3. FACILITIES ...... 408 3.1 WiFi and email ...... 408 3.1.1 Wifi ...... 408 3.1.2 E-mail ...... 408 3.2 Equipment and lend out desk ...... 408
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3.3 Booking rooms ...... 410 3.4 Download software ...... 411 3.5 Workshops ...... 411 3.6 Jobs and opportunities ...... 411
1. GENERAL 1.1 Introduction
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This prospectus is intended for students, staff, lecturers and visiting lecturers at the Royal Academy of Art in The Hague. It contains key information about the content, structure and organisation of teaching at the Royal Academy in the 2017-2018 academic year. The prospectus is divided into three categories: • General: general information that is relevant to all students and lecturers • Study: more specific information on the study programme for each specialisation • Facilities: practical information about various facilities at the academy
The most up-to-date information and more detailed texts on the degree programmes are published on the website. This prospectus makes frequent reference to pages on the website, where you will find more detailed texts and explanations. Please note: The Academy will implement the study programme described in this prospectus, subject to alterations. Any changes made in the course of the academic year will be announced on the website and possibly by email. For the final version, please refer to the date of the web page containing the changed information. You are welcome to submit corrections and suggestions for improving this prospectus. If you have any suggestions for improvement, please send an email to: [email protected]
The Hague, July 2017
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1.2 Mission Statement
Mission and Vision
Mission The Royal Academy of Art, The Hague (KABK) educates students to become independent and self-aware artists and designers with investigative mindsets, distinctive visual and conceptual abilities, and the capacity to produce authentic and in-depth creative work capable of playing a meaningful role in both their chosen disciplines and in society as a whole.
Vision The Royal Academy of Art, The Hague is founded on a vision of educational excellence leading to graduates that have the capacity to become leaders in their fields, who produce outstanding creative work and who dare to disturb. They are able to innovate, collaborate, and generate new knowledge. We teach students to probe how arts and design shape contemporary societies and contribute to cultural, economic, and social wellbeing within a global setting. We look outwards from the academy, interacting with the communities of The Hague, the Netherlands, and beyond, and aim to contribute to an inclusive debate on issues relevant to art, culture, and society.
The Royal Academy of Art, The Hague has been a leader in educating artists and designers since 1682, has an exceptional level of experience in higher education provision, and a long and rich history. Together with the Royal Conservatoire we form the University of the Arts and we cooperate closely with Leiden University. Our research-oriented community is made up of ten art and design departments whose small scale and intensive programmes offer access to the widest possible range of creative strategies, and who support and inspire each other. Some departments emphasise collaboration between specialists working in diverse teams, while others focus on developing interdisciplinary practice. Highly skilled professional staff, many with international professional practices, guide and accompany students through their studies. The teaching language is English. We offer Bachelor and Master degrees, and with Leiden University, a doctorate in art and design. These are supplemented by our preparatory courses and School for Young Talent.
In our culturally diverse academy, the commitment, passion, and curiosity of students and staff meet a respectful and tolerant learning environment that manifests the joy of learning, gives space for experiment and error, and understands meaning and making to be inseparable. We value skill and disciplinary expertise as well as interdisciplinary practice. We encourage innovation through collaboration and facilitate critical reflection on the ever- changing roles of artists and designers in our societies.
1.3 Organisation
Management The director of the academy is Marieke Schoenmakers. Next to this she is president of the Executive Board of the University of the Arts The Hague.
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Education The heads of the departments are responsible for the quality of the education. They ensure that the content of the programmes stay up to date and of the highest quality. They are also responsible for the quality of the teaching and for appointing the tutors. The heads are assisted by one or more coordinators, teachers and/or team leaders. Teaching staff may have special tasks, for example as coordinators for the propaedeutic year and internships.
Heads – Bachelor departments
• ArtScience (BA): Taco Stolk • Fine Arts (BA): Klaus Jung • Photography (BA): Lotte Sprengers & Rob Hornstra • Graphic Design (BA): Roosje Klap & Niels Schrader • Interactive Media Design (BA): Janine Huizenga • Interior Architecture and Furniture Design (BA): Herman Verkerk • Textile and Fashion (BA): Jurgi Persoons
Heads - Master departments:
• ArtScience (MMus): Taco Stolk • Type and Media (MA): Erik van Blokland • Interior Architecture (MA): Hans Venhuizen • Artistic Research (MA): Janice McNab • Industrial Design (MA): Maaike Roozenburg • Non-Linear Narrative (MA): Roosje Klap & Niels Schrader
Preparatory Courses - Zanne Zwart (coordinator)
General organisation • Head of Operations: Eric Privee Head of Student Administration: Joop van Pijkeren Head of Technical & Digital Services and Library: Bart Vissers Head of ICT: Marcel Beijer Deputy Head of Housing and Facility Services: Frans ten Bosch • Head of Quality Assurance: vacancy • Head of Marketing and Communications: Nienke van Beers • Head of International Affairs: Aparajita Dutta • Head of Finance (University of the Arts): Gerard Zanoni • Head of Personnel and Organisation (University of the Arts): Margot Bebseler
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1.4 Study information
1.4.1 Structure of the programmes
Bachelor’s programmes Propaedeutic and main phases The Bachelor’s programmes consist of a propaedeutic phase and a main phase.
The propaedeutic phase amounts to 60 ECs and consists of all the components in the first academic year. This propaedeutic phase has three functions: • orientation: the student acquires a good understanding of the content of the programme and professional practice and the opportunities offered by this; • selection: during this phase, both the student and the Academy assess whether the student is suitable for the programme; • referral: on the basis of academic progress in the propaedeutic phase, the student is given a recommendation on the continuation of the programme.
At the Royal Academy of Art, The Hague, students study their chosen discipline from the first year onwards (ArtScience, Fine Arts, Photography, Graphic Design, Interactive/Media/Design, Interior Design and Furniture Design or Textile and Fashion). The student becomes familiar with the many aspects of the discipline and professional practice, and is challenged to experiment a great deal and try things out. The programme also includes theoretical modules that are partly shared with students from other departments. A fixed component of the propaedeutic phase is the academy-wide propaedeutic project week.
Usually at the end of the first semester, but no later than the first week of the fourth block, all first-year bachelor students receive provisional interim recommendations concerning their study progress. At the end of the first year, students are given a binding study recommendation on the continuation of their studies. If their academic results are inadequate, this may be a negative binding study recommendation (see Article 15 of the Education and Examination Regulations on the provisions of a negative binding study recommendation).
The main phase amounts to 180 ECs and covers the second, third and fourth years of the programme. This phase focuses on the further deepening, positioning and professionalisation of the student within their own discipline. The artistic development of the student lies at the heart of the study programme. In addition, considerable attention is paid to theory and professional skills. The main phase concludes with the final examination. Once all study components have been completed successfully, the student is awarded the degree of Bachelor of Arts (BA).
Practice, theory and preparation for the profession Roughly three main components can be distinguished in the education: practice, theory and preparation for the profession. These are sometimes offered in separate courses, but elements of different components can also be identified in many courses. Every department offers one or more courses by combining theoretical and practical teaching, meaning that the theory doesn’t remain ‘dry material’, but is linked
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directly to artistic work. In other modules, artistic work is not only created, but also presented in a public setting, meaning that professional preparation and practice go hand in hand. In this way, our education foreshadows professional practice as far as possible.
The Individual Study Track (IST) The Individual Study Track (IST) forms part of the fulltime Bachelor’s programmes and the Master’s programme in ArtScience. Part-time students are also allowed space for the IST in their schedules, although this depends on whether the programme is mandatory for the department in question. In all fulltime Bachelor's programmes, a total of 30 ECs is allocated for the IST. The distribution of these credits over the semesters is determined by each department. For the Master’s in ArtScience and part-time programmes, the number of ECs for the IST varies and is announced in the credit point overviews for each of the particular programmes.
The IST is an individual study programme that focuses on students’ own interests and preferences. It is important for students to discover their personal potential and ambition and to be able to tailor their studies accordingly. In addition, competence- based education requires students to learn to set their own learning objectives (e.g., for self-study). The IST plan offers an excellent opportunity for students to customise their studies.
The Individual Study Track includes the following opportunities: + The KABK’s Research Labs (see also: 1.4.4 Focus Issues > Research) + The KABK’s Material Labs + Electives from Leiden University + Practicum Artium classes (painting, drawing, graphic design and photography) + Self-initiated projects + Projects from outside the KABK
See 1.6.1 Procedures > IST procedure for the procedures and regulations concerning the IST.
Master’s programmes One-year (Type and Media) The Master’s programme in Type and Media amounts to 60 ECs and has a duration of one year. In the first semester, the programme covers various techniques and skills (analogue and digital) including a revival assignment with a thesis on the origin and production of a historic typeface and a digital revival. In the second semester these skills are used to define, design and produce a new typeface. The Master programme is also involved in the organization of the triennial Gerrit Noordzij Award and the Robothon conference.
Two-year (all others) The Master's programmes in Interior Architecture, ArtScience (MMus) and the Master programmes within the Master of Art in Fine Arts and Design - Artistic Research, Non-Linear Narrative and Industrial Design - all amount to 120 ECs and have a duration of two years.
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Due to their advanced nature, they differ quite a bit in structure, catering as much as possible for individual research and project plans from students as possible within the overall framework of the programme.
Language All education at the Royal Academy is initially in English, and communication is also in English. If it turns out that all of the students and teachers are Dutch-speaking, then the classes and the communication are held in Dutch.
1.4.2 Final qualifications, competencies and learning objectives
The final qualifications are defined in terms of competencies. These refer to coherent sets of knowledge, skills, attitudes and other personal qualities that enable students to perform professional tasks adequately and successfully, as well as to find and apply solutions in specific professional situations.
Students are considered competent or suitable for particular jobs or assignments when they are able to integrate the appropriate knowledge, skills and attitudes effectively in successful behaviour in specific situations. In other words, in addition to knowing how and why something should happen, students must also demonstrate their ability to make it happen.
Competence-based art education is characterised by an integral approach to knowledge, skills and attitudes. It is an educational form with a high degree of individual responsibility for the students, aimed at the students’ future careers. The emphasis on the personal development of the students and their talents results in flexible education with a variety of study opportunities, such as the choices that students can make in their personal individual study track. Within the programmes, the professional field is always represented by teachers who are active as artists or designers in addition to their teaching practice. Invitations are frequently extended to advisers and guest lecturers from various disciplines.
The following competencies are addressed in the programmes: + Creative ability + Capacity for critical reflection, or at the master’s level: research ability + Capacity for growth and innovation + Organisational ability + Communicative ability + External awareness + Capacity for collaboration
Creative ability, capacity for critical reflection/research ability and capacity for growth and innovation are the key competencies in art education. It is the creative ability that distinghuises the visual artist or designer from professionals in many other fields. External awareness is equally relevant, as it stresses the need to be able to put the artistic work in its historic and contemporary context. The capacity for critical reflection and external awareness are strongly interrelated, differing primarily in perspective (i.e., internal and external).
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The remaining competencies, as indicated above, are organisational and communicative ability and capacity for collaboration.
The competencies concern rather general abilities. These abilities are developed more specifically in every department and in each year. We refer to this development in terms of ‘learning objectives’: these specify what the student should know and be able to do at the end of each year. Learning objectives are formulated even more specifically at the level of the individual courses and projects. The learning objectives for each course can be found in the course descriptions. The competencies of visual communication/product/spatial designers and those of visual artists are described in their original form at a national level in the Educational Profiles for Fine Arts and Design1. The competencies for each academic year are specified in each department’s curriculum description.
1.4.3 Supervision and assessment
During their studies at the Royal Academy of Art, The Hague, students are assessed in a specific, extensive and very thorough manner. Because of the nature of artistic development and artistic work, the assessment methods used in art education differ from those used in other forms of higher education. Within the Royal Academy of Art, The Hague, assessments are intended primarily to provide students with insight into the progress of their development as artists or designers, thus guiding them in making the appropriate choices for their further development. This focus on the individual development of students places special demands on the method of assessment. In addition to addressing the form of the work, assessments focus on the strength of the concept, the way in which the result has been achieved, the process and the student’s theoretical knowledge. This analysis of the students’ work and designs is carried out during the individual reviews and collective assessments. The collective assessments focus on the overall development of the student, combining the conclusions from the individual reviews and discussing the total body of the student's work with the student. These discussions are led by (or on behalf of) the head of the department in order to clarify the specific issues at hand. Information on the various assessments, the composition of the different committees and their authoritative reach are specified in the Education and Examination Regulations (See Articles 18 through 21). It is particularly important for first-year students to read the rules on propaedeutic assessment and the binding recommendation on continuation of the study, which is issued at the end of the first year.
At the department of Fine Arts and in some cases also in other departments’ programmes, the individual reviews and collective assessments are combined in a single assessment.
Individual reviews In the individual reviews, students receive specific feedback and advice on the basis of their work and progress in each individual course from the respective teachers.
1 Overleg Beeldende Kunsten. Beroepsprofiel en opleidingsprofielen Beeldende Kunst en Vormgeving. Den Haag: Vereniging Hogescholen 2014. Study Guide Royal Academy of Art, The Hague 2017/2018 11
Individual reviews aim to give students insight in their achievements to date and make recommendations for the next steps in their studies. The main focus is thus on discussing with students how they are developing artistically, professionally and personally, and on that basis, giving students useful guidance on how to get the most out of themselves. Individual reviews can either be given for all modules simultaneously during the assessments, or by individual teachers in each of the separate classes. Because of the development-oriented nature of the Individual reviews, these are not concluded with a final grade or result. Grades and results for individual subjects, if applicable, are determined in the collective assessments.
Collective assessments The collective assessment evaluates the integral development of the students, as well as their processes, products and skills. In addition to having an evaluative purpose, the assessment has the didactic objective of providing feedback to students on their attitudes, their work and the way in which they have approached the work or assignment, as well as the strength of the concept and their theoretical knowledge, taking their full body of work, the underlying creative and reflective processes and its presentation into account.
The collective assessment is based on the presentation of the student’s work, as well as on its development in comparison to previous assessments, also considering the feedback from the teachers of the various study components. Additional information is provided in the ‘Credit Allocation’ section (See 1.4.3 Supervision and assessment > Study load and credits (EC))
Each year, the competencies as described for that year in the specific discipline are taken into account during the collective assessments of the students and their work. Collective assessments are concluded with a grade, possibly combined with additional tasks for the student to complete before the start or during the next semester. Also, the final grades or results for individual courses, if applicable, are determined after the collective assessments in the light of their integral development.
Registration and archiving + The Royal Academy of Art, The Hague has a system for registering the students’ results and progress, known as Osiris. All assessments, reviews and credits are registered and archived in this system. + Feedback texts by individual teachers are uploaded in Osiris after the individual reviews and subsequently made available to students. + The outcomes of the collective assessments are entered electronically in Osiris and archived using this system. + All collective assessments are authorised by the head of the department, on behalf of the assessment committee. + Each student has access to Osiris (see Student Portal for more information on how to access and use Osiris) and can check the results of the collective assessments and their credit overviews online. The deadline for the publication of results is 15 working days after the collective assessments.
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Study load and credits (EC) The study load is the number of hours a student typically needs within the framework of a specific study component in order to complete that component successfully. In addition to contact hours and classes, the measurement also includes hours of independent study, for example to read mandatory literature, to visit exhibitions or participate in excursions, for independent studio practice and for building up presentations of work for assessments.
Study load is expressed in terms of European Credits (ECs) in a system known as the European Credit Transfer and Accumulation System (ECTS). One study year has a total of 1,680 hours. One EC is equal to a study load of 28 hours. One year of a fulltime programme thus amounts to 60 ECs (60 x 28 hours = 1,680 hours).
A Bachelor’s programme covers four years, each amounting to 60 ECs. The propaedeutic phase comprises 60 ECs, with the main phase covering the remaining 180 ECs. Students must obtain a sufficient number of ECs each year in order to continue the programme, and they must receive all of the programme’s 240 ECs in order to complete the Bachelor’s degree.
The Master’s programme in Type and Media covers one year, amounting to 60 ECs. The other Master’s programmes cover two years, amounting to 120 ECs.
Credit allocation All study components in one semester have a combined study load of around 30 EC’s. During the collective assessments, the assessment committee decides which components have been completed successfully (or not) and awards credits for each of these components, or for clusters of strongly related components, accordingly. This means that no grades are given or pass/fail decisions made during the individual reviews.
Please note that due to the different structure of the study programme in the ArtScience department (both Bachelor and Master), the allocation of credits takes place after the collective assessment that is linked to the final presentations made each semester.
Credit allocation for international exchanges Royal Academy of Art, The Hague students participating in foreign exchange programmes receive their credits according to the system used by the host institution. Many countries currently use the ECTS, and for those that do not, a way to convert the credits is formulated. Credits allocated by the host institution must be formally verified and registered by the assessment committee of the student’s department at the Royal Academy of Art, The Hague. This is usually done during the collective assessment at the end of the semester in which the exchange has taken place.
International exchange students studying at the Royal Academy of Art, The Hague fall under the protocol of the Academy.
Credit allocation for guest students
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Students from other institutions (e.g., Leiden University) who wish to take classes at the Royal Academy of Art, The Hague require approval from their own institutions, as well as from the Academy. After a positive assessment, these students receive statements specifying the study load of the programme followed in ECs.
Credit allocation for internships Prior to the internship, each student draws up an internship plan. Evaluations form part of the internship, and each student is expected to make a presentation and/or write a report at the end of the internship. Credits are allocated once all conditions have been met. Please also refer to the department’s internship coordinator, who can provide more information on the internship process.
Credit allocation for individual study tracks Credits are reserved for the Individual Study Track (IST). The work carried out within the framework of the IST is not always addressed in the collective assessment (e.g., electives at Leiden University or external projects). In such cases, the students are assessed by external parties, but the credits involved must be formally verified and registered by the assessment committee of the student’s department. This is usually done during the collective assessment at the end of the semester in which the IST activities have taken place. The department and the IST coach concerned can provide more information on the credit allocation process. As with all other credits, any credits earned through activities in the IST are not allocated until after the collective assessment.
Study and progress guidance The Royal Academy of Art, The Hague distinguishes between guiding students through the content of their programme and artistic development, and supervising their study progress. The guidance of the students’ artistic development takes place continuously, through ongoing discussions between students and teachers about their work and work processes. Students’ study progress is discussed with mentors and coaches. If students wish to talk confidentially, the Royal Academy of Art, The Hague has student counsellors (see 1.4.7 Organisational matters > Confidential counselling).
Mentors Mentors guide students in the propaedeutic year and meet with students at least twice a year. The mentor is a teacher of the relevant discipline. The tasks of the mentor focus on the following:
+ discussing the student’s study progress; + discussing the assessment of the first semester; + discussing the assessment of the second semester; + keeping a concise record of the date and content of the conversations.
In case the student's study progress is negatively affected by particular personal circumstances (illness, handicaps, family matters, financial issues, or any factor that might cause delays in the study), the student is strongly recommended to discuss these with the mentor or the student counsellor as soon as possible (see 1.4.7 Organisational matters > Confidential counselling). These can then be considered Study Guide Royal Academy of Art, The Hague 2017/2018 14
and possibly taken into account when important decisions (e.g. on the binding study recommendation) are taken.
Coaches Coaches are available to students in the main phase. Several types of coach are available: - General coach: this is often a teacher with a special role in a specific year of the department’s study programme. In some cases, the head of department assumes the role of coach. The tasks of the coach focus on discussing the student’s study progress and personal circumstances and keeping a concise record of the date and content of the conversations. - IST coach: this is a teacher of the relevant discipline who focuses on IST guidance. The IST coach approves the IST plans, assesses and evaluates the IST plan after completion and records ECs. See also part 1.6.1 Procedures > IST procedure. - Internship coordinator: this is a teacher of the relevant discipline focused on the internship guidance. The internship coordinator is responsible for the process of the internship and subsequent evaluation. See also part 1.6.1 Procedures > Internship procedure.
1.4.4 Focus issues All study programmes at the Royal Academy of Art, The Hague share a focus on three issues, that we consider to be fundamental to artistic practice and, therefore, to art education.
Research As the study programme progresses, students do an increasing amount of research. Research is intrinsic to the creation of art and three forms of research can be distinguished: - Research on art - Research for and for the benefit of art and art practice, including research on social themes and art in relation to other disciplines - Research in and through the arts (artistic research) These three types of research form part of the departments’ curricula and the academic-wide education programme. Each department incorporates the four types of research in the curriculum in its own way and makes its own choices in relation to research.
Research & Discourse Research and Discourse is a first-year bachelor’s course that links ‘making’ to ‘thinking’ and puts students in contact with all departments within the academy. It forms part of the academic-wide education programme.
In the course of the first year, students consider different aspects of artistic practice and research. The practice of an artist or designer is all about making, but can there be any making without thinking? This programme asks questions, discusses different
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visions, and invites students to become informed and reflect, both visually and mentally, on contemporary artistic discourse. They explore their role in the field of art and design and learn how to speak or write about this role.
The Research & Discourse course consists of research seminars and lectures on discourse. It is a compulsory component of the first year of all bachelor’s programmes. Details on the course can be found at the website: www.kabk.nl
Research Labs and Material Labs Research labs and material labs also form part of the academic-wide education programme for the bachelor’s. These labs are not mandatory, but are included in the IST programme as electives (see part 1.4.1 Structure of the programmes for more information on the IST programme). In order to explore and deepen the research aspects of the programme and the students’ development in artistic research, we organise a number of ‘research labs’. These labs are experimental and, on the whole, research-based interdisciplinary working groups, offered by one or more departments and/or research domains. In the labs, the research aspects of the programmes are explored and deepened by encouraging students to work together on particular themes with students and teachers from other disciplines. Material labs work from the leading paradigm ‘thinking with your hands’ of ‘thinking by doing’. They are initiated by the workshops and focus on researching materials and techniques in relation to the creative process. They offer space for experiment and practice, and encourage students to acquire a thorough knowledge of materials and mastering of techniques for the purpose of their artistic work.
Electives at Leiden University Through the Academy of Creative and Performing Arts, students may follow external electives at Leiden University or at the Royal Conservatoire as part of their IST programme (see part 1.4.1 Structure of the programmes for more information on the IST programme). Current information about all the external electives is available in the e-Prospectus: www.studiegids.leidenuniv.nl/en/.
Internationalisation The Royal Academy of Art, The Hague strives to provide an international learning environment for its students, first, by creating an international atmosphere in the building, and second, by encouraging temporary tracks abroad in the form of: + study exchanges + internships The advantage of a temporary track abroad is that it brings students into contact with different cultural and living environments and teaching methods. Students also learn to function in an international context, which will benefit their future careers.
Through a variety of mobility programmes, the European Union (EU) and the Dutch government offer a number of grants for students to follow part their programme or internship or conduct research abroad. In most cases, the foreign residency takes place in the third year of the programme. The length of stay varies from three months to a full semester.
Doing an internship is an obligatory part of the study programme in most departments. All students wanting to do an internship within the EU can make use of Study Guide Royal Academy of Art, The Hague 2017/2018 16
the Eramsus+ programme scholarship. Internships usually take between two and six months.
Affiliations • Cumulus: The Royal Academy of Art, The Hague is a member of the international network of leading art schools, the ‘Cumulus International Association of Universities and Colleges of Art, Design and Media’, www.cumulusassociation.org. This association provides opportunities for projects, among other things. • ELIA: The Royal Academy of Art, The Hague is a member of European League of Institutes of the Arts. This association offers many opportunities for students looking to present their art and take part in projects. www.elia- artschools.org/members/index
Professional Practice Skills In the course of the study programmme, students work their way up to the level of a starting professional. In doing so, they increase the professionalism of their own work in their chosen profession or occupation. The Academy’s educational programmes can be seen as a foreshadowing of future professional practice and students encounter this practice in various forms and they master its various components.
The Academy considers it important that students become familiar with the professional aspects of being an artist or designer, so that by the end of their studies students have sufficient skills to enter the professional workplace. From the first year courses, preparation to professional practice is part of the curriculum. This is made even more explicit through projects, work presentations in internal and external exhibitions, internships (see 1.6.1 Procedures > Internship procedure) and through lectures and workshops. The link is also made during visits to (and participation in) exhibitions and events. In the main phase of the Bachelor’s programmes, there is a strong focus on the position of the student in the professional field and the skills required to take that position successfully. The Royal Academy of Art, The Hague offers a mandatory course on Professional Practice Skills, which equips students for the art and design profession and offers insight into how to realise their ideas. This broad programme is facilitated by the different departments in their own way related to the needs of the specific disciplines. It works on developing knowledge and skills in the areas of project management, business development and professionalisation. 1.4.5 Academy-wide education
In addition to departmental programmes, Bachelor’s students participate in academy- wide courses. From the first year onwards, collaboration between students from different departments and disciplines is therefore actively encouraged.
Some components of academy-wide education form part of the compulsory programme. In these cases, the specific courses are included in the departmental credit overviews. In other cases, academy-wide programmes may refer to elective subjects.
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Besides the abovementioned courses that form part of the IST (see part 1.4.1 Structure of the programmes for more information) and Research and Discourse (see 1.4.4 Focus issues > Research) the courses and subjects that are offered at an academy-wide level are:
• The Propaedeutic Project week The Propaedeutic Project Week is an academy-wide project week for all first- year students. This week is about working across the boundaries of different disciplines in art education. The aim is to promote collaboration and strengthen connections between the different departments. The Royal Academy of Art, The Hague strives to stimulate an inspiring ‘open culture’ characterised by connections and engagement between individual experiences and skills. This project week is a compulsory component of the first year of all Bachelor’s programmes.
• Studium Generale The activities of the Studium Generale (SG) are designed to broaden students’ knowledge and keep them up to date with cultural and social developments. During these activities, all students at the Royal Academy of Art, The Hague are invited to look beyond the boundaries of their own disciplines in order to question current events taking place in the world around them and to engage with ideas from other disciplines. This helps them to develop a critical perspective on their own discipline and engage in dialogue with other students. The aim is to introduce students to fields that are not addressed directly within their own course, such as theatre, philosophy, poetry, film, sociology, invention, science, or a combination of these. In a largely semi- theoretical programme, students are encouraged to view their work from a different perspective and draw inspiration from other fields of knowledge. The exact content of the SG programme for 2017-2018 will be published on the website: www.studiumgeneralekabk.nl. The Studium Generale is a compulsory component of all Bachelor’s programmes; the semester in which it is included in the programme can differ per department. Students from other years are encouraged to participate.
• Activities organised by ’t Hart ’t Hart organises lectures, film and video screenings and discussions at the Royal Academy of Art, The Hague. The association also provides discounts on certain theatre and opera performances. More information is available at various locations, including the ’t Hart stand in the hall opposite Gallery 3. Many of the activities organised by ’t Hart are planned in collaboration with students. If you are interested in these activities, please contact Christie van der Haak: [email protected].
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1.4.6 Quality assurance
Obviously, the Royal Academy of Art, The Hague is continuously striving to warrant and improve the quality of its education in the broadest sense of the term. Students, teachers, supporting staff and management are expected to get the best out of themselves, in order to create an optimal environment for higher art education. The Academy is characterised by a quality culture: we aim for excellence in every aspect of learning. We participate in an international peer group of like-minded art academies, to share experiences with quality enhancement policies and procedures. By quality assurance, we refer to all measures that the institution systematically applies to define, monitor and further improve the quality of our education and of the organization as a whole.
Accreditation Accreditation is a designation indicating that an educational programme meets the requirements set by the Ministry of Education, Culture and Science. Achieving accreditation is a precondition for the recognition of diplomas, for the funding of programmes and for grant applications. An external committee reviews and evaluates the programmes and reports to the Accreditation Organisation of the Netherlands and Flanders (NVAO), the body that also grants accreditations. A list of accredited programmes is available on the NVAO website: www.nvao.net
An important part of the accreditation process, quality assurance involves continuous monitoring of the performance of an organisation and its education. This is achieved by holding interviews and evaluations (see below). If the outcomes of the assessments are negative, improvements are made.
The Royal Academy of Art’s Bachelor’s programmes and the Master’s programme in Type and Media were accredited in 2014. The Bachelor’s programme in Autonomous Fine Arts (ArtScience and Fine Arts) was assessed as ‘good’, while the Bachelor’s programme in Design (Graphic Design, Interactive/Media/Design, Interior Architecture and Furniture Design, Photography and Fashion and Textile) and the Master’s programme in Type and Media were assessed as ‘excellent’.
The Master’s programmes in ArtScience and Artistic Research were accredited in September 2013 as ‘excellent’. ‘Internationalisation’ was identified as a distinctive quality feature of the programmes (as a specialisation in the Master’s programme in Music). The Master Artistic Research is now part of the Master of Arts in Fine Art and Design which passed its initial accreditation in 2017.
The Master’s programme in Interior Architecture was accredited in 2015. The audit panel concluded that the programme was excellent; the NVAO confirmed that it met the required standards.
Quality assurance at the Royal Academy of Art, The Hague Staff, students, alumni and professionals of the different departments are actively involved in internal quality assurance at the Royal Academy of Art, The Hague. Great importance is attached to having high-quality policies, both throughout the Academy and within the departments. The Academy gathers opinions on the programmes and the programme results. Opinions are gathered internally, with Study Guide Royal Academy of Art, The Hague 2017/2018 19
students and staff members, as well as externally, with alumni, committee members, key figures in the art and design worlds, internship companies and professional art institutions. These opinions are voiced through dialogue, discussions and surveys.
Examination Board The Examination Board is legally required (Article 7.12 Dutch Law on Higher Education and Scientific Research) and is the independent and competent body to certify that students fulfil all final qualifications required to obtain the diploma. It is responsible for the quality of the assessments and examinations, and it appoints the assessors/examiners. It is also responsible for decisions on requests for exemptions. All Bachelor's and Master's programmes share one Examination Board, which consists of teaching staff and at least one member external to the programmes concerned.
Satisfaction surveys Written and digital surveys are used to ask students about their level of satisfaction with the educational programme in general, as well as with regard to specific parts of the programme. Aspects addressed in the surveys include the level of the course, assessment and the study load. The Royal Academy of Art, The Hague has recently adopted and implemented an electronic system to conduct such surveys and produce the reports as easily and quickly as possible.
Participation in national satisfaction surveys The Royal Academy of Art, The Hague regularly participates in national satisfaction surveys concerning students’ evaluation of content and organisational practice in institutes of higher education in the arts.
Student panels/class representative meetings Within each programme, regular meetings are scheduled (at least once a year) between the head of department and class representatives, thus functioning as student panels. The class representatives also meet at least once a year with the director of the Royal Academy of Art, The Hague.
Departmental meetings Teachers and heads of departments meet regularly to discuss how the courses are run and the quality of the education. This information is then used to develop the programmes.
Study days The director, heads of departments and other staff members participate in study days several times a year, in order to discuss current developments within the academy and to develop new ideas.
External assessors Each year, renowned experts, artists and designers are involved in the final examinations as external assessors. They are asked about their experiences and findings in relation to the department. The departments use this information to develop their programmes.
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Professional advisory committees A professional advisory committee (in Dutch, werkveldcommissie) has been established within each department to ensure compatibility with the professional field. There is also a professional advisory committee for the academy as a whole. These committees consist of respected individuals from the professional field who advise the Royal Academy of Art, The Hague and comment on the content of the programmes, the final objectives and the final level, as well as on developments in the field and what these mean for the Academy and its education.
Internship companies The companies at which students complete their internships are asked about their findings regarding the level of the students and their needs in the professional field.
Alumni studies For the past few years, alumni have been invited to complete a digital questionnaire or to talk to the alumni coordinator and/or the quality assurance department about their experiences and recommendations.
Exit surveys All students leaving the Royal Academy of Art, The Hague without a diploma are asked to complete a questionnaire. The information obtained from these surveys can prove useful for the development of the Academy’s education.
1.4.7 Confidential Counselling
The Royal Academy of Art, The Hague has an independent student counsellor who can be contacted about problems with study progress or personal problems, and provides information of a more general nature. The student counsellor represents the individual interests of the students and is bound by a duty of confidentiality. The counsellor can also mediate or make referrals to agencies or individuals outside the Academy. Third parties are contacted if necessary, but only with the approval of the student.
The counsellor provides information on and assists (where possible) with the following matters: • problems with study progress due to illness • personal problems • adjustment difficulties, study motivation, study planning, performance anxiety, switching programmes • conflicts with teachers • professional procedures • study grants and financial issues • applications for funding and grants • information on deregistration • information on postgraduate programmes
The Royal Academy of Art’s student counsellor is Paul Deneer. Along with Pauline Schep, he is also a confidential contact person for students. Appointments can be made by email. Study Guide Royal Academy of Art, The Hague 2017/2018 21
+ Paul Deneer [email protected] + Pauline Schep [email protected]
1.4.8 Voice and participation
Study Programme Committee The Study Programme Committee (in Dutch, Opleidingscommissie or OC) plays an important role in programme development and quality assurance, by providing solicited and unsolicited advice on all matters concerning education. The committee is also involved in finding the best way to gather information on education. The Study Programme Committee consists of students and teachers.
DMR DMR stands for the KABK’s participation board (In Dutch, Deelmedezeggenschapsraad KABK). Students, teachers and staff can sit on the participation board. Its members advise the director of the Royal Academy and have a right of consent regarding important management decisions. All of these activities are set out in the laws and special regulations currently in effect.
The DMR meets approximately ten times each academic year. During the meetings, subjects such as education, human resources, finances and facilities and the senior management are discussed. Examples of activities in which the board has engaged over the past two years include: • Monitoring the procedure for the election of a new director, including making a positive recommendation for appointing Marieke Schoenmakers • Approval of the Student Charter, along with a number of proposals • Participation during the accreditation • Monitoring and advising on the planned (and later on cancelled) merger with Codarts • Renewal of the domestic regulations of the DMR • Monitoring and advising on the Individual Study Track (IST) courses
Contact: [email protected]
CMR CMR stands for the Central Participation Board (Centrale Medezeggenschapsraad). The CMR organises participation in matters relating to the policies of the University of the Arts The Hague. The members of the CMR are chosen from the participation boards of the KABK and the KC, along with one member of the ArtScience department and one from the School for Young Talent. The members advise the Executive Board and maintain contact with the Supervisory Board.
Contact: [email protected]
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1.5 Student affairs
Student administration Please contact the student administration for questions regarding: · enrolment/deregistration (proof of enrolment, request of deregistration) · application and entrance exams · Studielink and admission proces · VISA and residence permits · education and examination regulations · general information · student card · diploma forms, Individual Study Track (IST), internship, etc. · authorisation form tuition fee · Osiris / assessment system (study progress) · Insurances (health and liabiltiy)
Room Bookings For questions concerning: · (advice on) booking a room · timetable information · how to use Asimut (scheduling system) · how to get Asimut on your phone
Opening hours: Every workday 08.30 – 10.00 12.00 - 13.30 15.30 – 16.30
Wednesday evening 18.00 – 21.00
Contact: [email protected] 070 3154770
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Financial administration Please contact the financial administration for questions concerning: • payment of the tuition fee • proof of paid tuition fee • uploading facility card • payment of excursions etc. • all other financial matters
Opening hours: Monday – Thursday 08.30 – 10.00 12.00 – 13.30 15.30 – 16.30
Wednesday evening 17.30 – 20.00 Friday 08.30 – 10.00 12.00 – 13.30
Contact: [email protected] 070 3154 773
International Exchange Please contact International Office for questions concerning: • exchange (study or internship abroad) • Erasmus + grant • Holland Scholarship Programme • all international student matters
Opening hours: Monday, and Thursday 08.30 – 10.00 12.00 – 13.30 15.30 – 16.30
Tuesday 08.30 – 10.00 12.00 – 13.30
Contact: [email protected] 070 3154 743 [email protected] 070 3154 743
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1.6 Regulations & Procedures 1.6.1 Procedures
IST procedure General Procedures The departments provide detailed information about the IST procedure. Every department has its own IST coach or coaches to guide students through this process. Every student makes an IST plan, using the IST form. This plan describes the student’s proposed activities, their motivation and learning objectives. The plan should be discussed with an IST coach. In this discussion, the IST plan is evaluated on the basis of whether it can function as a broadening and/or deepening of the study programme. The student can make a start on the plan once it has been approved. After the activity or activities have been carried out, a formal evaluation is conducted. If the IST-activities have been carried out under supervision of an external tutor, this tutor is responsible for the formal evaluation. The student is also asked to assess the learning results and activities. The IST-coach provides a final assessment. See www.kabk.nl for the IST form and the procedure.
Work carried out within the framework of the IST does not always form part of the collective assessment. This is the case, for example, when the IST involves an elective at Leiden University. In such situations, students are assessed externally and the coach only approves this assessment if it matches the IST plan. Credits are allocated after the collective assessments. See also the IST procedure provided by the department.
Practical information The IST programme covers 30 ECs that can be divided over four years of study. There is no strict target for how many credits a student should earn per semester, but it is recommended that students spread the credits over the semesters. Each department schedules time for the IST in the programme, although the exact scheduling can differ per department. Fulltime students tend to be exempt from compulsory study components on Wednesdays, which are reserved for students to deepen their knowledge and specialise in the curriculum. The Royal Academy of Art, The Hague labs are therefore scheduled for Wednesdays.
The modules organised by the Royal Academy of Art, The Hague are subject to change. Please see the website for current opportunities: www.kabk.nl
External electives Through the Academy of Creative and Performing Arts, students may follow external electives at Leiden University or at the Royal Conservatoire. Current information about all the external electives is available in the e-Prospectus: www.studiegids.leidenuniv.nl/en/. More information on the enrolment procedure is provided at www.hum.leiden.edu/creative-performing-arts
Enrolment in an elective course at the Royal Conservatoire does not require registration as a guest student at Leiden University. If you wish to enrol, please contact R. Schneemann: [email protected].
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Practicum Artium: electives for students from Leiden University and the Royal Academy Through the Academy of Creative and Performing Arts, students from Leiden University may take electives at the Royal Academy of Art, The Hague and the Royal Conservatoire. From the current academic year onwards, Royal Academy of Art, The Hague students can also attend these classes. The electives are: painting, drawing, graphic design and photography. More information is available at the website and in the e-Prospectus of Leiden University: www.studiegids.leidenuniv.nl/en. If you wish to register, please contact the Academy’s coordinator for academic-wide education, Niki van Strien, via [email protected].
Internship procedure Preconditions for an internship Before a student can start an internship, their internship plan must be approved and they must have completed prior study components. In exceptional cases, the head of department may authorise an internship before the student has completed the prior study components. The necessary preparations must have been made during the period preceding the internship (e.g., preparation for attendance and return days to be held mid-way or at the end of the internship period).
Organisation of the internship The internship coordinator provides detailed information on the internship procedure. All the steps that are outlined by the internship coordinator are also indicated on the internship forms and constitute essential elements of an internship. No separate credits are allocated for these steps. An internship must comprise at least half a semester, up to a maximum of one semester.
Internship forms are available via the website (Portal > download forms) and the Student Administration office. They should be completed before, during and after an internship. The forms include an internship contract and the assessment forms for the internship provider. The internship forms for students doing an internship in the Netherlands are available in Dutch and English. For students doing an internship abroad, English internship abroad forms are available. In cases where it is difficult to obtain an internship (e.g., ArtScience and Fine Arts), an internship can be replaced with other activities.
International internships Students wishing to do an internship in another European country can apply for an Erasmus+ scholarship. The minimum duration of an Erasmus+ internship is two months and the maximum duration is one semester. The number of ECs for the internship will be decided by the department. Students wishing to do an internship abroad can find all of the information and forms to be completed on the website, under ‘International’.
Internationalisation procedures International exchange All students at the Royal Academy of Art, The Hague have the opportunity to study abroad for a semester. Students can choose from a pool of European and non- European partners, in consultation with their head of department. Students can study Study Guide Royal Academy of Art, The Hague 2017/2018 26
abroad for one semester and gain 30 ECs. The department decides on the year and the period during which students are permitted study abroad. Students studying at an Erasmus partner institution can apply for a scholarship. All information regarding the application procedure and the list of partners can be found on the website, under ‘International’.
VSBFonds Scholarship All Dutch students and international students with a permanent stay permit after completion of their Bachelors’ programme can apply to the VSBFonds if they wish to follow a Master’s programme abroad. The application deadline is 1 March 2018. Information about this scholarship can be found under ‘International – after graduation’.
Exemptions procedure At a student’s request and on the recommendation of the assessment committee, the Examination Board can grant an exemption for one or more study components on the basis of a certificate, diploma, testimonial or other document that proves that the student has already met the requirements of the relevant component.
The period of validity of any exemption granted is unlimited, unless the content of the relevant study component is altered due to changes to the Education and Examination Regulations. If an exemption is granted, the student will receive proof of the exemption.
Procedure The detailed procedure can be found in the appendix of the Education and Examination Regulations (see Exemption protocol). A student must submit his or her request for exemption to the lecturer/invigilator before the third meeting relating to a subject in a semester at the latest. In order to apply for an exemption, students must complete a form that can be found on the student portal or printed at the Student Administration office. The request for exemption must be accompanied by supporting documentation. The lecturer/invigilator will evaluate the request and advise the head of the department concerned on the request and supply the supporting documentation. The head of department will ensure that the lecturer/invigilator has based his/her recommendation on solid arguments. If this is the case, the head of department will adopt the recommendation of the lecturer/invigilator.
The recommendation will then be made to the Examination Board. The form signed by the head of department, together with the supporting documentation, must be submitted to the Student Administration office. Once the Board has made a positive recommendation, the exemption will be officially granted. Student Administration will register the granted exemptions and inform the student by means of an adjusted study progress overview. If the request for exemption is rejected by the Examination Board, the Board will duly inform the relevant head of department and the lecturer/invigilator, stating the reasons for the rejection and asking the head of department to re-assess the exemption request.
It is important to note that the student is responsible for all steps until and including submitting the request, including all required documentation and signatures, to the Student Administration office. Study Guide Royal Academy of Art, The Hague 2017/2018 27
Appeals and objections The Royal Academy has various bodies with which objections can be lodged against decisions that have been taken by the Academy during the study process: the Board of Appeal for Examinations and the Complaints Committee. In addition, there is a national Appeals Tribunal for Higher Education (www.cbho.nl).
Procedure In the context of protecting students’ legal rights, the Royal Academy has set up a digital complaints desk to receive all student complaints, objections or appeals, forward them correctly and ensure that they are handled properly. Complaints written in Dutch or English can be sent to: [email protected]. All formal notices of objection should be sent exclusively to the complaints office and should be addressed by the complainant to the body that took the decision (the Examination Board, the faculty management, the Executive Board or the Complaints Committee). Formal objections should be submitted within six weeks of date on which the student was notified of the decision to which he or she objects.
For more information, see the Student Charter of the Royal Academy of Arts at www.hogeschoolderkunsten.nl
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1.6.2. Education and Examination Regulations
This part of the Education and Examination Regulations specifies the rules and provisions that apply to the education at the Royal Academy of Art The Hague (KABK) as a whole, in conformity with art. 7.13.2 a–u, of the Higher Education and Scientific Research Act (Wet op het Hoger onderwijs en Wetenschappelijk onderzoek (WHW)). It has been approved by the Executive Board of the University of the Arts The Hague, formerly the School of Visual Arts, Music and Dance. These regulations came into force on 1 September 1998, and they were modified in part by the Executive Board (most recently in July 2016) for all programmes of study at the Royal Academy of Art The Hague.
The general description of the education provided at the Academy and the concise description of the curriculum for the programmes in this Study Guide are an integral part of these regulations.
These regulations apply to all cohorts of students of the programmes and courses referred to, and to the 2017–2018 academic year.
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General Article 1 Applicability of the regulations 2 These regulations apply to the education and examinations of the following programmes: • Fine Art Bachelor's programme (CROHO 39110), with the ArtScience and Fine Arts courses; • Design Bachelor's programme (CROHO 39111), comprising Photography, Graphic Design, Interior Architecture and Furniture Design, Textiles and Fashion, and Interactive/Media/Design courses; • Interior Architecture Master's programme (CROHO 49238); • Master of Arts in Fine Art and Design Master's programme (CROHO 49114) • Type and Media Master's programme (CROHO 49106).
Article 2 Definitions Academic year The period beginning on 1 September and terminating on 31 August of the subsequent calendar year. An academic year has two semesters.
Academy for Creative and Performing Arts This is a collaborative partnership between the University of the Arts, The Hague and the University of Leiden.
Admissions committee A committee established by the institution’s management, represented by the faculty director, to bear responsibility for assessing the attitude and suitability of prospective students for specific study programmes (WHW art. 7.26a).
Admissions review A review of the suitability of prospective students.
Assessing Assessing is an accepted term in higher art education that is equivalent to 'administering examinations' in regular higher education. (see WHW art. 7.10, para. 1).
Assessment A term in art education that is equivalent to the terms 'interim examination' and 'examination' in WHW art. 7.3, para. 3 and art. 7.10, para. 1. Assessments involve an investigation into the knowledge, insights and skills of the examinee, as well as the evaluation of the results of that investigation. We make the following distinctions: • in the Bachelor's programmes: propaedeutic (first-year) phase assessment following semester 2;
2 The Master's degree programmes Artistic Research and ArtScience are also included in the range of programmes at the KABK. These two form a course within the Music Master's programme of the University of the Arts The Hague and fall under the Education and Examination Regulations applicable to that programme.
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• semester assessment (comprising individual reviews for the separate study components and a collective assessment, or an integrated assessment where these are combined); • final assessment.
Assessment committee Committees of examiners (or assessment committees) are established for the purpose of preparing and/or implementing examinations and parts of examinations, as referred to in WHW art. 7.12c, para. 1. The examiners are responsible for setting and assessing tests and examinations. Assessment committees are established for the propaedeutic and main phases of the Bachelor's programmes and for the Master's programmes, and are responsible for collective assessments. For the Bachelor’s programmes, the Academy establishes assessment committees for the propaedeutic assessment, the assessments in the subject study phase and the final assessment. For the Master’s programme, assessment committees are established for the semester assessments and for the final examination. These assessment committees have different powers, depending on their tasks. Articles 18, 19 and 21 of these regulations specify the composition of the assessment committees.
Bachelor's degree Degree that can be earned after completing a four-year higher professional education (HBO) programme (or after completing a three-year university level (WO) programme).
Board of Appeals for Examinations The Board of Appeals for Examinations, as referred to in WHW art. 7.60, can be reached through the Central Office of the University of the Arts.
Executive Board The Executive Board of the University of the Arts, The Hague is the competent authority, bearing responsibility for the education, organisation and management of the institution.
Block/Period This is half of a semester, with a maximum of four blocks/periods per academic year.
Coach A counsellor for students in the main phase of study, possibly with responsibility for coaching the Individual Study Track (IST).
Committee of Examiners See: assessment committee.
Competence Competence is the integral whole of knowledge, skills, attitudes and other personal qualities that individuals possess, which enable them to carry out tasks in an adequate way, to find solutions and to put them into effect in practising their profession.
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Component of a study programme A component of a study programme is equivalent to that which is referred to in WHW art. 7.3 as a unit of study. It is a part of the educational programme, which concludes with an assessment.
Degree programme As referred to in WHW art. 7.3, a degree programme is a cohesive whole of educational units designed to achieve clearly defined objectives with regard to the knowledge, insight and skills that a person completing the programme is required to possess. Each degree programme concludes with an examination. The programmes at the Academy include several study programmes.
Department (Normally, we would distinguish between the curricula offered (the specialisations) and the organisational units offering these curricula (the departments). At the KABK, we have a tradition of using the term 'department' for both. This definition also refers to both. Not very elegant, but reflecting current practice.) The term department refers both to a particular implementation of a bachelor's or master's programme to prepare students for a career in a specific discipline, and to the organisational entity offering that particular curriculum The bachelor's programme in Autonomous Fine Arts is offered in two departments: B Fine Art and B ArtScience. The bachelor's programme in Design is offered in five departments: B Photography, B Graphic Design, B Interior Architecture and Furniture Design, B Interactive/Media/Design and B Textile and Fashion. The master's programme Master of Arts in Fine Art and Design master's programme will be offered in the department Master Artistic Research as soon as it is approved. Additional curricula can be developed in correspondening departments on the basis of an agreement with art academies at a national level, including a department M Non-Linear Narrative and M Industrial Design. The master's programmes Type and Media and Master Interior Architecture are departments with corresponding curricula in their own right.
EC/Credits A measure of the hours of study: One European Credit is equal to a study load of 28 hours (self-study and lectures). The study load of a Bachelor's degree HBO programme amounts to 240 study credits: 60 in the propaedeutic phase and 180 in the main phase. The study load of the Interior Architecture Master's programme is 120 credits. The study load of the Type and Media Master's programme is 60 credits
ECTS European Credit Transfer and Accumulation System: the European system for exchanging and accumulating credits.
Education and Examination Regulations The regulations as referred to in WHW art. 7.13. The Education and Examination Regulations consist of two parts: One part provides a general description of the teaching at the Academy and a concise description of the curriculum of the courses at the Academy and the Interfaculty ArtScience; the other part includes the rules and provisions. Both of these parts are included in the Study Guide.
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Final assessment / final examination The final assessment of a programme, based on the final examination work – usually referred to as "final examination" in common parlance.
Examination A review of the candidate’s knowledge, insights and skills and the evaluation of the outcomes of this review. This review is referred to in the WHW, art. 7.10 as a 'tentamen'. At the Royal Academy of Art The Hague, the term assessment is commonly used to refer to examinations.
Examination Board For the purpose of administering, organising and coordinating examinations, interim examinations and assessments, the Executive Board of the institute has established an Examination Board for each programme or group of programmes offered by the institute in accordance with WHW art. 7.12. At least one member of this board must be a lecturer of the (group of) programme(s) in question and at least one member must come from outside the (group of) programme(s). The Examination Board for Fine Art and Design is responsible for the examination procedures. The Examination Board • safeguards the quality of the interim and final examinations (WHW art. 7.12.b, para. 1, sub a); • can provide invigilators with guidelines and instructions concerning the assessment and determination of the examination result (WHW art. 7.12.b, para. 1, sub b); • applies exceptional regulations, including those governing exemptions, and allows individual exceptions to the regulations in certain cases (WHW art. 7.12b, para. 1, sub d); • is empowered to take measures in the event that fraud is committed by a student (WHW art. 7.12b, para. 2); • appoints the invigilators, including the chair of a committee of invigilators (WHW art. 7.12c); • awards the certificate once the student has taken the required examinations and once the Executive Board has determined that the procedural requirements for awarding the certificate have been met (WHW art. 7.11).
Examiner A member of the Committee of Examiners, as referred to in WHW art. 7.12c: Individuals who teach within the relevant degree programme may be designated as examiners, as may experts from outside the programme.
External students Students enrolled at the University for the sole purpose of participating in the propaedeutic or final examination, or parts thereof.
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Faculty Organisational unit: The University of the Arts, The Hague comprises two faculties: the Royal Conservatoire and the Royal Academy of Art. Additional units include the Interfaculty ArtScience and the Interfaculty School for Young Talent.
Head Official in charge of an educational unit or a study programme at the Academy.
Individual Study Track In the main phase of the Bachelor's programmes (and also in the ArtScience Master's programme), study load is reserved for a study component with individually determined contents approved by the department. This is known as the Individual Study Track (IST). This track allows students to further customise their programme to align it with their individual fascinations and ambitions. IST credits from full-time internships and/or the final examination can be integrated into the internship/final examination assessment in a manner to be approved by the Head of the department of the course.
Interfaculty An Interfaculty is a partnership between the Conservatoire and the Academy. ArtScience and the School for Young Talent are Interfaculties. The ArtScience Bachelor's programme provided by the ArtScience Interfaculty falls under the Fine Art Bachelor's programme in the Central Registry of Higher Education Programmes (CROHO). The ArtScience Master's programme falls under the Music Master's programme in CROHO.
Interim examination An investigation (written, oral or other) into the knowledge, insights and the skills of the student, as well as the assessment of the results of that investigation. An interim examination is usually referred to as an 'assessment' in common parlance at the Academy.
Main (subject) phase The part of the Bachelor’s programme that follows the propaedeutic phase of the programme and is concluded with its final examination.
Major-minor system Within the framework of the IST and with the prior approval of the department, students of the Bachelor’s programmes may take a minor offered by the other higher education institutes within the applicable major-minor system. Students of the University of the Arts in The Hague may qualify for a minor at Leiden University after completing the propaedeutic phase. Conversely, Leiden University students can take a minor at one of the University's faculties after being admitted there.
Master’s programme A one-year or two-year advanced degree programme (as a rule, subsequent to the completion of a Bachelor’s programme) at an institution of higher professional education or a university.
Mentor
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A counsellor who assists propaedeutic students in a bachelor programme with regard to progress in their studies.
Participation Council The Participation Council, as referred to in WHW art. 10.17: The council comprises elected representatives from various ranks within the institution: students, teaching staff from each faculty and general support and educational support staff. The University has a central council and two faculty councils, one for the Academy and one for the Conservatoire.
Practical exercises Carrying out assignments or creating designs, conducting research assignments, completing internships or participating in excursions and other necessary educational activities, with the goal of achieving the required skills.
Propaedeutic assessment/propaedeutic examination The examination that concludes the propaedeutic phase of a bachelor programme: The examination takes the form of a propaedeutic assessment aimed at determining whether the student meets the requirements specified for the propaedeutic phase.
Recommendation A distinction is made between: • The propaedeutic recommendation: At the end of the propaedeutic or first year of a bachelor degree programme, a recommendation is made with regard to the continuation of the course of study. This recommendation is binding, and it may be negative. A negative binding recommendation means that the student will not be admitted to the main part of the course in question and that the student’s enrolment for that course will be terminated in conformity with WHW art. 7.8.b. • Interim propaedeutic recommendation: After the first semester in Year 1 for full-time students and after the second semester for part-time students under the previous arrangements, a provisional non-binding recommendation is made. This provisional recommendation will be issued at a date that gives any student facing a negative binding recommendation a reasonable amount of time to substantially improve his/her study results. Furthermore, the student will be notified of this term. • Green light recommendation: Following the penultimate semester of the programme, both in bachelor and master programmes a recommendation will be issued regarding participation in the final examination assessment if all prior study components have been successfully completed, and if there is confidence in the ability of the student to obtain a satisfactory result for the final examination work based on the questions and organisation. This recommendation will be binding in cases described in article 16 of these regulations.
Semester Each academic year has two semesters. A semester comprises blocks or periods.
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Semester assessment A formal assessment conducted at the conclusion of each semester: This assessment is conducted by an assessment committee.
Specialisation A cohesive whole of educational units within a study programme, focusing on a specific domain within the visual arts and/or design, particularly in the Bachelor’s programmes.
Student A person who is enrolled at the University of the Arts, The Hague (full-time or part- time) to pursue a degree programme.
Student counsellor A confidential advisor who, if necessary and as a supplement to the mentor, coach or lecturer, provides advice and information to students with regard to matters relating to their studies: The student counsellor also helps students with personal problems of a material and immaterial nature, refers them elsewhere or acts as intermediary.
Study load All supervised and unsupervised study activities: practical exercises, excursions, internships, interviews, practical and theory classes, lectures, workshops and independent study within and outside the Academy; also referred to as study hours, and expressed in credits.
The Royal Academy of Art The Hague The Fine Arts and Design Faculty of the University of the Arts The Hague.
The Royal Conservatoire The Hague The Music and Dance faculty of the University of the Arts The Hague.
The University of the Arts The Hague On 1 January 1990, the Royal Academy of Art and the Royal Conservatoire merged to form the School of Visual Arts, Music and Dance. On 8 July 2010, the name of the institution was changed to the University of the Arts The Hague. The Executive Board is responsible for the daily operations of the University.
WHW - Higher Education and Scientific Research Act The Act on Higher Education and Scientific Research, Bulletin of Acts, Orders and Decrees 593, 1992; Implementing Decree 2008 Text, as in force on 1 July 2011.
WSF Act on Student Grants and Loans, Student Finance.
Article 3 Degree programmes offered Bachelor’s programmes Each Bachelor’s study programme has its own propaedeutic phase. Students who pass the propaedeutic phase are entitled to advance to the main phase of their chosen study programmes.
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a. Fine Arts with specialisations • Fine Arts, full-time and part-time; • ArtScience, full-time, provided by the Interfaculty ArtScience. b. Design • Graphic Design, full-time and part-time3; • Photography, full-time and part-time; • Interactive/Media/Design, full-time; • Interior Architecture and Furniture Design, full-time and part-time4; • Textile and Fashion, full-time.
Master's programmes The Academy has the following master’s programmes. • Type & Media Master's programme • Interior Architecture Master's programme • Master of Arts in Fine Art and Design Master's programme o Master Artistic Research5 o Master Industrial Design o Master Non-Linear Narrative • ArtScience Master's programme The latter programme is the result of collaboration between the Academy and the Conservatoire, and falls under the Education and Examination Regulations of the Music Master's programme of the University of the Arts.
Admission Article 4 Admissions 1. Students are admitted if they meet the requirements relating to previous education, as specified in WHW art. 7.24, or if they are exempt from those requirements on the basis of WHW art. 7.28. 2. In addition to the requirements specified in the first paragraph, the students must meet additional requirements in accordance with WHW art. 7.26a. 3. In order to determine whether a candidate meets the additional requirements specified in the second paragraph, the Executive Board establishes an admissions
3 It will no longer be possible for new students to enrol in the part-time programmes in Graphic Design and Interior Architecture and Furniture Design per 1 September 2016. 4 See note 2. 5 From 1 September 2017 onwards, the Master Artistic Research is offered as a specialization within the Master of Arts in Fine Art and Design. Students who were already enrolled in the Artistic Research Master's programme before that date will be offered the opportunity to switch to the Master of Arts in Fine Art and Design, or to continue it as a specialization of the Master of Music. In the latter case, the Education and Examination Regulations of the Master of Music apply.
Study Guide Royal Academy of Art, The Hague 2017/2018 37 committee that provides the board with a recommendation concerning the admissibility of the candidate (based on the specified requirements). 4. The Executive Board establishes the Admissions Regulations, which contain at least the composition, powers and responsibilities of the committee specified in the third paragraph, as well as the procedures and criteria adopted by that committee.
Duration and structure of the programmes Article 5 Duration of the programmes The Fine Art and Design Bachelor's programmes amount to 240 ECTS and last four academic years. The Type & Media Master's programme amounts to 60 ECTS and lasts one academic year. The Interior Architecture Master's programme amounts to 120 ECTS and lasts two academic years. Article 6 Propaedeutic phase (WHW art.7.8) Each Bachelor’s study programme at the Academy has its own propaedeutic phase, which precedes the main phase of that specific study programme, including the associated specialisations. The propaedeutic phase counts for 60 EC and takes one year of study. The phase concludes with the propaedeutic examination, which takes the form of an assessment.
The study components in the propaedeutic phase constitute a cohesive foundation for the main phase. The propaedeutic phase is arranged in such a way that students obtain insight into the content of the study programme and the future profession, with the possibility of referral and/or selection at the end of this phase. The curriculum of the propaedeutic phase is described in the study guide. In the Master’s programmes, no distinction is made between the propaedeutic phase and the main phase. Article 7 Admission to the main phase of the Bachelor's programmes 1. Students who have successfully completed the propaedeutic phase of a Bachelor's programme can continue their studies in the main phase of the course in question. 2. A student who has gone through the propaedeutic phase of a course but has not yet passed the propaedeutic examination may only participate in the main phase if the propaedeutic assessment committee considers the student's chances of completing the propaedeutic phase in the second academic year are good. 3. In consultation with the Head of the department of the relevant course, a student may be allowed to continue his/her studies in a different course within the Academy. The study components of the 'new' course that need to be completed, as well as the amount and type of credits earned in the 'old' course that can be transferred to the 'new' one, will be determined in each case. 4. On the basis of a recommendation from the admissions committee, the Executive Board can decide to directly admit a student to the main phase of a course. In such cases, the Examination Board will assess the exemptions from the study components of the propaedeutic phase of the relevant course as soon as possible6 after the start of the first year following enrolment in accordance with article 23 of these regulations.
6 For the academic year 2016-2017, this means this assessment by the Examination Board is usually taken within four weeks.
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Article 8 Main phase of the Bachelor's programmes The main phase of the Bachelor's programmes amounts to 180 ECTS and lasts three academic years. The goal of the main phase is to prepare students for professional practice in the field of fine arts and design. The curriculum of the main phase is described in the study guide and on the Academy's website. Article 9 Structure of the Master's programmes No distinction is made in the Master's programmes between the propaedeutic phase and the main phase. The one-year Master's programmes conclude with an examination (a semester assessment also takes place after the first semester). In the two-year Master's programmes, a semester assessment takes place after the first academic year to determine whether the student will be admitted to the second year, and the second academic year concludes with the final examination (the usual semester assessments also take place after the first and third semesters).
Assessments Introduction: The examination and assessment system continuously focuses on supporting students' development, in line with their personal interests and needs, with the goal of enabling them to eventually attain the final qualifications. For the propaedeutic phase, the goal is to effectively orientate students within the course of study and, if necessary, to ensure an adequate selection and referral. The assessments reflect (professional) practice in the field in which we provide education and in which evaluation largely depends on discourse between creators, peers, critics and the public. In our assessments, we therefore seek a balance between individual and collective judgements, and emphasise the connection between the different study components, which should result in integral development. Furthermore, our assessments are more formative than summative (with the exception of the propaedeutic and final examinations). We make a distinction between individual reviews (of separate study components) and collective assessments. These two have been combined to form integrated assessments in a number of courses, sometimes in the later years of the programmes. The green light assessment is a special type of collective assessment.
Article 10 Semester assessment Every semester concludes with a semester assessment consisting of a collective assessment preceded by or integrated with individual reviews (see articles 11 and 12). In the last semester of the propaedeutic phase of the Bachelor's programmes this is known as the 'propaedeutic assessment'. In the last semester of the Master's programmes and the main phase of the Bachelor's programmes, it is called the 'final assessment'. Article 11 Individual reviews 1. A semester consists of one or more study components. For each study component, an individual review takes place in which the student's development and results for the relevant study component are discussed on the basis of the learning objectives of that component. 2. The individual review is conducted by the lecturer(s)/invigilator(s) responsible for that study component.
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3. The individual review is formative and provides students with substantive and qualitative feedback on their progress and results, as well as with instructions and suggestions for their further development during the course of study. 4. The findings of the individual review are recorded in writing and communicated to the student. 5. The individual reviews normally take place one or two weeks prior to the scheduled collective assessments, unless integral assessments take place in the relevant course and academic year. If the study component is not completed at the end of the semester, the lecturer will communicate the date and time of the individual reviews in a timely manner. 6. The individual review does not result in an evaluation (satisfactory/unsatisfactory) or a grade. Whether or not a study component has been completed satisfactorily, and with what grade or result, is determined during the collective assessment taking the student's overall development into consideration. 7. An exception to paragraph 6 above is that the individual reviews in the ArtScience programme, both the Bachelor's and the Master's programmes, do result in an evaluation because the curriculum is organised differently. Article 12 Collective assessments 1. The semester assessment committee performs an assessment at the end of each semester, known as the collective assessment. 2. The collective assessment involves an investigation into the extent to which the student meets the criteria established in advance and the determination of the assessment result of that investigation. The criteria are described for each of the departments and each year of the study programme. 3. In the collective assessment, the student's work from the last semester is assessed, and his/her individual reviews and results for each separate study component are discussed and weighed. Eventually, the semester assessment committee reaches a final, collective and integral evaluation based on the competencies formulated for the relevant department and year of the study programme. 4. The collective assessment concerns all of the study components in the semester to be assessed, including the IST, and/or any study components offered at an academy-wide level or completed at other institutes. The assessment is performed on the basis of the results of practical and/or theoretical work in those study components. 5. An exception to paragraph 4 above is that the collective assessments in the ArtScience course of study, both the Bachelor's and the Master's programmes, result in an evaluation of the student's semester project because the curriculum is organised differently. 6. Students are given the opportunity to comment on their work presented at the assessments and on their development. 7. The assessment committee assesses the student's work and determines the assessment results after consultation. 8. The collective assessment concludes with a meeting of the assessment committee, in which the assessment results are formulated and registered. If necessary, the committee provides a recommendation on the student's continuation of studies or selection of specialisation. 9. The assessment committee gives a positive assessment if the requirements established in advance have been met.
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10. For students who receive a result of 'unsatisfactory', the assessment committee determines how they can retake the components or compensate for that result, and when and how this will be assessed. 11. At the end of the academic year, the assessment committee determines whether the student will be admitted to the next academic year. 12. The chair of the assessment committee determines how many credits the student has earned on the basis of his/her assessment results. If, for any reason, the number of credits earned is still uncertain, the student is informed about the reasons for this and the term within which he will get further notice. Article 13 Determining the result and awarding credits 1. Assessment results can be expressed: a. in grades, ranging from 1 to 10, with a maximum of one decimal or b. on a four-point scale: unsatisfactory/doubtful/satisfactory/good or c. on a three-point scale: fail/pass/pass with distinction or fail/doubtful/pass d. on a two-point scale: pass/fail or satisfactory/unsatisfactory. 2. For each study component, the applicable scale is determined by the department. Students are notified of the applicable scales in the course descriptions, which are determined and published before the start of the semester. 3. In case of graded results, grades of 6.0 and higher are considered satisfactory. In case of qualitative results, each of the results underlined in section 1 of this article is considered satisfactory; all others unsatisfactory. 4. During the collective assessment, the semester assessment committee determines the result of each study component and the number of credits earned. In addition to the evaluation of the individual lecturer(s) concerning that component, the assessment based on the student's total development also plays a role. The committee also determines whether, when and how the student can retake specific components or complete additional assignments. Finally, at the end of the academic year, the semester assessment committee determines whether or not the student will be admitted to the next academic year. 5. For clusters of study components that are demonstrably and strongly related in terms of content, the student's result can be determined at cluster level instead of at the level of the separate study components. In such cases, the credit point tables demonstrate which study components make up the cluster and how the result at cluster level is calculated on the basis of the results of the individuel study components. 6. Results and credits obtained within the framework of an exchange at a different institute either in the Netherlands or abroad, and formally recognised in the exchange agreement (learning agreement and any subsequently agreed changes to that agreement), are determined in the collective assessment in the relevant semester. A statement concerning these credits from the partner institute in question (transcript of records) will serve as proof.
Article 14 Propaedeutic phase assessment/regulations (WHW art. 7.8; Bachelor’s programmes only) 1. The propaedeutic phase of a Bachelor’s programme concludes with a propaedeutic examination, in the form of the propaedeutic assessment. 2. The propaedeutic assessment is conducted by an assessment committee for propaedeutic examinations.
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3. The Academy has an assessment committee for the propaedeutic phase in each Bachelor’s programme, comprising the Head of the department and supervising lecturers. 4. The assessment committee determines the extent to which the candidate has met the specified criteria according to previously established general and subject-related criteria, procedures and rules. The committee also determines the assessment result for this review. 5. Students pass the propaedeutic examination by passing collective assessments of the propaedeutic phase and completing all individual study components successfully.
6. The propaedeutic assessment concludes with a meeting of the assessment committee, in which the result is decided and recorded. 7. The committee may advise the faculty director to issue a binding negative recommendation on the continuation of the study or choice of specialisation. See Article 15 of these regulations. 8. Students passing the propaedeutic assessment receive a certificate indicating that they have passed the assessment and that 60 EC's have been obtained.
Article 15 Regulations concerning the recommendation on continuation of studies and rejection (WHW art. 7.8b; bachelor’s programmes only) 1. At the end of the first year of enrolment for the Bachelor’s programmes, all students at the Academy, receive recommendations on the continuation of their course of studies, within the programme or elsewhere. A student who has not passed the propaedeutic examination and whom the Academy deems unsuitable for the main phase of the study programme (with due consideration for personal circumstances) may receive a recommendation containing a binding rejection (i.e. a binding negative recommendation). Candidates receive signed, written notification of such recommendations from the faculty director. The notification of the binding negative recommendation refers to the procedures that students must pursue if they wish to file objections or appeals as mentioned in article 31. 2. The recommendation is issued by the director of the KABK on the basis of the advice of the assessment committee for propaedeutic examinations. The recommendation takes one of the following forms:
a. Positive recommendation: Based on the results of the study, the Academy expects that the student will be able to pursue the study successfully and thereby promotes the student to the main phase of the study programme in question.
b. Binding negative recommendation: Students receive this recommendation if the assessment committee concludes that they will not be able to complete the programme successfully, based on the results of their assessments. This recommendation means that the student will not be allowed to continue the course of study and is not eligible to enrol in the same study programme at the Academy again. The binding nature applies to both the full-time and part-time variants of the programme.
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c. Exceptional recommendation on the grounds of extenuating personal circumstances, as listed below, insofar as the assessment committee deems that they have impeded the student from obtaining satisfactory results. The following are considered extenuating circumstances: • demonstrable and long-term illness of the student; • serious personal circumstances of the student; • pregnancy of the student; • membership on the Participation Council or Study Programme Committee; • membership of the board of a foundation that, by virtue of its charter, operates student amenities, as referred to in the WHW; • membership of the board of a sizeable student organisation or a comparable organisation that primarily serves the interests of the arts in society and that organises activities to this end. Students should inform their mentors about any extenuating circumstances as soon as possible. If students do not regard their mentors as suitable for this purpose, they may contact the student counsellor, who will inform the assessment committee of the circumstances in writing, if (and only if) the student gives his/her permission to do so. The information may serve no other purpose than the study recommendation, and it is made available only to the assessment committee, which adds it to the student’s file separately, as does the mentor.
Exceptional recommendations mention the requirements for the student to obtain a positive recommendation at a later moment, as well as a reasonable period of time after which this will be assessed by the assessment committee
3. For positive and binding negative recommendations, the following norms apply:
• A positive recommendation is always given to students who have successfully passed the propaedeutic examination and obtained 60 EC's at the end of their first year of enrolment. • A binding negative recommendation is given to students who have obtained 30 EC's or less at the end of their first year of enrolment, apart from any exemptions that may have been granted. • If a student has obtained more than 30 EC's but did not yet complete the full propaedeutic phase, the assessment committee for the propaedeutic examinations gives a carefully considered judgement on the potential of the student to complete the programme successfully. This judgement is formulated in writing and included in the assessment form for the propaedeutic assessment and serves as an advice to the Director of the KABK for the decision to be made on the binding recommendation.
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4. A binding negative recommendation can be given only if the following criteria have been met: • The criteria and the procedure for the study recommendation and the possibility of rejection are communicated clearly in a timely manner. • The student's mentor in the propaedeutic phase discusses the results with him/her in (at least) one individual meeting. • During this meeting (or these meetings), the student's study results are made available to him/her. In addition to these results, any special personal circumstances are discussed. • Students receive an interim recommendation at a date that gives them a reasonable period of time in which to substantially improve their study results, but no later than in the first week of the fourth block of the first year of enrolment. Students will also be notified of this period.
The mentor records the result of these meetings and includes it in the student's file. Any special circumstances are set down in a separate report that is kept in the student's file. The mentor keeps the assessment committee informed of such circumstances in writing. 5. A binding negative recommendation can be issued so long as the student has not yet passed the propaedeutic examination, but no later than 31 August in the first academic year of enrolment. Article 16 Green light assessment 1. Following the penultimate semester and the corresponding semester assessment, a separate green light assessment takes place. 2. The green light assessment is performed by (a majority of the members of) the final assessment committee and results in a recommendation as to the student's participation in the final examination assessment (hereinafter referred to as 'the examination' in this article) based on the questions and plans presented by the student for this purpose. 3. Students are not usually permitted to participate in the green light assessment for the Bachelor's programmes if they have not yet earned 180 credits by the start of that assessment. The assessment committee can decide to admit the student to the green light assessment anyway if it believes that the student's lack of progress would not necessarily prevent him/her from passing the final examination. Numerical criteria for participation in the green light assessment do not apply to students of the Master's programmes. In the Master Interior Architecture, students are permitted to participate in the green light assessment if they have successfully completed the first year of the programme and received a positive assessment after the third semester. 4. The green light assessment takes place four weeks prior to the scheduled final examination at the latest. 5. A positive recommendation (green light) is given if, based on the student’s objectives and approach for the final examination, the assessment committee is confident that the student will pass the final examination. If there is some doubt over the student's ability to successfully complete the examination, an orange light
Study Guide Royal Academy of Art, The Hague 2017/2018 44 recommendation is given. A red light recommendation is given where the committee lacks sufficient confidence. 6. The recommendation is only binding if it is a red light recommendation AND if it concerns a Bachelor's degree AND if the student has not yet earned 210 credits. In such cases, the student is not permitted to participate in the final examination. In the Master of Interior Architecture, the recommendation is only binding in case the student does not show up at the assessment.
Explanation: For the Bachelor's programmes, the above-mentioned provisions mean that: • a student with less than 180 credits may only participate in the green light assessment in exceptional cases (to be determined by the assessment committee); In these cases, a red light recommendation will be binding. • a student with 180–210 credits may participate in the green light assessment, but a red light recommendation will be binding; • a student with 210 credits or more cannot receive a binding red light recommendation.
7. Notwithstanding the period stated in paragraph 4 above, the assessment committee can decide to offer the student the opportunity to retake or postpone the green light assessment if the result would initially be an orange or red light recommendation. In such cases, the assessment committee determines the period in which the assessment or resit examination will take place.
Article 17 Sequence of the assessments 1. Students must pass the collective assessment in the previous semester before continuing their studies in the programme. 2. Students may be allowed to continue their studies if it is anticipated that they can pass the next collective assessment. Article 24 of these regulations will then apply. 3. In order to be allowed to start the last semester of the study programme, students must have successfully completed all previous assessments and earned the accompanying credits. A student who has not yet earned all the previous credits but who the semester assessment committee believes is capable of catching up within the current academic year can be admitted to the last semester. The decision as to whether or not the student will be admitted is made by the semester assessment committee. Article 18 The assessment committees 1. The Academy establishes assessment committees for the semester assessments and the final assessment of each course. In the Bachelor’s programmes, the propaedeutic assessment is the de facto semester assessment at the end of the propaedeutic phase. The assessment committees have different powers, depending on their tasks. A description of the committees and their powers follows below. 2. The composition and working method of the semester assessment committees are set down in articles 19 and 20 of these regulations. 3. The final assessment is performed by the final assessment committee. The composition and working method of the final assessment committees are set down in articles 21 and 22 of these regulations.
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Article 19 Semester assessments of the assessment committees 1. The Academy establishes an assessment committee for each course and academic year; each committee operates under the responsibility of the Examination Board and consists of a Head of the department and supporting lecturers. 2. The Head of the department of the course chairs the assessment committee, the mentor/coach or the coordinator serves as secretary, and lecturers who teach the study components of the course form other members. 3. The chair determines whether the students to be assessed can attend the discussion about the outcomes of the assessment. 4. The assessment committee for the propaedeutic year of a course functions as the propaedeutic assessment committee. This committee formulates a recommendation on the continuation of the studies and possibly on the continuation of the studies in a particular course on the basis of the results of that assessment. See Article 20 of these regulations. Article 20 Regulations for the semester and propaedeutic assessment committees 1. The chair of the assessment committee is responsible for the scheduling, organisation and coordination of the presentation of the work to be assessed. For this presentation, each study component should be presented in such a way that it provides a good impression of the performance of the student to be assessed. 2. Voting: The committee may take a vote, if the committee is unable to agree on the outcome of the assessment otherwise. The committee’s decision is based on a majority vote. In case of a tie, the chair casts the deciding vote. 3. Postponed assessment at the end of the first semester of the academic year: in the event that the work submitted by a student is incomplete, the chair can establish a period in which an assessment will take place and determine the procedure to be followed. 4. Postponed assessment at the end of the second semester of the academic year: if an unsatisfactory result is obtained at the end of an academic year and the committee believes the student can continue his/her studies after obtaining a satisfactory result, the committee can decide to repeat the assessment again after a particular period. 5. Any assessment that is postponed in accordance with paragraph 3 or 4 must take place at the end of the next semester at the latest. 6. Determining the number of EC’s obtained: The chair of the assessment committee determines the number of EC’s obtained. 7. Recording the results of the assessment: The chair of the assessment committee is responsible for ensuring the maintenance of a record of the study results. The chair dates and signs the form indicating the results of the assessment. After the form has been signed, the results are officially ratified. The chair is responsible for providing the assessment results directly to the student administration office for the purposes of declarations and certificates. 8. Further procedure: The chair of the assessment committee is responsible for any further procedures arising due to the assessment results. Students whom the assessment committee has deemed to have performed unsatisfactorily in any way must be informed of the consequences of the assessment by means of a letter and/or a conference. The resulting decisions must be reported on the assessment form. 9. The chair of the assessment committee informs the Examination Board regarding all matters of a problematic nature that will not be addressed by the assessment
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Article 21 Final assessment committee: Composition and working method 1. The Academy establishes an assessment committee for the final assessment, known as the final assessment committee, which operates under the responsibility of the Examination Board. The Head of the department of the course serves as the chair of this committee, which is made up of (a core team of) lecturers that supervise the student during the final study phase. 2. The Examination Board adds one or more external experts to the final assessment committee as members of the final examination committee. At least one of these external experts is independent from the Royal Academy of Art. Additional external experts may be related to the Royal Academy of Art, but not to the study programme involved. In excpetional cases of force majeure, final examinations can take place in the absence of an external experts in order to avoid disproportional disadvantages for the student. The chair of the final assessment committee must report these exceptional cases to the Examination Board, in order to enable the Examination Board to verify that the independence and the validity of the final examination have not been scrutinized. 3. The final examination is open to the public. However, this never applies to the deliberations of the final assessment committee. 4. The final assessment committee determines the result of the final examination assessment. Article 22 Final examination regulations for the Royal Academy of Art The Hague 1. The final examination (or final assessment) is arranged in conformity with the provisions of the WHW. The final examination takes place in the form of a final assessment. 2. The composition of the assessment committee for the final assessment (the final assessment committee) is described in Article 21 of these regulations. 3. The final assessment committee decides on the assessment of the final examination work in a collective assessment, in which the substance of the verdict of the external members is taken into account, as are the assessments of the individual elements contained in the final examination phase. The work presented plays a decisive role in this whole. The decision of the committee concerns whether the work, as a cohesive whole, manifests an authentic vision of the visual arts or design, and whether the individual theme and research incorporated in the work has been presented to the public in an appropriate manner. 4. The number, subject, technique and execution of the works are determined in consultation with the teachers involved and the head of the study programme, based on the goal of the final examination, as described in paragraph 3 of this article and in the description of the programmes of the study programmes in the Education and Examination Regulations. For the theory subjects, a written paper, the thesis, is required, the subject and the size of which is determined in consultation with the teacher in question. The paper must be written in English or Dutch. It must be submitted in triplicate: one copy for the student, one for the teacher and one for the records in the library. The copy of the final paper submitted to the teacher and the library remain the property of the
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Academy. If possible, the final paper must also be submitted in digital form (preferably in PDF format). The thesis is assessed separately. 5. All papers/pieces of work submitted for assessment must have been prepared under the supervision of the teacher (or teachers) in question, and they must have been accepted as such by the teacher (or teachers). 6. All pieces of work presented must be verifiably the inalienable intellectual property of the candidate. 7. The decision of the final assessment committee is based on a majority vote. In case of a tie, the chair has the deciding vote. 8. The secretary of the final assessment committee notifies the candidate of the outcome as soon as possible after the final assessment, but within three days at the latest. After the data have been processed, the candidate receives a judicium or verdict indicating the score and the outcome. The formulation of the score comprises a final grade, a list of grades and/or a reasoned written declaration. 9. If the student has not passed all of the required preceding components of the study, a decision is taken with regard to how and when the student will have another opportunity to pass these components. The student is informed of this decision by the chair or the secretary of the final assessment committee. Completion (if possible) is to take place before the end of the current academic year (i.e. by 1 September); otherwise, the student will be required to re-enrol. 10. Awarding of certificates and declarations is described in Article 27 of these regulations. 11. Resits: The final examination committee may grant the opportunity for a resit to candidates who have failed one or more parts of the examination. During its meeting, the final assessment committee determines whether one or more resits can be taken, if it deems that the candidate would be capable of passing the final assessment after taking one or more resits. Candidates who are eligible to take one or more resits must submit a request to take one or more resits to the chair of the final assessment committee within seven days after the announcement of the outcome. The chair of the final assessment committee determines the date, time and location of the resit, which must be taken before the start of the new academic year. 12. The final assessment committee may decide on an ‘extended examination’ (i.e. postponement of the final assessment) for candidates presenting incomplete final examination collections for one or more parts of the exam. An ‘extended examination’ is conditional on the final assessment committee’s view that a resit (i.e. the presentation of additional work or the re-presentation of work) again is impossible before the beginning of the new academic year, and that the candidate is capable of passing the complete final examination within the period of one semester. 13. Extended examination: Any candidate who has been declared eligible for ‘extended examination’ must submit a request for postponement of the final examination to the chair of the final assessment committee within seven days of the announcement of the aforementioned decision. The chair of the final assessment committee determines the date, time and location of the postponed final assessment, which must take place no later than the end of the semester following the final assessment. Candidates who do not wish to take advantage of the extended examination are deemed to have failed. 14. Inability to participate in the final assessment (or any part thereof) due to illness, accident or serious family circumstances must be reported to the chair of the final assessment committee before the commencement of the final assessment. Acknowledgement of these circumstances requires written proof of the student’s
Study Guide Royal Academy of Art, The Hague 2017/2018 48 inability to participate. A new date for the final assessment can be determined in consultation with the chair of the final assessment committee. 15. Candidates may file appeals against the outcome of the final assessment, in conformity with the applicable rules stipulated in Article 31. 16. A book and/or CD-ROM/DVD will be compiled of the final examination work of all candidates in the full-time and part-time programmes of the Academy. Each student is obliged to supply material for this compilation by the specified deadline. 17. A final examination candidate may participate in this publication of the final work only once. An endeavour is made to have the date of issue of the final exam book and/or CD-ROM/DVD coincide with the graduation ceremony. 18. Participation in the final examination exhibition is a one-off event and subject to conditions. If the final assessment committee or the coordinator of the final examination exhibition (commissioned by the director) is of the opinion that a student’s presentation is incomplete, the student may be excluded from participating in the final examination exhibition. 19. The Examination Board decides in cases for which these regulations contain no provisions.
Internships Article 23 Internships 1. Arrangements for internships must be confirmed in an internship form, available from the student administration office, before the start of the internship. 2. As a general rule, students cannot fulfil their mandatory internships in projects and/or organisations in which their teachers, tutors, coaches, heads of department or any other faculty directly involved in their study programme have a significant interest. The aim of this rule is to avoid any possible conflict of interests, undesirable dependency relationships between faculty and students, unjustified inequality between students and unacceptable accumulation of roles within one faculty member with respect to the students. 3. In rare occasions, an exception to the general rule mentioned in section 2 can be made under the following conditions: • The faculty member(s) involved will not participate in any assessment of the student's progress and results, other than the assessment of the internship, from the start of the internship onward until and including the student's graduation. • The Examination Board is informed of this exception and will monitor compliance to the condition mentioned above.
Resits, exemptions, substitute activities Article 24 Exemption 1. At the request of a student and on the recommendation of the assessment committee, the Examination Board can grant an exemption for one or more study components on the basis of a certificate, diploma, testimonial or other document that proves that the student has already met the requirements of the relevant component. 2. The procedure for requesting an exemption is described in the "Exemption Protocol" appendix attached to these regulations.
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3. The period of validity of any exemption granted is unlimited, unless the content of the relevant study component is altered due to changes to the Education and Examination Regulations. If an exemption is granted, the student will receive proof of the exemption. Article 25 Resits/retakes and compensation 1. On the basis of the results of an assessment, the assessment committee determines whether a student is entitled to a resit and under what conditions. 2. Resits of theoretical subjects: if a student fails the assessment of a theoretical subject, he/she may retake that subject. This retake must be completed before the end of the year in question. 3. Resits of practical subjects: if a student fails the assessment of a practical subject, he/she may retake that subject. In certain situations, compensation regulations may apply or the work in a later semester may count as a resit for assignments that the student failed during a previous semester. 4. Collective assessment: in the event of an unsatisfactory collective assessment, the semester assessment committee determines if and how the study component can be retaken. The committee can give the student the opportunity to complete the study component by passing the collective assessment and earning a satisfactory grade in the next semester. 5. If resits are taken by accomplishing certain tasks in the next semester, the associated obligations for the student will be established as part of the result of an assessment, and the fulfilment of these obligations will be tested during the assessments in the next semester. 6. The possible application of compensation regulations does not change the fact that the student must achieve all the final qualifications in order to earn the diploma. In principle, a student can only compensate for failing a particular study component if he/she can demonstrate in another way that he/she possesses the required competencies. Article 26 Substitute activities due to financial reasons Students who cannot participate in certain compulsory study components (such as excursions) for financial reasons will be given the opportunity to fulfil their obligations by means of a substitute activity.
Announcement and registration of results; statements and certificates Article 27 Registration and announcement of assessment results: Validity of results 1. The assessment committee uses a form to record the assessment results for each student at the meeting following the collective assessment. This form is signed by the chair of the assessment committee. 2. The student administration records the outcome of the assessment for each student in the student tracking system. 3. Students are notified of the outcomes of assessments within fifteen working days after the collective assessment. 4. Each student receives a report of the assessment after it has taken place, including the assessment of the performance and the outcome of the assessment. 5. Within fifteen working days after an assessment, students who have failed the assessment receive an overview indicating whether a resit is possible.
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6. If it is impossible to inform students within the terms mentioned in paragraphs 3 and 5 of this article due to force majeure, students are notified of the reasons and of the term in which they will receive the information concerned. 7. For students temporarily interrupting their studies, the results obtained remain valid for one year. As a rule, after this period, students are required to go through a new admissions procedure. The Admissions Committee also formulate recommendations with regard to the validity of credits obtained earlier. Article 28 Declarations and certificates (WHW art. 7.11) 1. Each student receives a written declaration containing the outcome of the assessment. Recommendations (if applicable) are made within fifteen working days after the collective assessment, after the student administration has recorded the assessment results. 2. After the propaedeutic assessment, and after the student administration has recorded the assessment results, students who have passed the assessment receive certificates stating the outcome, along with the recommendation on continuation of studies. 3. After the final assessment and after the student administration has recorded the assessment results, students who have passed the final assessment receive certificates stating the outcome of the final assessment and the status of the diploma obtained. 4. The institutional board confers the Bachelor’s degree and Master’s degree on students who have passed the final examination of a Bachelor’s programme or of a Master’s programme, respectively. 5. The Executive Board ensures that the relevant professional field is stated on the degree: Bachelor of Arts for Fine Art and Design graduates, Master of Arts for graduates of the Master's programmes. 6. A student who has successfully completed multiple assessments but cannot be awarded a certificate as defined in paragraphs 3 and 4 of this article, will receive on request a statement listing the successfully completed assessments from the Faculty of Fine Arts of the University. The student must submit the request in writing to the faculty director. 7. If it is impossible to inform students within the terms mentioned in paragraph 1 of this article due to force majeure, students are notified of the reasons and of the term in which they will receive the information concerned. Article 29 Confidentiality of educational situations 1. Sparing use should be made of the use of recordings of educational situations, including (but not exclusively) assessments, coaching sessions, performances, concerts, group and individual lessons and feedback sessions. 2. Before any recording is made it must be clear for what purpose it is intended and that anyone may object to the recordings. 3. An objection by anyone present must always be respected. 4. It is not permitted to bring recordings of final assessments or fragments of these into the public domain outside the educational context unless permission has been granted for this by the student being assessed, the person(s) who has/have made the assessment, others involved who are visibly present (in so far as they can be traced) and the head of the faculty. 5. The teachers and university staff who have access to the assessment files because of their post, either through the faculty digital tracking system or otherwise, must treat this information as confidential.
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6. Recordings of exam work will be archived by the KABK for accreditation and quality assurance purposes. This is in compliance with national legislation and regulations of the Ministry of Education, Culture and Science. 7. No rights whatsoever may be derived from the recordings made notwithstanding permission having been granted in conformity with paragraphs 2 to 4 inclusive of this article.
Safekeeping Article 30 Safekeeping 1. All relevant theoretical and practical work must be retained for the duration of any appeals procedure initiated by a student. The student is responsible for the safekeeping of these items. 2. All relevant theoretical and practical assignments must be retained for the duration of any appeals procedure initiated by a student. The Academy is responsible for the safekeeping of these items.
Irregularities during assesments/examinations Article 31 Irregularities 1. If a student is guilty of any irregularity with regard to any part of an assessment, the chair of the assessment committee may forbid him/her to participate or continue to participate in that assessment. Examples of irregularities include (but are not limited to): fraud/cheating or a clear attempt at fraud, disturbances and misconduct. 2. If the irregularity is first discovered after the propaedeutic assessment or the final assessment, the assessment committee can refuse to issue the certificate specified in WHW art. 7.11, para. 1, or can decide that the student concerned may only receive the certificate after a new assessment of the components designated by the assessment committee has been completed in a manner to be determined by the committee. 3. Before any decision can be made in the light of paragraphs 1 and 2 above, the chair of the assessment committee will hear both the assessment committee and the student. 4. The chair of the assessment committee will immediately inform the student of the decision, either orally or in writing. 5. The chair of the assessment committee will inform the chair and secretary of the Examination Board of the decision, and will also provide a statement of the facts and justify the decision. In accordance with WHW art. 7.12b, para. 2, the Examination Board will make a decision with regard to the known facts and possible penalties, while taking into account the principles of a fair hearing and proper administration.
Article 32 Misconduct The director of the Acadmy will be notified of any misconduct, including damage caused to the building and/or aggression towards others, who will subsequently take appropriate measures. Possible measures include: - demanding the immediate repair of any damage or ordering the repair costs to be borne by the person responsible;
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- suspension or restriction of access to the buildings and grounds.
Objection and appeal Article 33 Regulations for objections and appeals 1. Students who deem that their interests have been directly damaged due to what they perceive as the improper application of the Education and Examination Regulations are entitled to file a written appeal within 30 days with the Board of Appeals for Examinations of the University of the Arts, The Hague. 2. The Board of Appeals rules on appeals that have been filed with regard to: decisions to fail a student with a binding study recommendation, as referred to in Article 15 of these regulations; decisions regarding admission to the green light and the final assessments, as referred to in Articles 16 and 21 of these regulations; decisions regarding the number of credits obtained; other decisions by Assessment Committees, and Examination Board and examiners. 3. An appeal may be lodged if: • the decision is in contravention of any generally binding regulation (e.g. the Education and Examination Regulations); • in taking the decision, the body obviously used its power for purposes other than that for which it was originally intended; • upon weighing the interests in question, the body involved could not have taken the decision in all reasonableness; • the decision is contrary to any other principle of good administration prevailing as part of the general sense of justice; • the further provisions regarding the procedure, the handling and the verdict can be found in the Legal Protection chapter of the Student Charter of the University of the Arts, The Hague.
Other provisions Article 34 Copyright All of the work that students create during their studies becomes part of the study programme, and it serves as the basis for the credits obtained during the programme. For this reason, the work created throughout the entire duration of the student’s programme becomes the property of the Royal Academy of Arts. Students obviously retain the right of use. Upon de-registration, the right of ownership passes to the student. The Academy retains the right to use the work in the future as well, without any remuneration and within the context of its own objectives. Former students who become affiliated with intermediary copyright agencies are obliged to inform their agencies of this arrangement. The digital conversions of the work assessed as part of the semester assessments must remain available to the Academy for appropriate use within the objectives of the Academy.
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Article 35 Tests and examinations (assessments) for students with disabilities Students with disabilities can participate in tests and examinations in a way that considers their disabilities. To this end, they may make arrangements with the head or the coordinator of the study programme and/or submit a request to this end to the Examination Board, if necessary.
Article 36 Reference title These regulations can be referred to as the "Royal Academy of Art Education and Examination Regulations 2016–2017" or by the Dutch abbreviation "OER KABK 2016–2017".
Article 37 Effective date These regulations will take effect on 1 September 2017 or at a later date, once this date has been formally established.
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Appendix: Exemption protocol 1. Students must submit any request for exemption to the lecturer/invigilator before the third meeting relating to a subject in a semester at the latest (this enables students to better familiarise themselves with the content of the subject and gives them the chance to discuss the matter with the lecturer/invigilator). In order to apply for an exemption, students must complete a form that states at least the following information: a. the subject/subjects for which the exemption is requested; b. the grounds on which the exemption is requested; and c. the number of credits for which the exemption is requested. 2. The request for exemption must be accompanied by supporting documentation, as well as: a. the content of the activity on which the exemption is based; and b. the activity must be completed with a satisfactory result. 3. The lecturer/invigilator will judge the request on: a. the similarity to the content of the subject for which exemption has been requested; and b. the actual achievement of a satisfactory result. 4. The lecturer/invigilator will advise the Head of the department on the request and supply the supporting documentation. The student must submit his/her request with this advise to the Head of the department. The Head of the department will ensure that the lecturer/invigilator has based his/her recommendation on solid arguments. If this is the case, the Head of the department will adopt the recommendation of the lecturer/invigilator. The recommendation will then constitute a recommendation to the Examination Board. In case of requests regarding academy-wide subjects, coordinated by one of the Heads of department, the coordinating Head ('portefeuillehouder') acts as the responsible Head of department in this and in following sections of this protocol. 5. The student must submit his/her request, along with the advise from the Head of the department, to the student administration, together with the supporting documentation. 6. The student administration will register the fact that the Head of the department approves the exemption and keep the form and the supporting documentation in the student's file. 7. The student administration will compile a longlist of requests for exemptions with a positive recommendation from the Head of the department for the Examination Board. 8. Only requests with a positive recommendation by the Head of department will be taken into consideration by the Examination Board. The Examination Board will
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perform a marginal assessment of the positive recommendations 7 and check that all formal requirements have been met (including the presence of supporting documentation). As a rule, the Examination Board will adopt the recommendations made by the Head of the department. Only if formal requirements have not been met, the request is directed back to the Head of the department for reconsideration. 9. Once the board has adopted a positive recommendation, the exemption will be officially granted. It will provide the student administration with a list of the decision made on exemption requests. 10. The student administration will register the granted exemptions and inform the students by means of an adjusted study progress overview. 11. If a request for exemption is rejected by the Examination Board, the board will duly inform the relevant Head of the department and the lecturer/invigilator, stating the reasons for the rejection and requesting the Head of the department to assess the exemption request once again. The board will also inform the student administration, and the student administration will inform the student about the rejection and the further procedure.
7 Marginal assessment means that the Examination Board monitors whether the procedure has been followed correctly and whether a careful assessment has been made. The board will not interfere with the substantive responsibility of the Head of the department. It will not independently deviate from the advice of the Head of the department, although it may direct the request back to the (Head of the) department in order for it to be assessed again. The same decision can be made again, although the motivation should then be argued more thoroughly.
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1.6.3 House Rules
Two main buildings of the Royal Academy of Art, The Hague are monuments. We expect our students and staff to respect the building and treat it accordingly. Full text on House rules
1.6.4 Ethics The University of the Arts The Hague has published its Ethics on the university website.
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1.6.5 Holidays & Opening hours
Academy building opening hours: Monday to Thursday: 08.00 - 22.00 Friday: 08.00 -19.00 Saturday: 10.00 - 17.00 Sunday: closed
Limited opening hours during holidays: Monday to Friday: 08.00 - 17.00
Vacation dates Autumn break 16-20 October 2017 (limited opening hours) Christmas break 25 December 2017 - 5 January 2018 (building closed) Spring break 26 February - 2 March 2018 (limited opening hours) Good Friday 30 March 2018 (building closed) Easter 1-2 April 2018 (building closed) King's Day 27 April 2018 (building closed) May break 30 April - 4 May 2018 (limited opening hours) Liberation Day 5 May 2018 (building closed) Ascension Day 10 May 2018 (building closed) Pentecost 20-21 May 2018 (building closed) Veteran’s Day 30 June 2018 (building closed) Summer break 16 July-24 August 2018 (limited opening hours)
Opening hours workshops (see 3.5 Workshops)
Academic year 2017-2018 begins: 5 September 2017 Academic year 2018-2019 begins: 3 September 2018
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2. STUDIES
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2.1 Bachelor programmes 2.1.1 Fine Arts
Facts
Educational variant Full-time, part-time and Double degree (in collaboration with Leiden University) Duration 4 years Degree Bachelor of Arts Credits (ECTS) 240 ECTS Head of department Klaus Jung
Application deadline The application deadline for international applicants with a non-EU/EEA nationality is May 1st.
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure Study programme
The department of fine art at the KABK aims at aligning the past of fine art with its present and its future. We embrace history and traditions and root our discourse firmly in the contemporary. At the same time we research and imagine the future of fine art as an indispensable contributor to culture, society and economy. We try to equip future artists with skills, competencies, strategies and confidence to shape their future and the future of the arts.
Students get the opportunity to expand their artistic and other skills, such as collaboration, communication, self-management, observing from unexpected angles, decision making, critical reflection and critical distance to yourself - skills that are of high value for the arts and many other professional careers in the future.
Making art can be an isolating process. As a fine art department we provide the community and the critical context that breaks this isolation. Through this community, we sustain a meaningful relationship to life and to higher art education that is at once pragmatic and idealistic. It is this collective ethos that strengthens our commitment to
Study Guide Royal Academy of Art, The Hague 2017/2018 60 maintaining the high-energy of creative ambition and engagement that continue to attract students and staff to work with us.
The individual learning of the student is the kernel of our teaching strategies, which are • Independence: encourage students to work independently out of experience and experiments, with an understanding for the quality of the making, the context of the work and its strategical position, and to learn how to develop and trust intuition • Guidance: support students through individual feedback and guidance • Groups; foster discussions in peer situations to enable students to benefit from the context of a group • Workshops: create an awareness for the wide options of techniques and technologies, relevant for the production of artworks • Presentations: challenge students to rehearse the presentation of work as exhibitions and as verbal presentation • Seminars, lectures and reading groups: provide an entrance to art history and art related theories as crucial contextual knowledge • Theory and practice: link theory and practice through team teaching, involving teachers with experience from both fields • Research: help students to understand research as an essential part of the artistic process and encourage to play with it • Professional context: assist students to understand, what roles artists play in our societies, what economical, cultural, social and political conditions they have and enable them to design their future and that of the arts
40 artists and six art historians, art theorists and artists with a strong theoretical and research-oriented practice support students in their learning. With respect to their own practice and interests, they divide into three groups: sculpture, painting & printing and autonoom. Autonoom indicates artistic interests which can differ from those in the other groups, more oriented towards concepts, performance, time based work and other strategies. Students choose one of the groups as a home base for their learning from year two onwards. Joining a section does not limit students in their choice for artistic realisations. Students can change their affiliation to a group in the course of their studies. form the critical inquiry group and develop and deliver a theory based programme. All four groups develop the curriculum in close contact to each other.
The curriculum spans over a period of four years and is constructed out of the following blocks at all year levels. Blocks contain specific courses. • studio practice • professional practice • research practice • critical inquiry • electives / IST
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The curriculum is delivered in three pathways: • full time • part time • double degree
Full time and part time mode lead to the same degree. The learning appointments for part time students are arranged to accommodate their specific living conditions and the conditions of their jobs, where necessary. A greater proportion of independent learning is expected from them. The harmonisation between the full time curriculum and the part time curriculum is currently under development. In some instances a complete synchronisation might nit be achieved this year. The double degree pathway leads students to the achieve two bachelor degrees in parallel within four years, one in fine art and one in art history, The BA in art history is provided through the Art, Media and Society programme at Leiden University. A system of exemptions from curriculum elements has been developed to guarantee the validity for the award of the bachelor degree. In many cases the fine art elements of the curriculum resemble those for the part time students. The double degree programme and the part time mode are not open for incoming exchange students. studio practice The studio remains the nucleus for all learning and teaching. In the studio the process of learning itself is made visible, for the student as well as for others. We see the studio as a space, where you can leave a thought behind and it is still there, when you return the next morning. The studio is the ‘flight simulator’ for professional practice. The studio in the context of an art school allows students to establish a critical and supportive community, and builds future networks and opportunities for a contemporary art practitioner. The core of the learning in the years two, three and four of the BA-Fine Art curriculum is studio practice. Increasingly more time and credits are allocated for individual artistic work. The development of ideas and its transformation into works of art and artistic strategies stands in the foreground. Dedicated studio spaces are made available and highly qualified artists follow students with support, guidance and critical feedback. Artist-teachers provide critique and support in regular individual tutorials and in group activities. Students are strongly advised to engage in group activities and discussions as a necessary counterbalance to the development of their individual work. professional practice Art is a highly individual practice and can often have a high degree of self reflection and self reference: but it is always a professional practice. The role of the artists has changed over the centuries and keeps changing with an accelerating speed in contemporary times. An art market has blossomed which provides fortunes for some investors, dealers and selected artists. Collecting works of art can be a cultural and
Study Guide Royal Academy of Art, The Hague 2017/2018 62 an economic act at the same time. The desire for culture and art grows as the continuously increasing number of people visiting exhibitions, biennials and festivals shows, leaving a substantial residue for businesses and tourism. National and regional governments and city councils have developed ingenious systems to support the arts. With this as a backdrop we understand professional practice as the necessity to understand the economy of the artists now and in future. Through a programme of lectures and seminars we want to enable the artists of the future to understand their own economy and their contribution to the economy of our societies, rather than waiting for a volatile market to pay attention and the sheer skill to attract subsidies. We invite experienced artists, curators, museum directors, collectors, gallerists, economists, legal advisors and specialists from the wide range of science and society to present their thoughts. At the same time we engage students in the thinking of the many artists initiatives and collectives active in the Netherlands and abroad and aim to provide access to alternative thinkers, political activists and institutional critique. Furthermore students exercise in organising a few group shows. The aim of professional practice is to pay tribute to the changing roles of artists and to enable the reinvention of our economy as artists. research practice Research practice gives students the opportunity to get acquainted with various modes of research in and through the arts. Through seminars, projects and guest lectures by artistic researchers students will understand what importance research has for the production and perception of art and how art practice and art works contribute to our knowledge as mankind and societies, on eye level with and as an important counterpart to science. Students are provided with the opportunity to play with various notions of artistic research to inform the decision if they want to pursue research as artist actively and in what form.
critical inquiry Art history, art theory and reflections on artistic research firm under the heading critical inquiry. Understanding the history of the arts as embedded in the history of our societies is crucial to maintain a reflected stand as a contemporary artist. The contemporary discourse in art related theories inevitably provides the resonating body and the timbre for every artist today. All students follow a mandatory programme of lectures, seminars and projects in art history and theory and in relation to artistic research. A written thesis is part of the final exam. Studio teachers and theory teachers work in close contact to each other, among others in the docking station project. In addition to the mandatory programme students can join additional reading groups as electives to go deeper into specific issues. They can also sign up for a wide range of offers provided by Leiden University.
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electives / IST It is a tradition at KABK that students spend a certain amount of time of their studies to widen their horizon beyond their discipline. This is called the individual study track (IST). IST projects are offered academy wide and foster collaboration between the ten departments. As part of the IST programme students can also get access to many offers made by Leiden University. In addition to this the fine art department has developed a range of electives, relevant for the studies of fine art. Students in year two and three must choose at least 2 electives or IST offers per semester. The final exam project contains 12 credits of IST as individual learning and practice.
Staff
Head of department: Klaus Jung [email protected] Coordinator full time course : Martijn Verhoeven [email protected] Assistant coordinator: Cecilia Bengtsson [email protected]
Teachers
Sculpture
Maura Biava Irene Drooglever Fortuijn Bram de Jonghe Klaas Kloosterboer Andre Kruijsen Reinoud Oudshoorn Hans van der Pennen Els Snijder
Painting and printing
Rachel Bacon Pieter van Evert Andrea Freckmann Willem Goedegebuure Eric Hirdes Ton van Kints Aukje Koks Jeroen de Leijer Frank Lisser Annemieke Louwerens Willem Moeselaar Femmy Otten Ewoud van Rijn
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Elly Strik Babette Wagenvoort
‘autonoom’
Channa Boon Dina Danish Engelien van den Dool Marion Duursema Anja de Jong Jonas Ohlsson Maria Pask David Powell Hester Scheurwater Pim Voorneman
Critical Inquiry
Winnie Koekelbergh Alexandra Landré Tatjana Macic Anna Moreno Onno Schilstra Martijn Verhoeven
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General credit overview – Fine Art 2017/2018 Year 1 / semester 1 Full time Part time Double degree
Studio practice 21 24 24
Professional Practice 3 3
research practice
Critcal inquiry 6 6 3
Electives / IST
30 30 30
Year 1 / semester 2 Full time Part time Double degree
Studio practice 21 21 21
Professional Practice 3 3 3
research practice
Critcal inquiry 6 6 6
Electives * 6** 6** 6**
24 24 27
* In semester 2 , students choose 2 out of 7 electives, specifically designed for first year students. ** the credits for the 1st year electives are included in studio practice.
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Year 2 / semester 1 Full time Part time Double degree
Studio practice 14 15 7
Professional Practice 1 1
research practice 2 2
Critcal inquiry 7 6 3
Electives / IST 6 6
Art, Media and Society ** 20
30 30 10
** from Semester 2 onwards double degree students join the Arts Media and Society programme at Leiden University
Year 2 / semester 2 Double Full time Part time degree
Studio practice 14 14 7
Professional Practice 2 2
research practice 1 1
Critcal inquiry 7 7 3
Electives / IST 6 6
Art, Media and Society 20
30 30 10
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Year 3 / semester 1 Full time Part time Double degree
Studio practice 15 15 12
Professional Practice 2 2
research practice 1 1
Critcal inquiry 6 6 3
Electives / IST 6 6
Art, Media and Society 15
30 30 15
Year 3 / semester 2 Full time Part time Double degree
Studio practice 15 15 12
Professional Practice 2 2
research practice 1 1
Critcal inquiry 6 6
Electives / IST 6 6 3
Art, Media and Society 15
30 30 15
Year 4 / semester 1 Full time Part time Double degree
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Year 4 / semester 1 Studio practice 15 15 9
Professional Practice 6 6 6
research practice
Critcal inquiry 9 9
Electives / IST
Art, Media and Society 15
30 30 15
Year 4 / semester 2 Full time Part time Double degree
Studio practice 30 30 30
Professional Practice
research practice
Critcal inquiry
Electives / IST included* (12) (12)
Art, Media and Society
30 30 30
* 12 IST credits are given for the individual research and studies for the final exam project.
Courses descriptions Fine Arts 2017/2018
Course Descriptions – Fine Art
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Year 1: propaedeutic introduction / semester 1.1
Studio practice 1: propaedeutic studio practice ECTS 21 Language of instruction English Teachers The course is taught by a team of artists Teaching period one semester, 588 learning hours, including 40% independent learning (practice) Content Through a range of workshops and assignments students are introduced to some of the basic techniques relevant for art making. Introductions to the three sections (painting & printing, sculpture and autonoom) inform their choice for the later years. Artists provide guidance and feedback in groups and individually. The outcomes of assignments and projects are presented regularly to fellow students and staff. Learning outcomes • get acquainted with some art techniques • get acquainted with the learning environment and the learning culture in the three sections • get acquainted with the workshop facilities at KABK • collect experience in working individually and in groups to assignments • collect experience in presenting art works to peers and to discuss themes and works of others Restrictions to mobile students no student exchange in year 1 What will be assessed achievements in workshops and assignments, achievements against list of learning outcomes, attendance and participation, expectation to successfully complete the BA programme Professional practice 1: introduction to cultural landscape ECTS 3 Language of instruction English Teachers Boon (and others) Teaching period one semester, 84 learning hours, including 40% independent learning Content Through weekly excursions and a three day excursion to museums, galleries, artist’s run spaces, artist’s studios and works in public space, students get an insight into the cultural landscape of the Netherlands. The visits are enriched by talks or guided tours conducted by artists, curators or other professionals. Learning outcomes • contribute to the talks and discussion and formulate own thoughts to professional curators or artists • choose a work of like or dislike and explain the choice in a short essay • organise an interview with an artist and write a report about this interview • orientation and confrontation within the art world outside the academy. • begin to understand structures and strategies in the art world • develop the ability to talk and write about art Restrictions to mobile students No student exchange in year 1 Teaching period
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Full semester What will be assessed Students are expected to participate in various assignments. Critical Inquiry 1a: Introduction to Art History ECTS 3 Language of instruction English Teachers Verhoeven / Schilstra Teaching period one semester, 84 learning hours, including 40% independent learning Content Students get acquainted with the general developments in the art since 1000 B.C to the beginning of the 20th century. Major achievements in painting, sculpture, architecture, applied arts and photography will be presented. A range of movements and styles are presented in their historical context and in relation to contemporary developments. (f.e.: archaic, classic, early christian art, romanic, gothic, islamic art, renaissance, baroque, romantic, realism) An excursion to relevant exhibitions or a museum collection is organised twice per year. Learning Outcomes • knowledge about the most important developments in the history of art • ability to recognise artworks in relation to style and historical position. • ability to analyse works of art in relation to form, function, content, material and technique • general knowledge of the social context, in which works of art have been produced • ability to present an analysis of an art work orally and in writing. Restrictions to mobile students No student exchange in year Teaching period No student exchange in year 1 What will be assessed Active participation, assignments and presentations
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Critical Inquiry 1b: Research and Discourse ECTS 3 Language of instruction English Teachers Macic and several other teachers Teaching period one semester, 84 learning hours, including 40% independent learning Content Research & Discourse (R&D) is a mandatory course for first year students from all departments of the KABK (Fine Art, Graphic Design, Photography, Textile & Fashion, Interior Architecture and Furniture Design and Interactive/Media/Design). R&D critically relates creative practice to theory - making to thinking - within the framework of contemporary creative practices. The course is a combination of art theory and training in research skills, aiming to establish a critical and exploratory mind-set and to develop (academic) research skills of the students. R&D forms a base for learning and knowledge in the first as well as in the following study years. The program enables students to raise relevant questions, discuss different perspectives and advance their (academic) research capabilities in the context of making art and of reflection on contemporary art and society. R&D gradually prepares students to take an informed position in contemporary and interdisciplinary art discourse. R&D is divided into two main parts: I Research, which in itself is constituted of two didactic forms: Research Seminars and Research Lectures, and II Discourse, which is offered in the form of lectures. Knowledge and insights that are problematised in the lectures are consequently discussed in the Research Seminars. The two formats of Research and Discourse therefore are intertwined and form a dynamic platform for knowledge and research. Learning outcomes • develop a research mind-set and research skills • understand an array of research methods • learn to reflect and actively engage in contemporary artistic discourse. restrictions to mobile students No student exchange in year 1 What will be assessed Active participation, assignments, presentations and work in small groups on writing assignments.
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Year 1: / Semester 1.2
Studio practice 2a: propaedeutic studio practice ECTS 21 Language of instruction English Teachers The course is taught by a team of artists Teaching period one semester, 420 learning hours, including 40% independent learning (practice) Content See studio practice 1 Through a range of workshops and assignments students are introduced to some of the basic techniques relevant for art making. Introductions to the three sections (painting & printing, sculpture and autonoom) inform their choice for the later years. Artists provide guidance and feedback in groups and individually. The outcomes of assignments and projects are presented regularly to fellow students and staff. Learning outcomes • get acquainted with some art techniques • get acquainted with the learning environment and the learning culture in the three sections • get acquainted with the workshop facilities at KABK • collect experience in working individually and in groups to assignments • collect experience in presenting art works to peers and to discuss themes and works of others Restrictions to mobile students no student exchange in year 1 What will be assessed achievements in workshops and assignments, achievements against list of learning outcomes, attendance and participation, expectation to successfully complete the BA programme
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Studio practice 2b: propaedeutic electives ECTS 6 Language of instruction English Teachers The course is taught by an artist teacher, a theory teacher or a guest Teaching period one semester, 84 learning hours per elective, including 40%-60% independent learning Content Students choose 2 out of 7 electives. Electives can be technical workshops, a seminar or an externally provided experience: Photography: expanded workshop Video: expanded workshop Printmaking: expanded workshop Textile: in cooperation with the fashion and textile department Cinema: lectures and viewings No room for space: in cooperation with the Interior architecture department Reading The Hague: an introduction to the cultural institutions and heritage of the City, provided by Stroom Learning outcomes • depending on electives. detailed description will be available at the beginning of the semester Restrictions to mobile students No student exchange in year 1 What will be assessed Active attendance and / or assignments
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Professional practice 2a: website workshop ECTS 1 Language of instruction English Teachers external specialist Teaching period 30 taught hours and individual support Content Students are made familiar with basic principles and techniques to develop a website, not as promotion tool, but as record of their learning, the development of their artworks and their research. All websites are collected under a common portal and will also be used as an aide memoire for assessment purposes. Learning outcomes • build and maintain a basic website Restrictions to mobile students No student exchange in year 1 What will be assessed Active participation and publishing of a website on the provided portal
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Professional practice 2b: one week placement ECTS 1 Language of instruction English Teachers external placement Teaching period 40 hours Learning outcomes • experience professional practice at a gallery, a museum, an artists initiative or with an artist Restrictions to mobile students No student exchange in year 1 What will be assessed Active participation
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Professional practice 2c: ABPW (academy wide project week) ECTS 1 Language of instruction English Teachers The course has been developed by two artists and is supported by all 1st year teachers. Teaching period 30 hours Content 1st year students from all departments at the KABK gather in mixed groups for a joined project addressing a common theme under the supervision of teachers. The project is kickstarted by lectures and culminates in a presentation. Learning outcomes • get acquainted with students from across KABK • ability to work in groups • ability to address a theme creatively in a short period of time Restrictions to mobile students No student exchange in year 1 What will be assessed Active participation in the project and the final presentation, collaborative skills, creative ability
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Critical Inquiry 2a: Introduction to Art History ECTS 3 Language of instruction English Teachers Verhoeven / Schilstra Teaching period one semester, 84 learning hours, including 40% independent learning Content Students get acquainted with the general developments in the art since 1000 b.C to the beginning of the 20th century. Major achievements in painting, sculpture, architecture, applied arts and photography will be presented. A range of movements and styles are presented in their historical context and in relation to contemporary developments. (f.e.: archaic, classic, early christian art, romanic, gothic, islamic art, renaissance, baroque, romantic, realism) An excursion to relevant exhibitions or a museum collection is organised twice per year. Learning outcomes • knowledge about the most important developments in the history of art • ability to recognise artworks in relation to style and historical position. • ability to analyse works of art in relation to form, function, content, material and technique • general knowledge of the social context, in which works of art have been produced • ability to present an analysis of an art work orally and in writing. Restrictions to mobile students No student exchange in year Teaching period No student exchange in year 1 What will be assessed Active participation, assignments and presentations
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Critical Inquiry 2b: Research and Discourse ECTS 3 Language of instruction English Teachers Macic and various teachers Teaching period one semester, 84 learning hours, including 40% independent learning Content See Critrical Inquiry 1b Research & Discourse (R&D) is a mandatory course for first year students from all departments of the KABK (Fine Art, Graphic Design, Photography, Textile & Fashion, Interior Architecture and Furniture Design and Interactive/Media/Design). R&D critically relates creative practice to theory - making to thinking - within the framework of contemporary creative practices. The course is a combination of art theory and training in research skills, aiming to establish a critical and exploratory mind-set and to develop (academic) research skills of the students. R&D forms a base for learning and knowledge in the first as well as in the following study years. The program enables students to raise relevant questions, discuss different perspectives and advance their (academic) research capabilities in the context of making art and of reflection on contemporary art and society. R&D gradually prepares students to take an informed position in contemporary and interdisciplinary art discourse. R&D is divided into two main parts: I Research, which in itself is constituted of two didactic forms: Research Seminars and Research Lectures, and II Discourse, which is offered in the form of lectures. Knowledge and insights that are problematised in the lectures are consequently discussed in the Research Seminars. The two formats of Research and Discourse therefore are intertwined and form a dynamic platform for knowledge and research. Learning outcomes • develop a research mind-set and research skills • understand an array of research methods • learn to reflect and actively engage in contemporary artistic discourse. Restrictions to mobile students No student exchange in year 1 What will be assessed Active participation, assignments, presentations and work in small groups on writing assignments.
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Year 2: Experimentation, knowledge and understanding / Semester 2.1
Studio practice 3 ECTS 14 Language of instruction English Teachers The course is taught by a team of artists Teaching period one semester, 392 learning hours, including 50% independent learning (practice) Content Students are guided by professional artists as teachers to make their own choices and to develop their own ideas based on the experience, research and knowledge they have gained so far. They will be guided to take advantage of the techniques and technologies provided through the workshops within the academy. They are also encouraged to seek external technical advice, if facilities cannot be provided internally. Contemporary art practice requires an open mind. Therefore, students are expected to utilise year two for experimentation. Students are encouraged to produce both individual and collaborative work. They are asked to work directly from their personal ideas and viewpoints, to improvise quickly and to articulate further choices. Works are collectively analysed and critiqued within the group; for example, how a different form could be used to emphasise a certain idea and how the space around a work affects its context. Regular presentations of ideas and work to the group of peers and to the teaching staff are essential in this process. Learning outcomes • to be able to make choices based on artistic experiments and improvisation • to develop an understanding for the importance of quality in making • to be able to link research, knowledge and theories to art practice • to collaborate with their peers • to be able to present works and ideas to their peers and teachers • to be able to analyse and discuss the work of others Restrictions to mobile students No student exchange in year 2 What will be assessed achievements against list of learning outcomes, attendance and participation, exhibition skills and contextual awareness as made visible in a presentation
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Professional practice 3: professional practice week ECTS 1 Language of instruction English Teachers The course is delivered as presentations and scissions with external guests Teaching period 30 hours plus individual work on an assignment Content Guests representing a range of roles in the professional art world talk about their experience and advise for the student´s future. Podium discussions accompany the presentations guest can be: • artists • gallerists • curators / directors • art collectors • researchers • festival directors • artists´ initiatives Learning outcomes • get acquainted with the range of roles in the professional art world • inform the decision of which role to take in future • inform how to develop and define future roles and the accompanying economy Restrictions to mobile students No student exchange in year 2 What will be assessed active participation, written assignment
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Research practice 1: ECTS 2 Language of instruction English Teachers The course is taught by an artist / researcher and guests. students can choose between 2 optional teams. Teaching period one semester, 56 learning hours Content Research Practice 1 departs from the current debate on research in the arts, in order to analyse, critique and question the phenomenon of artistic research and the discourse surrounding it, in relation to more general issues within a contemporary art context and culture production. Examination of the role of the artist, who adopts a strategic stance vis-a- vis research and the academic world and calls for a critical reorganisation of the fields of knowledge and practice. The aim is to enable students to critique their immediate field - academic, social, political, economical, from local to global - while reflecting on their own artistic process and determining a wide array of theoretical, cultural, ideological references. The semester is divided into four different blocks: Introduction to Artistic Research, Knowledge Economies, Performative Research and Documentation. Learning outcomes • Capacity to verbalise the creative process and to develop a discourse around their work. • Capacity to identify, document and make visible their main research topics, and the critical moments in their artistic process. • Capacity to adopt criticism fruitfully. • Motivation to find new references and to relate their work to a specific context • Participation in class and active questioning of the main topics discussed in relation to their own practice. Restrictions to mobile students No student exchange in year 2 What will be assessed active participation and an assignment
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Critical Inquiry 3a: Art History and Theory ECTS 6 Language of instruction English Teachers Koekelbergh / Landre / Schilstra Teaching period one semester, 168 learning hours, including 40% independent learning Content Students get acquainted with the canon of modern art. The main art movements and canonical works from the late 19th, 20th and 21th centuries are discussed in their historical context and a relationship to contemporary developments and the own practice is elucidated. Learning outcomes • understand the major artistic movements in the 19th, 20th and 21st centuries • ability to know and recognise canonical works from this period. • ability to identify the creators and approximate dates of production of works and relate them to relevant artistic movements. • ability to describe and interpret style and content • achieve general knowledge of the social context in which works were created. • ability to use art historical knowledge to position the own work. • ability to designate artists from the past and present whose oeuvre has kinship with the own work. • ability to express and communicate thoughts about art both verbally and in writing. • ability to produce a presentation on a chosen topic with visual aids • Assignments: verbal (Powerpoint) presentation, two written exhibition reviews, written exam Restrictions to mobile students No student exchange in year 2 What will be assessed active participation, oresentations, written papers
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Critical Inquiry 3b: Studium Generale ECTS 1 Language of instruction English Teachers The course is coordinated by and artist and includes presentations by a range of guests under a selected theme Teaching period one semester, 28 learning hours Content A series of lectures developed under specific themes. Mandatory for all students across the KABK at year level 1 or 2. Themes change from semester to semester and address contemporary political topics relevant for the context of art and design. Learning outcomes • sharpen the understanding of contemporary discourse • understand the relationship between socio-political topics and the production and perception of art. Restrictions to mobile students No student exchange in year 2 Assessment strategies active participation
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Electives / IST 1: ECTS 6 Language of instruction English Teachers The courses are taught by various artists, theoreticians or guests Teaching period one semester, 168 learning hours, including 40%-60% independent learning Content Electives and IST courses (Individual Study Track) offer the opportunity to specialise, experiment, and deepen knowledge. Specific subjects and themes are addressed, offer the opportunity for gaining knowledge and collaborating with other students. These courses have different formats, ranging from workshops (fostering technical skills to improve the quality of making), thematic projects (based upon the specialisms of the teaching artists) or reading groups (offering the opportunity to deepen and broaden the insight in texts and theories) While the IST courses are interdisciplinary, offered to students from all departments – and in some cases including students from Leiden University -, electives are tailor made for Fine Art students. The composition of electives offered changes every year. Students choose two electives / ist per semester For semester 2.1 in 2017 / 18 the following electives will be prepared in addition to the academy wide IST programme: Big model, drawing lab, on sound, ceramics, artists and composers, painting techniques, collaboration with tent in Rotterdam, collaboration with Beelden an Zee in Scheveningen, expanded sculpture, overprint, performance, art & politics 1, guest elective Learning outcomes • learning outcomes vary from elective to elective. A more specific list will be presented at the beginning of the semester. Restrictions to mobile students No student exchange in year 2 What will be assessed active participation, specific assignments and / or presentations
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Year 2 / Semester 2.2
Studio practice 4: ECTS 15 Language of instruction English Teachers The course is taught by a team of artists Teaching period one semester, 420 learning hours, including 50% independent learning (practice) Content Students are guided by professional artists as teachers to make their own choices and to develop their own ideas based on the experience, research and knowledge they have gained so far. They will be guided to take advantage of the techniques and technologies provided through the workshops within the academy. They are also encouraged to seek external technical advice, if facilities cannot be provided internally. Contemporary art practice requires an open mind. Therefore, students are expected to utilise year two for experimentation. Students are encouraged to produce both individual and collaborative work. They are asked to work directly from their personal ideas and viewpoints, to improvise quickly and to articulate further choices. Works are collectively analysed and critiqued within the group; for example, how a different form could be used to emphasise a certain idea and how the space around a work affects its context. Regular presentations of ideas and work to the group of peers and to the teaching staff are essential in this process. Learning outcomes • to be able to make choices based on artistic experiments and improvisation • to develop an understanding for the importance of quality in making • to be able to link research, knowledge and theories to art practice • to collaborate with their peers • to be able to present works and ideas to their peers and teachers • to be able to analyse and discuss the work of others Restrictions to mobile students No student exchange in year 2 What will be assessed achievements against list of learning outcomes, attendance and participation, exhibition skills and contextual awareness as made visible in a presentation
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Professional practice 4: ECTS 2 Language of instruction English Teachers The course is supported by a team of artists and theoreticians Teaching period 56 hours Content development of an exhibition of the section group in the KABK gallery: including development of work, preparation, curation, PR, finances and general management. Learning outcomes • experimenting with exhibitions as a form of professional practice Restrictions to mobile students No student exchange in year 2 What will be assessed The course feeds into the collective assessment at the end of the semester. The individual presentation and the achievements of the group will be assessed against the general learning outcomes.
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Research practice 2: ECTS 1 Language of instruction English Teachers The course is taught by an artist / researcher and guests. students can choose between 2 optional teams. Teaching period 28 hours Content Contemporary artistic practice is not necessarily bound to one discipline in particular and therefore calls for a multi/inter/cross/disciplinary approach to research. Connections between the visual arts and other disciplines are explores, such as literature, philosophy, film, theatre, psychoanalysis, theory and science. Students learn to understand differences how academic/scientific research and artistic research relate to each other and to understand the differences. Research skills are advanced, such as critical reading, writing, searching and organising sources (images, texts, video, photography, documentary and sound material). Different stages and aspects of artistic research are reflected upon and put into practice. In group and in individual assignments students work intensively on furthering their imagination, self-awareness, processes, planning, time-management, development of conceptual theme’s and relation to materials and space. Students reflect on their artistic personality by working with autobiographical sources like memories, objects and stories. Learning outcomes • learn to conceptualise, conduct and document research • understand methods, skills, materials, concepts and mind-set necessary to conduct comprehensive research. • learn how to practically do research in different media, theme’s and materials Restrictions to mobile students No student exchange in year 2 What will be assessed active participation, saignements, presentations
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Critical Inquiry 4a: Art History and Theory ECTS 6 Language of instruction English Teachers Koekelberg, Landre, Schilstra Teaching period one semester, 168 learning hours, including 40% independent learning Content The focus is on selected periods of time, e.g. the avant-garde (ca. 1900-1945), post- war art (ca. 1945 – 1965), period of change (1965 – 1985), etc. Within each period, different artistic trends, practices and examples are presented to the students. The intention of the programme is to offer the students insights into the ‘ecosystem’ of a certain period and how the different developments in society (economy, history, politics, society) influenced the arts and how different artistic developments relate to each other, how they are similar and how they differ. Learning outcomes understand relevant art historical data and different art historical approaches and theories develop an insight into a range of different artistic practices and into how they relate to each other (or not) the ability to place historical information in an art historical context (re-)interpret art historical approaches, in relation to contemporary practices use this art historical knowledge to position the student’s own work. The ability to designate artists from the past and present whose oeuvre has kinship with the students own work. Restrictions to mobile students No student exchange in year Teaching period full semester What will be assessed verbal (PowerPoint) presentations, two written exhibition reviews, written exam
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Critical Inquiry 4b: Studium Generale ECTS 1 Language of instruction English Teachers The course is coordinated by and artist and includes presentations by a range of guests under a selected theme Teaching period one semester, 28 learning hours Content A series of lectures developed under specific themes. Mandatory for all students across the KABK at year level 1 or 2. Themes change from semester to semester and address contemporary political topics relevant for the context of art and design. Learning outcomes • sharpen the understanding of contemporary discourse • understand the relationship between socio-political topics and the production and perception of art. Restrictions to mobile students No student exchange in year 2 Assessment strategies active participation
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Electives / IST 2: ECTS 6 Language of instruction English Teachers The courses are taught by various artists, theoreticians or guests Teaching period one semester, 168 learning hours, including 40%-60% independent learning Content Electives and IST courses (Individual Study Track) offer the opportunity to specialise, experiment, and deepen knowledge. Specific subjects and themes are addressed, offer the opportunity for gaining knowledge and collaborating with other students. These courses have different formats, ranging from workshops (fostering technical skills to improve the quality of making), thematic projects (based upon the specialisms of the teaching artists) or reading groups (offering the opportunity to deepen and broaden the insight in texts and theories) While the IST courses are interdisciplinary, offered to students from all departments – and in some cases including students from Leiden University -, electives are tailor made for Fine Art students. The composition of electives offered changes every year. Students choose two electives / ist per semester For semester 2.2 and 3.2 in 2017 / 18 the following electives will be prepared in addition to the academy wide IST programme: digital media lab, drawing lab, video editing, ceramics, performance, painting techniques, collaboration with NEST, food and art, art & politics 2, on video art, reading group, guest electives Learning outcomes • learning outcomes vary from elective to elective. A more specific list will be presented at the beginning of the semester. Restrictions to mobile students No student exchange in year 2 Assessment strategies active participation, specific assignments and / or presentations
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Year 3: Development of a body of work and contextualisation / Semester 3.1
Studio practice 5a: ECTS 12 Language of instruction English Teachers The course is taught by a team of artists and theory teachers Teaching period one semester, 336 learning hours, including 60% independent learning (practice) Content The individual aims, desires and fascinations of the student are being synchronised with an awareness of the public relevance of these aims. Only when individual obsessions are related or relatable to a broader perspective can art reach and touch other people. Students test the application of their skills and utilise them for the development of a body of work with a level of coherence. While experimentation and improvisation guide all art practice, artists constantly fine tune their skills in the process of decision making. Decisiveness determines the quality of work and leads to a convincing body of work and a coherent art practice. The courses studio practice 5a and 6 support students in the refinement of techniques, technologies and strategies relevant to their practice. The process of developing a body of work out of observation, research, insight and experience begins. Analysing and discussing art works and relevant themes in the group of peers continues. The insight into how historical, social, political, economic and cultural circumstances influence one’s work and that of others will increase. More clarity about the link between experience, research and theories to art practice will be achieved. In regular group sessions, presentation skills will be sharpened. Learning outcomes • kick-start the development of a body of work • improve the quality of making • to be able to apply research, knowledge and theories to art practice • to collaborate with peers • to be able to present works and ideas to peers and teachers • to be able to contextualise the own work and that of others Restrictions to mobile students No student exchange in year What will be assessed achievements against list of learning outcomes, attendance and active participation, exhibition skills, oral presentation skills and contextual awareness as made visible in a presentation
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Studio practice 5b: docking station ECTS 3 Language of instruction English Teachers The course is taught by a team of artists and theoreticians Teaching period one semester, 84 learning hours, including 60% independent learning (practice) Content Docking Station involves the integration of theory and practice. These days, the integration of theory and practice in each individual practice is more than a mere experiment; it is an essential characteristic of contemporary art practice. This is a challenge for tutors as well as for students. Therefore the purpose of Docking Station is twofold: first, for teachers to develop stimulating and new insights into art education and to create innovative educational formats in which practical and theoretical education are fully integrated; and second, to stimulate students to develop a self-critical, reflexive, independent and inquisitive attitude. Docking Station runs during the second half of the first semester for second year students of all departments of the Royal Academy. During this period, every department organises a thematic project, which is prepared and tutored by (at least) two lecturers in close collaboration: an art theory lecturer and a practice lecturer. Docking Station aims at thematic, research based education in workshop format. The focus is on creating an inspiring and intellectual climate. Students’ independence and self-study play a central role. The pairs of lecturers guide students in an integrated process of thinking and making. Students write a report on their contribution to the project. Docking Station is evaluated each year by the individual departments and discussed in an academy-wide working group. Learning outcomes • development of a self-critical, reflexive, independent and inquisitive attitude • ability to link theory and practice in relation to the own individual work • awareness of the historical and theoretical context of fine art production Restrictions to mobile students open for exchange students What will be assessed active participation, presentation
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Professional practice 5: critical feedback ECTS 2 Language of instruction English Teachers The course is taught by a team of artists and theoreticians Teaching period 58 hours Content All students of the year group prepare a presentation in small groups in the project spaces. The presentation culminates in a critical feedback session (crit) as in depth discussion of the own work and that of others. Learning outcomes • prepare substantial work for a presentation • arrange an appropriate visual presentation of the work • ability to speak about the process and research leading to the work • ability to critically reflect upon the own work and that of others Restrictions to mobile students Open for exchange students What will be assessed an assessment team will assess against the general learning outcomes. Results feed into the collective assessment at the end of the semester.
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Research practice 3: ECTS 1 Language of instruction English Teachers various lectures coordinated by an artist / researcher Teaching period 30 hours (including independent learning) Content Artist engaged in various forms of research and / or inquiry present their work, their research and their position to contemporary artistic research Learning outcomes • understand the various options of conducting research in the context of the arts • develop an individually strategy towards research in and through the arts • enable to play with various forms of artistic research and to reflect upon it Restrictions to mobile students Open for exchange students What will be assessed active participation and the research component at the collective assessment
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Critical Inquiry 5: Art History and Theory ECTS 6 Language of instruction English Teachers Koekelbergh / Landre / Schilstra Teaching period one semester, 168 learning hours, including 50% independent learning Content In semester 3.1 and 3.2 the focus is on theoretical aspects of art, art theory, philosophy, literature theory, sociology, politics and related issues. The program is structured along four clusters, that are composed of several related topics. During each cluster two examples of works and/or artistic practices are introduced that function as a guiding line in the exploration of a selection of theoretical concepts, e.g. Autobiography, Engagement, Globalisation and Digitalisation, and their interrelation. Students are confronted with important questions in philosophical aesthetics: What is art and what is its value? What is the social function of art, what is beauty, what is interpretation, does art produce knowledge (and if so, what kind of knowledge), how do 'form' and 'content’ of an artwork relate to each other, etc. Students are introduced to the varying answers that different philosophers have given to these questions in the course of time. Also, important art-theoretical notions and concepts are discussed, such as: mimesis, representation, symbol , the sublime etc. By discussing these questions and concepts students are trained in forming their own opinions and underpinning their views concerning these issues. Learning outcomes • knowledge of key theoretical concepts and terms • understanding of relevance of theory in relation to artistic practice • insight into discussion and interpretation of theory • basis to develop critical thinking and development of own theoretical (artistic) principles • knowledge of sources, materials and analysis and research skills • understand different and at times contradicting theoretical viewpoints that ideally challenge to determine and sharpen their own position. Restrictions to mobile students Open for exchange students What will be assessed Assignments: collaborative assignments in pairs of students
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Electives / IST 3: ECTS 6 Language of instruction English Teachers The courses are taught by various artists, theoreticians or guests Teaching period one semester, 168 learning hours, including 40%-60% independent learning Content Electives and IST courses (Individual Study Track) offer the opportunity to specialise, experiment, and deepen knowledge. Specific subjects and themes are addressed, offer the opportunity for gaining knowledge and collaborating with other students. These courses have different formats, ranging from workshops (fostering technical skills to improve the quality of making), thematic projects (based upon the specialisms of the teaching artists) or reading groups (offering the opportunity to deepen and broaden the insight in texts and theories) While the IST courses are interdisciplinary, offered to students from all departments – and in some cases including students from Leiden University -, electives are tailor made for Fine Art students. The composition of electives offered changes every year. Students choose two electives / ist per semester For semester 2.1 in 2017 / 18 the following electives will be prepared in addition to the academy wide IST programme: Big model, drawing lab, on sound, ceramics, artists and composers, painting techniques, collaboration with tent in Rotterdam, collaboration with Beelden an Zee in Scheveningen, expanded sculpture, overprint, performance, art & politics 1, guest elective Learning outcomes • learning outcomes vary from elective to elective. A more specific list will be presented at the beginning of the semester. Restrictions to mobile students No student exchange in year 2 What will be assessed active participation, specific assignments and / or presentations
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Year 3 / Semester 3.2
Studio practice 6: ECTS 15 Language of instruction English Teachers The course is taught by the team of artists and theory teachers Teaching period one semester, 420 learning hours, including 60% independent learning (practice) Content See studio practice 5a The individual aims, desires and fascinations of the student are being synchronised with an awareness of the public relevance of these aims. Only when individual obsessions are related or relatable to a broader perspective can art reach and touch other people. Students test the application of their skills and utilise them for the development of a body of work with a level of coherence. While experimentation and improvisation guide all art practice, artists constantly fine tune their skills in the process of decision making. Decisiveness determines the quality of work and leads to a convincing body of work and a coherent art practice. The courses studio practice 5a and 6 support students in the refinement of techniques, technologies and strategies relevant to their practice. The process of developing a body of work out of observation, research, insight and experience begins. Analysing and discussing art works and relevant themes in the group of peers continues. The insight into how historical, social, political, economic and cultural circumstances influence one’s work and that of others will increase. More clarity about the link between experience, research and theories to art practice will be achieved. In regular group sessions, presentation skills will be sharpened. Learning outcomes • kick-start the development of a body of work • improve the quality of making • to be able to apply research, knowledge and theories to art practice • to collaborate with peers • to be able to present works and ideas to peers and teachers • to be able to contextualise the own work and that of others Restrictions to mobile students open for exchange students What will be assessed achievements against list of learning outcomes, attendance and active participation, exhibition skills, oral presentation skills and contextual awareness as made visible in a presentation
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Professional practice 6: ECTS 2 Language of instruction English Teachers The course is supported by a team of artists and theoreticians Teaching period 56 hours Content • development of an exhibition of the section group in a public venue: including development of work, preparation, curation, PR, finances and general management. • learning outcomes • experimenting with exhibitions as a form of professional practice Restrictions to mobile students Open for exchange students What will be assessed The course feeds into the collective assessment at the end of the semester. The individual presentation and the achievements of the group will be assessed against the general learning outcomes.
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Research practice 5: ECTS 1 Language of instruction English Teachers various lectures coordinated by an artist / researcher Teaching period 30 hours (including independent learning) Content Artist engaged in various forms of research and / or inquiry present their work, their research and their position to contemporary artistic research Learning outcomes • understand the various options of conducting research in the context of the arts • develop an individually strategy towards research in and through the arts • enable to play with various forms of artistic research and to reflect upon it Restrictions to mobile students Open for exchange students What will be assessed active participation and the research component at the collective assessment
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Critical Inquiry 6: ECTS 6 Language of instruction English Teachers Koekelbergh / Landre / Schilstra Teaching period one semester, 168 learning hours, including 50% independent learning Content In semester 3.1 and 3.2 the focus is on theoretical aspects of art, art theory, philosophy, literature theory, sociology, politics and related issues. The program is structured along four clusters, that are composed of several related topics. During each cluster two examples of works and/or artistic practices are introduced that function as a guiding line in the exploration of a selection of theoretical concepts, e.g. Autobiography, Engagement, Globalisation and Digitalisation, and their interrelation. Students are confronted with important questions in philosophical aesthetics: What is art and what is its value? What is the social function of art, what is beauty, what is interpretation, does art produce knowledge (and if so, what kind of knowledge), how do 'form' and 'content’ of an artwork relate to each other, etc. Students are introduced to the varying answers that different philosophers have given to these questions in the course of time. Also, important art-theoretical notions and concepts are discussed, such as: mimesis, representation, symbol , the sublime etc. By discussing these questions and concepts students are trained in forming their own opinions and underpinning their views concerning these issues. Learning outcomes • knowledge of key theoretical concepts and terms • understanding of relevance of theory in relation to artistic practice • insight into discussion and interpretation of theory • basis to develop critical thinking and development of own theoretical (artistic) principles • knowledge of sources, materials and analysis and research skills • understand different and at times contradicting theoretical viewpoints that ideally challenge to determine and sharpen their own position. Restrictions to mobile students Open for exchange students What will be assessed Assignments: collaborative assignments in pairs of students
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Electives / IST 5: ECTS 6 Language of instruction English Teachers The courses are taught by various artists, theoreticians or guests Teaching period one semester, 168 learning hours, including 40%-60% independent learning Content Electives and IST courses (Individual Study Track) offer the opportunity to specialise, experiment, and deepen knowledge. Specific subjects and themes are addressed, offer the opportunity for gaining knowledge and collaborating with other students. These courses have different formats, ranging from workshops (fostering technical skills to improve the quality of making), thematic projects (based upon the specialisms of the teaching artists) or reading groups (offering the opportunity to deepen and broaden the insight in texts and theories) While the IST courses are interdisciplinary, offered to students from all departments – and in some cases including students from Leiden University -, electives are tailor made for Fine Art students. The composition of electives offered changes every year. Students choose two electives / ist per semester For semester 2.2 and 3.2 in 2017 / 18 the following electives will be prepared in addition to the academy wide IST programme: digital media lab, drawing lab, video editing, ceramics, performance, painting techniques, collaboration with NEST, food and art, art & politics 2, on video art, reading group, guest electives Learning outcomes • learning outcomes vary from elective to elective. A more specific list will be presented at the beginning of the semester. Restrictions to mobile students No student exchange in year 2 Assessment strategies active participation, specific assignments and / or presentations
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Year 4: Development of a professional art practice / Semester 4.1
Studio practice 7: ECTS 15 Language of instruction English Teachers The course is taught by a team of artists and theory teachers Teaching period one semester, 420 learning hours, including 70% independent learning (practice) Content Knowledge, understanding, independence and skilfulness are the basis of professional art practice. Constant innovation based on experience and continuous art making determine artistry. The ability to position one’s own work and that of others in the context of our culture, society and the various streams of a professional art world is essential to profession as an artist. In the final year of the BA Fine Art programme at KABK students work towards a professional practice based on such foundations. Studio practice five enables students to professionalise a body of work and to present it to publics. Learning outcomes • professionalise the development of a body of work • master the application of research, knowledge and theories to art practice • present works and ideas to peers, teachers and a wider public in a public exhibition • link the own work and that of others to a written thesis (see critical inquiry: thesis) Restrictions to mobile students No student exchange in year Teaching period Full semester What will be assessed achievements against list of learning outcomes, attendance and active participation, exhibition skills, oral presentation skills and contextual awareness as made visible in a presentation
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Professional practice 7: pre exam exhibition ECTS 6 Language of instruction English Teachers The course is taught by a team of artists and theoreticians Teaching period 168 hours, mostly independent learning Content Towards the end of the semester students over all three sections will exhibit their work in a public venue. They plan the exhibition themselves, apply for funding, test public and private fundraising, find the venue, find and contract a curator, prepare all PR material and produce a catalogue if the self-raised funding permits it. A programme of public events, like seminars, talks, and performance evenings, accompany the show. The self-management takes advantage of the experience of previous year groups and of the experience of teaching staff. Learning outcomes • experience all aspects of self-managing an exhibition • experience with taking tasks and responsibilities in a group • managing a group • experience the pressure of producing art works and its dissemination in a public context at the same time Restrictions to mobile students No student exchange in year 4 What will be assessed The course feeds into the collective assessment at the end of the semester. The individual presentation and the achievements of the group will be assessed against the general learning outcomes.
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Critical Inquiry 6: Thesis ECTS 9 Language of instruction English Teachers Koekelbergh / Landre / Schilstra Teaching period one semester, 252 learning hours, including 80% independent learning Content The experience over the years with linking history and theory with the own art practice culminates in a written thesis. Theory staff and studio tutors advise on the choice of a theme and theory staff accompany the writing process. The thesis must be handed in at the end of the semester. It will be examined in the following semester and the results feed into the collective assessment at the end of the year. Learning outcomes • ability to choose a topic which has relevance for the current debates on contemporary art and for the own work at the same time • ability to do research in relation to the topic • ability to write a substantial thesis on a chosen subject Restrictions to mobile students No student exchange in year 4 What will be assessed The thesis will be assessed against the general learning outcomes. Results feed into the final exam
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Year 4 / Semester 4.2
Studio practice 8: Final Exam Project ECTS 30 Language of instruction English Teachers The course is taught by a team of artists Teaching period one semester, 840 learning hours, including 70% independent learning (practice) Content Semester eight is solely dedicated to the preparation and production of the work to be presented for the final exam and in the degree show. The experience from former semesters culminates in a refined presentation of substantial work. Studio practice, professional practice and critical inquiry weave together and give a first proposal for the formulation of the own future position as artist. Learning outcomes • produce a substantial body of work to be presented for the final exam and in the degree show • weave all experiences with studio practice, critical inquiry and professional practice together • ability to present work visually and verbally Restrictions to mobile students No student exchange in year 4 What will be assessed achievements against list of learning outcomes, attendance and active participation, exhibition skills, oral presentation skills and contextual awareness as made visible in the final presentation, expectation to contribute to the professional art world of the future.
Contact Fine art office [email protected]
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2.1.2 ArtScience
Facts
Educational variant Full-time Duration full-time 4 years Degree Bachelor of Arts Credits (ECTS) 240 ECTS Head of department Taco Stolk
Application deadline The application deadline for international applicants with a non-EU/EEA nationality is May 1st.
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
The ArtScience Interfaculty offers an interdisciplinary Bachelor’s and Master’s programme that fosters curiosity-driven research as an approach to the creation of art. The programme regards art and science as a continuum and promotes the development of new art forms and artistic languages.
The ArtScience Interfaculty is an interdisciplinary department situated between and embedded within both the Royal Academy of Art, The Hague and the Royal Conservatoire. Classes include scientific and theoretical knowledge, sensory perception, interdisciplinary composition, hands-on production, performance training, collaborative projects and critical thinking. We focus largely on individual coaching. ArtScience allows students to code and create never-before heard sounds and never-before seen images, to establish immersive environments, to design new forms of interaction with their audiences and explore media that have never before been used by artists. Most importantly, students are invited to re-invent art, as needed in this century.
See also: For detailed information and course descriptions please check the Interfaculty website General Study Information: 1.4 Study Information
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Courses and ECTS
With the exception of some introductory and theoretical courses, the ArtScience Interfaculty has an ‘open curriculum’. Within constraints, students navigate individually through the modules offered within the Interfaculty and its affiliated departments and institutions. At the Interfaculty faculty, there are five forms of instruction: • Theoretical Courses • Workshop-Style Courses • Labs • Research projects • Individual Study Track
With the exception of the first-year courses and theory courses, students always have a choice between several options. For additional information and the complete schedule, please refer to the Interfaculty website.
Credit Points Overview WILL BE PUBLISHED SHORTLY
Staff
Head of Interfaculty: Taconis Stolk
Coordinator: Marisa Manck
Lecturers: Arthur Elsenaar Cocky Eek Edwin van der Heide Kasper van der Horst Michiel Pijpe Robert Pravda Taconis Stolk
Guest lecturers: Pieter van Boheemen Lex van der Broek Evelina Domnitch Lucas Evers Bernard Foing Dmitri Gelfand Marcus Graf Roel Heremans Gideon Kiers Eric Kluitenberg
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Katinka Marac Ine Poppe Frank Theys Lucas van der Velden Caro Verbeek
Contact Marisa Manck [email protected]
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2.1.3 Photography (FT and PT)
Facts
Educational variant Full-time and part-time Duration 4 years Degree Bachelor of Arts Credits (ECTS) 240 ECTS Head of department Lotte Sprengers and Rob Hornstra
Application deadline The application deadline for international applicants with a non-EU/EEA nationality is May 1st.
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
The professionals of today are authors, in the sense that they are makers, finders and creators. They are able to practice the profession in the traditional sense, while contributing to the evolution of the discipline.
Contemporary photographers are entrepreneurs who know how to generate a base of support for their work. They have an extensive frame of reference for the field and the discipline, particularly in an international context. They have a vision for the position of the discipline in the world of art and culture, as well as in social developments. They are aware of the many platforms that offer opportunities, including social media and the internet in general, as well as traditional platforms, including journals, posters and other printed media. They have extensive networks, and they are able to collaborate with others.
Structure In the first year of programme (the propaedeutic year), students receive a thorough introduction to these areas. Thereafter, students choose to complete the remaining three years in either Documentary or Fiction, positioning their work in one of these areas based on subsequent choices.
Full-time / part-time
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The content of the part-time programme in Photography is the same as that of the full-time programme, but with a different organisation and structure. To date, no internship period is included in the programme. Part-time students must therefore engage in independent career orientation, in addition to the programme. With permission, part-time students may follow parts of the full-time curriculum.
See also: Bachelor programme Photography (full text) General Study Information: 1.4 Study Information
Courses and ECTS Credit Points Overview WILL BE PUBLISHED SHORTLY
Staff
Joint heads Photography Lotte Sprengers [email protected] and Rob Hornstra [email protected]
Coordinator Full-Time Linda van der Poel [email protected]
Coordinator Part-Time Raimond Wouda [email protected]
Coordinator Internship Lotte Sprengers
Lecturers Anna Abrahams Vincent van Baar Stije van der Beek Saskia Boer Thomas Bragdon Adam Broomberg Oliver Chanarin Theo van Dusseldorp Jan Frederik Groot Lonneke de Groot Ingrid Grootes Johan Gustavsson Sebastiaan Hanekroot Eddo Hartmann Rob Hornstra Judith van Ijken Rein Janssen Anja de Jong
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Erik Kessels Ton van Kints Jeroen Kummer Ola Lanko Annaleen Louwes Deen van Meer Hans van der Meer Krista van der Niet Kim Nuijen Pawel Pokutycki Guus Rijven Lotte Sprengers Ewoud Traast Ari Versluis Loek van Vliet Thijs Groot Wassink Donald Weber Raimond Wouda
Staff of Lecturers in Theory Ingrid Grootes Ellie Smolenaars Martijn Verhoeven Henriëtte Waal
Contact
Coordinator Full-Time Linda van der Poel [email protected]
Coordinator Part-Time Raimond Wouda [email protected]
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2.1.4 Graphic Design
Facts
Educational variant Full-time Duration full-time 4 years Degree Bachelor of Arts Credits (ECTS) 240 ECTS Head of department Roosje Klap and Niels Schrader
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
The Graphic Design department educates its students to become critical thinkers and versatile practitioners who develop outstanding concepts for visual communication. Its world-wide reputation is fuelled by the high level and thorough education, the investigative and conceptual approach in teaching, as well as the excellent quality in the field of typeface design and typography. At the Royal Academy of Art, The Hague, students are encouraged not only to find answers to the problems of tomorrow and the rapidly evolving new-media landscape, but also to pose questions on the social responsibilities of a contemporary designer.
Description of the study programme The Graphic Design department educates students to become critical thinkers and versatile practitioners who develop outstanding concepts for visual communication. Ideal graduates are investigative designers who are fully aware of current affairs, choose their media wisely and master both traditional and new media. Graduates excel in their professional careers through their extraordinary conceptual and visual abilities, extensive knowledge of the profession and the world, strong technological curiosity and highly developed social engagement.
The department offers an extensive curriculum. The programme is built around four main courses: Design, Interaction, Image and Typography. The excellent quality in the field of typeface design and typography distinguishes the programme from other graphic design studies.
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See also: Bachelor programme Graphic Design (full text) General Study Information: 1.4 Study Information
Courses and ECTS
Course descriptions
Course Title Graphic Design Teacher(s) Bart de Baets Class(es) GD 1A, 1B (fulltime students) Semester 1/Semester 2 Teaching period
Brief description In the first year, the Graphic Design course introduces students to graphic design in its broadest sense. The goal of the course is to make students aware of the great diversity and possibilities of graphic design. A vital and characteristic aspect of the class are the smaller, more hands-on assignments and playful exercises. In direct and more indirect ways these exercises are related to the general assignment of the course. Learning The course teaches the beginnings of typographical rules and objectives conventions. A student learns to typeset a text; to choose a typography that expresses their idea or matches the content of a text. He learns ways to make a text scream out loud; ways to design headlines; ways to make a larger text look accessible whilst reflecting the character of its content. Through interventions a student should be able to create typographic hierarchy in a text.
Another significant part of the course are images: image editing; building a narrative using images; recognising the impact of images; recognising how the force or function of an image changes when it is sized down or up.
Students have to try out the various reproduction methods that the academy workshops have to offer. It is up to the students to decide when to use the workshops. In conversation with a student I suggest the various options available. Students are required to make use of the screen print workshop (at least once): to experience this medium, to work with large paper sizes and to see their work reproduced in a larger format.
When a student expresses a need to bend the rules of an assignment for the benefit of the eventual outcome, I want to hear
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his reasons. In this manner, a student becomes aware of his responsibilities, and of the importance of clear communication in the design process. To provide room to discuss these personal desires and to find a place for them within a personal design practice, is an important aim of this course.
I want an editorial involvement from the students. The ability to vocalise and write about an idea is a key aspect of the course. Various ways to express this content are explored. In the past this has been executed through mediums such as sound recordings, short videos, fanzines, posters, talk shows, booklets, performances, collective readings, hands on experiments involving only analog tools, et cetera. Simple tricks are taught to make ten sketches instead of focussing on just one design; blow up a small sketch to an unusually large format. Anything for the sake of the experiment.
I urge students to consider alternative ways of presenting. Last year for instance, the students were asked to work in a talk show format. It involved developing a graphic identity for the talk show; making an on screen interface; designing posters announcing the event, et cetera. This taught the students writing skills and storytelling; as well as the importance of entertainment, timing, planning and details. Teaching activities The course tests the students’ abilities on various levels, through and working larger and smaller assignments. I ask students to respond to each methods assignment with a certain type of content; the content is theirs to collect or generate. Students have to try out various mediums to formalise their ideas in a suitable way. At times, the assignment places restrictions on medium, use of colour, or size. Assignments may call on a student's capability to think conceptually or to display information; his composition skills; his deftness in image editing; et cetera. Not every one of the smaller assignments has to be documented, or to be presented during the Collective Assessments at the end of the semester.
Throughout the semester, the student's development is discussed individually. To become familiar with each other's design processes, assignments are also discussed in smaller groups, as well as in meetings with the entire group.
Between the individual assessment of the course and the Collective Assessment the general assignment can be a finalised. I believe in radical last minute changes and the inspiring stress a week like this engenders. It is important for my own practice as a designer. I like the students to benefit from this experience as well: it can lead to
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surprising end results. This is the only week in which I allow myself lots of emailing with the students.
The first year is divided into two groups; tutors Bart de Baets and Susana Carvalho switch groups after the Christmas holiday. Assessment The students course work is evaluated in an Individual Review. Here method (including, the student does not receive an individual grade, but extensive for example, verbal and written feedback. His/her work on all of the courses taken minimum together is also evaluated, in a Collective Assessment. This attendance and assessment determines if the student can continue to the next year. other requirements). In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self- reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the
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student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic. Required and My practice is built on intuition, on the development of one’s own recommended outlook on design and commissioned projects. To make a student sources part of that personal way of working through books is key. Here's a brief selection I often find myself bringing to class:
Just Kids — Patti Smith The Fourth Sex — Raf Simons and Franceso Bonami Some Faggy Gestures — Henrik Olesen Printed Matter — Ettore Sottsas Publications by Isa Genzken Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical X reflection Capacity for growth X and innovation Organisational
ability Communicative
ability External awareness Capacity for
collaboration
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Course Title Graphic Design Teacher(s) Susana Carvalho Class(es) GD 1A and 1B (fulltime students) Teaching period semester 1/semester 2 In the first year we teach the students that graphic design can be as broad as they like it to be. It can be a platform for broadcasting complex information; it can be used for making a flyer for your neighbourhood barbecue. Throughout the year students create a diverse body of work, through which they experience various media and formats to communicate. The work is about understanding the ability to shape the graphic landscape. We help them to develop an attitude towards design; they learn how a designer can be an author or an activist. We tell them that to be able to break away from conventions, it is necessary to know the basics; that eventually they'll be able to define their own set of rules. We'll always support any of the students’ initial plans, but we encourage them to approach their subjects critically and to keep focused during the process. Learning Get a grip on the history, the role, the purpose and the possibilities of objectives Graphic Design: understand, explore and comprehend. Take position in the field; engage with one’s surroundings.
Develop a methodology. From the conceptual phase, generating ideas, through to the editing phase and finally the creative display of information, students are encouraged to look at the designing process as whole. They are encouraged to develop their own opinions; to voice as well as to question these opinions; to pursue a personal approach to graphic design. In the era of the template, of flatness in communication, it is crucial for a graphic designer to take a well- defined position, to be creative in his methods and excellent in his execution.
Develop a systematic practice. Research and explore before giving form. Set a goal or question; analyse and research one’s subject or content; organise and shape information; give form and iterate; evaluate. Students thus learn to approach their subject matter critically; to translate ideas into creative form; to question, present and defend their work. Students develop their own approach and formal language.
Get to know fundamental skills; know when or how to (not) apply them:
-Develop a sense of composition (tension, balance, movement) -Relationship between text and image (image and content editing; structuring of information; creation of narratives); -Typesetting text for seeing (display sizes) and for reading (reading sizes) in conjunction with the typography class
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-Work with colour -Explore and understand a variety of media (posters, magazines, newspapers, flyers, books, banners, flags) -Printing techniques: silkscreen, xerography, stencil print and offset printing -Book binding techniques: saddle stitching (wire or thread), perfect binding -Learn and practice fundamental computer skills -Develop a personal approach/handwriting Teaching Activities: activities and Practical assignments (mostly individual but also in the group). working methods Small lectures/presentations related to the practical assignments. Individual talks during the process phase of assignments. Group presentations/discussions. Exposure, mainly in the art, cinema and design fields: films, articles/books, exhibitions, talks, visits to design studios.
Methods: In this class, emphasis is placed on a holistic approach in the development of a (graphic) design project. Learning by doing in context: in this manner students acquire basic skills without too much effort, and they immediately understand the usefulness of these skills. Engaging the student: by having them work with the content they find interesting; by providing a structure to help and teach the students fundamentals in the discipline. The use of absurdity, movement, and surprise as pedagogic tools for creativity.
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Assessment The students course work is evaluated in an Individual Review. Here method the student does not receive an individual grade, but extensive verbal (including, for and written feedback. His/her work on all of the courses taken example, together is also evaluated, in a Collective Assessment. This minimum assessment determines if the student can continue to the next year. attendance and other In the Individual Review, the student presents all the work he/she has requirements). produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.
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Required and Good for the soul: recommended The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation sources Jacques Rancière (1991)
General theory/history: Graphic design: a concise history Richard Hollis (2005)
Women in Graphic Design 1890-2012 by Gerda Breuer (Author, Editor), Julia Meer (Editor)
Graphic Design: Now in Production Author: Ian Albinson, Rob Giampietro (2011)
Catherine De Smet: Graphic Design History In The Writing 1983-2011 Catherine De Smet, Sara De Bondt
Further reading: Unjustified texts: perspectives on typography Robin Kinross
Modern typography: an essay in critical history Robin Kinross
Ideas: Daniel van der Velden http://metropolism.com/magazine/2006-no2/research-destroy/
What is a Designer Norman Potter
Typography: Jost Hochuli & Robin Kinross Designing books: practice and theory (1996)
Josef Müller-Brockmann Grid systems in graphic design: a visual communication manual for graphic designers, typographers and three dimensional designers. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!)
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Creative ability X Capacity for critical X reflection Capacity for X growth and innovation Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Image Teacher(s) Katrin Korfmann Class(es) GD 1 (fulltime students) Teaching period Class 1A semester 1, class 1B semester 2 Brief description Images are the essential ingredients in the work of a graphic designer. In the first year Image course the students learn about basic elements and tools to create an interesting image: composition; light and color; and concept.
The central media of this course are lens-based, namely photography and video. The main goal of this course is to teach students ‘how to look’. How can a maker approach a subject, create a concept, and visualize his approach? Students learn how to communicate a concept through an image in an interesting and critical manner that moreover relates to the world around us.
Students work on different visual assignments with theoretical input. Their way of working on an assignment is important in relation to their final result. In class we analyze and discuss the students’ images and concepts, and relate them to contemporary art. Moreover, I try to stimulate experiment. Artistic progression and innovation only come about if students feel free to explore
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new and unknown visual languages. The basic technical skills of lens-based media are an important element of this course, as well as stimulating an experimental and creative use of the equipment. There are no mistakes at art school.
Students must articulate personal interests and incorporate them into their work. They must also relate these interests to the world around them. Finding these interests, learning to formulate a view and opinion at the beginning of their training as graphic designers, is the first step towards the end goal of a strong, articulated and individual artistic vision. Discussions about work in progress, in smaller and larger groups, are essential to developing a critical approach towards one’s own work and the work of colleagues.
Lens-based media are in the middle of a revolution, shifting from professional use to mass use. For upcoming graphic designers it is important to become aware of this change, and formulate their own opinions on it. I therefore provide the students with essays and lectures on contemporary visual image culture.
Visiting contemporary art exhibitions is an essential part of the course, intended to stimulate knowledge about art and helping students find points of reference for their own visual work.
Learning objectives The student is taught how to create images based on a concept. The student learns to make multiplayered images that communicate, that are more than an illustration, namely images open to the interpretation of the viewer.
The course teaches students to understand the quality of their own as well as others’, and how to name these qualities. The student is trained in basic knowledge of photographic techniques: using a camera; working in the photo studio; using flash light and producing a fine art photo print.
The student becomes aware of lighting, becomes able to read and analyses light in relation to a space or object.
In addition, students develop a critical view on composition and color. At the end of the course, students should know how to make an interesting presentation (both visually and verbally), and have acquired basic skills in installing a work in relation to an exhibition space.
At the end of the semester students have developed a critical approach towards their own work as well as that of others. Learning to collaborate is an essential part of the course.
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Students get familiar with contemporary art and with places in The Netherlands where contemporary art exhibitions are held. I stimulate students to incorporate these visits into their study routine, as a main source of inspiration. The students are motivated to develop new techniques; unusual artistic approaches; to experiment. Teaching activities Students receive short term and long term assignments in and working relation to the learning objectives. methods The development and final result of these assignments are discussed in small groups, with the teacher and fellow students.
Several technical photo workshops are organized: -Technical camera basics -Using the photo studio and flash light -Using a fine art printer
Students also learn about presentation skills. They visit exhibitions, then formulate and present an opinion on a selected artist.
Furthermore students will read, hear and discuss contemporary takes on photography. They should be able to place their own interests in a global, societal context. Assessment The students course work is evaluated in an Individual method (including, Review. Here the student does not receive an individual for example, grade, but extensive verbal and written feedback. His/her minimum work on all of the courses taken together is also evaluated, in attendance and a Collective Assessment. This assessment determines if the other requirements). student can continue to the next year.
In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles
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• Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic. Required and Movies: recommended + Renzo Martens, Episode III sources + Dennis O'Rourke, Cannibal Tours + Blow Up, Antonioni Essays: + Marvin Heiferman, Well what is photography?, Aperture + Susan Sonntag, On Photography + The Canon after internet, Aperture Lectures:
+ Pictoright: Image rights in 2016 + Photographic Universe: Photographic Truths with Mia Fineman and Fred Ritchin (online video) + Aperture Foundation at The New School: Invisible – Surveillance (online video) + Katrin Korfmann: about my photographic work Exhibition: + Unseen photography fair (sem I) + Art Rotterdam (sem II) + Exhibition visit of one of the following lists: Witte de With, Rotterdam Museum Boijmans Van Beuningen, Rotterdam Stedelijk Museum, Amsterdam De Appel, Amsterdam Gem, Den Haag De Pont, Tilburg Van Abbemuseum, Eindhoven Fundatie, Zwolle
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Muhka, Antwerpen Museum Voorlinden, Wassenaar
Workshops: + General technical introduction on photography/photo camera at the Photography department + Technical introduction photo studio / flash light Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation X Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Visuele cultuur Teacher Els Kuijpers Class GD 1 (fulltime students) Teaching period blok 3+blok 4/semester 2 Brief description ‘Grafisch ontwerpen als visuele journalistiek’ Studenten leren inzichten uit theoretisch onderzoek en actuele journalistiek toe te passen in visuele redactie. Ze leren een redactionele methode te hanteren op basis van een inhoudelijke thematiek. Dit wordt geoefend door ze een plot en een scenario te laten ontwikkelen, als basis voor een vormgeving; en met de productie van twee hoofdstukken (één historisch; één hedendaags) van een ‘moderne’ mentaliteitsgeschiedenis. Learning objectives De student kan theoretische inzichten op het gebied van de visuele communicatie (inclusief inzichten over sociaal- culturele context en mentaliteiten) toepassen in een inhoudelijke visuele redactie; gebruikt daarbij de methodiek die hij in de les geoefend heeft; inclusief een vocabulaire om professioneel en relevant te reflecteren op zijn redactie. Teaching activities Theoretisch en visueel onderzoek in werkcolleges en and working projecten: [gebruik en toepassing kennis en inzichten], ook methods door middel van excursies/ werkbezoeken en trainen van ‘academische vaardigheden’: • lezen [crits - kritische leesseminars] : interpretatie en plot; • spreken/discussiëren: individuele discours- presentaties • groepsreferaten; schrijven: opstellen en papers [verschillende genres: zoals essayistiek]] Assessment The students course work is evaluated in an Individual method (including, Review. Here the student does not receive an individual for example, grade, but extensive verbal and written feedback. His/her minimum work on all of the courses taken together is also evaluated, in attendance and a Collective Assessment. This assessment determines if the other requirements). student can continue to the next year.
In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and
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failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic. Required and Verplicht: recommended (Delen van) sleutelteksten: sources Art since 1900, W. Benjamin, Communication Charter, H. Foster, Literaire en journalistieke bronnen, van fictie-nonfictie, manifesten en wetenschappelijke/ theoretische verhandelingen van A. Hauser, McLuhan/Fiore, S. Sontag, Afhankelijk van de thematiek per team, teksten van Diderot/Starobinski/Lee; Morris/Benjamin/Rubin; Futuristen/Vertov/Eisenstein/Pollman; Schwitters/Ward en Debord. Journalistieke essays ten behoeve van ontwerp/media/technologiediscours: met name LMD Aanbevolen: J. Baudrillard, H. Enzensberger, A. Mattelart, L. Manovic + literatuur afhankelijk van plot per team te bepalen. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris.
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Study load 2 EC Contact hours
Independent study Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection X Capacity for growth and innovation Organisational ability X Communicative ability X External awareness X Capacity for collaboration
Course Title Coding Teacher(s) Lizzie Malcolm Class(es) GD 1 (fulltime students) Teaching period Brief description The goal of this class is to introduce first year students to the relationship between code and the concept of parametric design. As the visual designer is increasingly required to use and even write software, an understanding of these computational processes is of great value. Not only does this understanding aid the production and execution of creative projects; it can also be a new way of thinking, creating and communicating ideas. To use computers to their full potential, one must overcome technical hurdles. This class provides some technical instruction, to empower students with the skills of programming in their design practice. The emphasis is placed on using these skills to generate new ideas and make intelligent design decisions. The class aims to inspire students to look beyond software and hardware that has been made specifically for graphic design; to explore ways to use computers, code and associated concepts to challenge their design practice. Learning objectives Discover ‘programming’ as a tool in design practice. Experiment with writing software, to create self-generated tools. Experiment in combining different coding languages with (analogue & digital) media and technologies (such as 3D printing, laser cutting, electrical engineering, woodworking,
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metalworking and similar techniques) to create (interactive) objects in a physical world.
Teaching activities The course first provides an overview of the history, the and working current status and the use of coding in art/design. During the methods course students will learn the basics of the programming language called Processing. This is their fundament for creating generative and computer-aided design, based upon external sources and input. Then the students will be introduced to Arduino or similar platform, to build digital devices and interactive objects that can sense and control objects in the physical world. Later the students are introduced to the most common web languages such as HTML, Javascript, CSS: to explore ways to (mis)use the web as a creative, critical and socio-political platform, to voice independent (audio-visual) statements and experiments. The semester ends with a public exhibition of the projects conducted in the Coding and Interactive Media Design classes. This forces the students to experiment with positioning their projects in a physical world, and to discover new techniques to present their projects to an outside audience.
Assessment The students course work is evaluated in an Individual method (including, Review. Here the student does not receive an individual for example, grade, but extensive verbal and written feedback. His/her minimum work on all of the courses taken together is also evaluated, in attendance and a Collective Assessment. This assessment determines if the other requirements). student can continue to the next year. In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation. Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation
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• Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress. If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.
Required and To be decided. recommended sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection Capacity for growth and innovation X Organisational ability Communicative ability External awareness X Capacity for collaboration
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Course Title Interactive Media Design Teacher(s) Henrik van Leeuwen Class(es) GD 1 (fulltime students) Teaching period Brief description In the first year of Interactive Media Design we take the students into the fields of digital arts, internet arts, interaction design / arts, gamification, general computer and game culture. We introduce the students to the wide range of (interactive) media and techniques available to the contemporary graphic designer. We focus on experimentation and discovery, by combining (interactive) media to challenge the students’ design practice. In close connection and in overlap with the creative coding classes, we experiment with combining code, (analogue) media and techniques. These ‘media’ can be film, sound, VR, robotics, sensors, electronics, spatial objects, to name a few; but also more traditional media such as screen printing, risograph printing, woodworking and working in steel. We try to encourage the students to experiment beyond the flat and printed surface, to enter the physical space. By combining these newly discovered, very different media with code-based tools, we encourage the student to open their horizons to the possible fields in which a future graphic designer could operate. Learning objectives The students have to experiment with the new media and techniques we offer them. Our focus is on web, film, sound, installations and spatial representation, embedded in the contemporary graphic design field. The students have to embed these newly discovered media en techniques into their developing design practice, and learn how to combine these into convincing and refreshing experiments. In conjunction with the creative coding classes we dive into coding languages such as Arduino, Processing, HTML, Javascript and CSS. Part of the IMD course is focused on implementing these newly learned skills into their experiments and assignments. Teaching activities The course starts by providing an overview of the history and and working current status of spatial art and design, in relation to the methods graphic design field. During the course the students are introduced to designed and constructed spatial objects, how to represent them in a spatial environment and in the virtual realm. By having one-on-one discussions, smaller group discussions and presentations in class, we let the student discover and experiment with different ways to present their design process and results. The courses coding and IMD conclude with a public exhibition at the end of the semester: to force the students to experiment with positioning their
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projects in a physical world; to help them discover new techniques to present their projects to an outside audience. Assessment The students course work is evaluated in an Individual method (including, Review. Here the student does not receive an individual for example, grade, but extensive verbal and written feedback. His/her minimum work on all of the courses taken together is also evaluated, in attendance and a Collective Assessment. This assessment determines if the other requirements). student can continue to the next year.
In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.
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Required and TBD recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection Capacity for growth and innovation X Organisational ability Communicative ability External awareness X Capacity for collaboration
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Course Title Drawing Class Teacher(s) Jordy van den Nieuwendijk Class(es) GD 1A and 1B (full time students) Teaching period First and second semester In the first year of Drawing Class, students start with short drawing experiments: drawing each other; collaborative drawings; quick drawing games like speed-sketching, and drawing while listening to different kinds of music. This is a welcome experience, both as a warm-up and as an effective way to get to know each other. In addition, it is a productive time, with the emphasis on quantity instead of quality. This is a good way to get an overview of a student’s skills, technique, motivation, talent or feeling for colour and composition. These observations do not weigh heavily in the assessment, but they do help me in early moments of reflection on a student. After a few classes the students are asked to look a little bit harder: at architecture in the city; at people in a busy location; at nature in the forest, at a still life or a model in class. I aim to develop each student’s individual skill-set, commenting on technique; the balance between observing and drawing; composition; understanding of light source(s); use of shading or texture; use of material. After working individually, students are asked to work together on images. This requires planning, discussing, compromising, adapting, reacting, dividing work; all the while following a set theme or a certain assignment. A few classes later, after developing an overall awareness of materials and technique, students are slowly asked to think about more about their concept, in editorial drawings or in assignments of a more conceptual kind. Creating out of nothing for example, while still explaining the what, why and how. Drawing visuals corresponding with news articles or headlines, where opinion becomes part of the visual. Or working in a series, for example an assignment where students are asked to draw a still life, portrait and a landscape while figuring out a way to make the images related to each other. An assignment where the analogue meets the digital. An assignment where time plays a part, when students are asked to make a one-minute hand-drawn animation – either digitally animated, or stop-motion. The first year ends with an open assignment. Instead of all working on one assignment, every student will work on an individual assignment which we come up with together. Developing a personal style; refining a favourite technique; revisiting an earlier assignment; repairing an insufficient performance; or working from a personal interest. Here I have a moment of individual reflection and feedback, going over my
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notes made during the year and fine-tuning the individual assignment for each student.
Learning objectives By the end of the first year — keeping in mind the three years ahead — I like to see my drawing class students to know basic drawing materials and techniques (pencil, crayon, charcoal, watercolour, paint, digital drawing, et cetera.) An essential foundation for proper sketching, ideas to paper & concept development. Experience in and knowledge of drawing, painting, and printing techniques is developed further in the next three years of their training. Overall, I want students to be able to visualise their idea; to quickly sketch out thoughts and render a concept; while being aware of the possibilities of mixing analogue and digital techniques. In addition, I like students to start their second year having made the first steps in analysing or recognising their individual visual interest, style and/or identity. Aware of their strengths and weaknesses in all that is related to drawing and visualising; knowing where to grow, what their less developed skills are; or where to embed more polished skills into the right assignments. Teaching activities Assignments can be found online, informing the students on and working what materials to bring; giving visual guidance in the form of methods related projects or inspirational/helpful images – obviously without spoilers, or examples, trying not to influence the student too much. Every class starts with a brief introduction of the new assignment, sometimes after first presenting and discussing last week’s assignment results. Most of the work is done in class so I have an overview of a student’s progress, growth, difficulties and work methods. During class I walk around and inform, adjust, guide, and help, while asking and answering questions – although I make sure there are moments of silence too, for concentration. Sometimes we take a field trip — drawing buildings or people in the city, drawing nature in the forest nearby. I enjoy organising a museum visit once a year, when a relevant illustrator or artist fits an assignment or is of current/classical interest. There are moments when a documentary plays either at the beginning of the class or during class – if it does not distract too much from the work. Secret Knowledge by David Hockney for instance is the basis for a drawing assignment. Assessment The students course work is evaluated in an Individual method (including, Review. Here the student does not receive an individual for example, grade, but extensive verbal and written feedback. His/her minimum work on all of the courses taken together is also evaluated, in attendance and a Collective Assessment. This assessment determines if the
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other student can continue to the next year. requirements). In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.
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Required and Some assignments come with a corresponding motivational recommended video, documentary or other sources. Other assignments sources might require looking at a website, reading an online article, or visiting an exhibition. Sometimes certain books from the library are offered as backup or inspiration in class; sometimes a book is a source for an assignment. Besides certain mandatory sources, or handy, helpful ones, interesting shows or books are digitally shared with students. Maybe the art supplies store can also be seen as a source. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation X Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Typography & Type
Teacher(s) Rob van den Nieuwenhuizen (Typography, semester 1 & 2), Guido de Boer (Letters, semester 1), Donald Roos (semester 2)
Class(es) GD 1 (fulltime students)
Teaching period Semester 1 & 2
Brief description Typography and Type are ubiquitous and key parts of the foundation of visual communication, closely connected to both written and verbal language. However, most students have very little knowledge of Typography and Type when they start their studies, which is why the first year introduces them to these disciplines in a number of different ways.
Students are guided to develop a relevant frame of reference and a critical attitude. They learn to investigate visual, conceptual and editorial possibilities. They are introduced to technical and theoretical skills, and practice these skills. They learn how to verbalize, translate and present their typographic ideas. They also learn to apply these ideas and skills in interdisciplinary and multi-medial settings.
The purpose of this course is to help students develop the tools they need in order to visually articulate their ideas; and to trigger their enthusiasm and love for anything related to typography and letters.
Learning objectives The student learns About the most common digital and analogue tools for producing typography and type How and why to use these tools To understand and apply basic skills and typographic rules on a micro- and macro-typographic level To understand and apply important calligraphic principles How to use a range of workshops (silk-screen, risograph print, letterpress, etcetera) How to design and control his/her own design process from a rough sketch to a finished end product, all within a given time- frame and given restrictions About relevant historical and contemporary ideas, theories, developments and makers (designers, artists, researchers, etc.), to broaden his frame of reference How to conduct visual research How to articulate and present ideas and opinions, to embed meaning and narrative into a project. Editing text.
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To develop a critical approach towards typography and type design; to question his own and others ideas, process and designs.
Teaching activities Per semester, two tutors teach this course: one tutor focuses on and working typography, the other on calligraphy and type design. methods Assignments are mostly individual, sometimes collaborative.
The following activities and methods are used: Lectures and presentations by both teachers and students Individual talks Small group talks Class discussion Peer reviews Technical instruction Excursions Short workshops
Assessment The students course work is evaluated in an Individual Review. method (including, Here the student does not receive an individual grade, but for example, extensive verbal and written feedback. His/her work on all of the minimum courses taken together is also evaluated, in a Collective attendance and Assessment. This assessment determines if the student can other continue to the next year. requirements). In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self- reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: Quality and consistency of the produced work Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles Development of a frame of reference, both historically and contemporary Range of experimentation and investigation Research skills, editing skills Critical approach to Typography and Type Design Attendance (80% minimum) and participation in class
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Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.
Required and For both Typography and Letters an array of articles, books, recommended blog posts, documentaries, exhibitions and more, will be sources discussed in the context of assignments and lectures. Aside from that, several key books will regularly be used for reference. This list includes but is not limited to: Josef-Müller Brockmann - Grid Systems Robert Bringhurst - The Elements of Typographic Style Emil Ruder - Typographie Jost Hochuli - Detail in Typography Jan Tschichold - The New Typography Gerrit Noordzij - The Stroke Eric Gill - An Essay on Typography Frank E. Blokland - Kalligraferen: de kunst van het schoonschrijven More
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris.
Study load 5 EC – per semester
Contact hours
Independent study
Please check the most important competencies involved in this course (max. three!)
Creative ability X
Capacity for critical reflection
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Capacity for growth X and innovation
Organisational ability
Communicative ability
External awareness X
Capacity for collaboration
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Course Title Image Teacher Reinoud Oudshoorn Class GD 1 (fulltime students) Teaching period Semester 1 / semester 2 Brief description This course is the beginning of a visual trail that continues throughout the whole four years of training. The program consists of a series of assignments that increase in difficulty as the student progresses. The first assignment, ‘Black and White Collage’, is focused on the development of formal means. The second assignment, ‘Mono-Printing’, addresses unexpected outcomes – which often occur in mono-printing. In these assignments, the physical production and the students’ progress are more important than the aesthetic outcome. I encourage the students to make a lot of work, and to do crazy experiments. In the last assignment ,’Text and Space’, I will show the relationship between graphic design and the use of language in contemporary art. A much more conceptual way of thinking is required in this assignment. Learning objectives The student should master basic skills with formal and visual means. He should be able to reflect on the unexpected outcome of his experiments. He has to communicate his ideas decisively. In his work, he should critically examine and question his position. For each assignment, I expect expansive research. In the more conceptual assignments, the student should be able to use the correct medium to communicate his ideas. Teaching activities The assignments are introduced in class and distributed on and working paper. There is a group discussion about the assignment, with methods room for questions and further explanation. Part of the work on the assignment takes place in the graphics workshop. Assessment The students course work is evaluated in an Individual method (including, Review. Here the student does not receive an individual for example, grade, but extensive verbal and written feedback. His/her minimum work on all of the courses taken together is also evaluated, in attendance and a Collective Assessment. This assessment determines if the other requirements). student can continue to the next year.
In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and
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failures. A written self-reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic. Required and The library, internet and art exhibitions. recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation X Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Type Design (with Typography) Teacher(s) Donald Roos/Guido de Boer Class(es) GD 1 (fulltime students) Teaching Second semester period Brief During the first semester of Type Design, great emphasis is placed description on writing skills. Type Design has its origin in the way we write (Calligraphy). Students learn about contrast and principles. Working with black and white forms creates a keen eye for composition. Students will be able to use this skill in the Typography course (which is strongly related to Type Design) but also in drawing or image-related courses. The second semester has a more experimental character. In the first semester, the students use the calligraphic system as the basis of type design. In the second semester, the course explores other systems and stimulates the students to create their own systems, which they can use to design typefaces. Thus students learn about the meaning of what has to be communicated as well as the emotional aspects of a typeface. Students learn not only to make typefaces but also to use them. In this way, students understand how a typeface can play a role in the concept of a design. A combination with Typo can be made. Learning The student develops a keen eye for form, contrast and objectives composition. The student learns to give meaning to a form, and to give meaning to a typeface design. The student learns to use creative systems as the basis for a typeface design. and The student learns to use these skills in a broader perspective when it comes to (graphic) design. Teaching A combination of larger and smaller assignments. Two or three activities and assignments can occur at the same time: sometimes it can be working helpful to leave a type design assignment for a while, to alternate methods with other assignments.
The teacher discusses assignments in smaller groups, while the other students continue working on their assignments. Working in the classroom is stimulated: students can inspire each other, can help each other; the teacher can give direct help and advice on the spot.
Per semester, two teachers are on this course: one teacher focuses on typography, the other on calligraphy and type design. Assignments are mostly individual, sometimes collaborative. The following activities and methods are used: • Lectures and presentations by both teachers and students • Individual talks • Small group talks • Class discussion
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• Peer reviews
Assessment The students course work is evaluated in an Individual Review. method Here the student does not receive an individual grade, but (including, for extensive verbal and written feedback. His/her work on all of the example, courses taken together is also evaluated, in a Collective minimum Assessment. This assessment determines if the student can attendance and continue to the next year. other requirements). In the Individual Review, the student presents all the work he/she has produced for the various assignments, including sketches and research. The work can consist of posters, publications, presentations, audio and video, installations, objects, research documents, digital files, web works, video work, flyers, type drawings, calligraphy, writing tools, and much more. During this Individual Review it is the student’s task to reflect critically on the past semester and to make his/her development insightful, both in terms of successes and failures. A written self- reflection is part of the Individual Review; this can be a starting point for the conversation.
Assessment criteria include: • Quality and consistency of the produced work • Application and understanding of basic skills on a micro- and macro-typographic level, and in terms of several calligraphic principles • Development of a frame of reference, both historically and contemporary • Range of experimentation and investigation • Research skills, editing skills • Critical approach to Typography and Type Design • Attendance (80% minimum) and participation in class
Rather than evaluating course-specific assignments, the Collective Assessment of a student considers if the entirety of his/her work shows that he/she has understood and applied the various skills, techniques, theories, and methods that have been covered during the semester; and if the student has shown sufficient progress.
If a student has an insufficient Collective Grade, the subsequent semester provides the opportunity to improve to the level necessary. If the results in the second semester are not sufficient either, the student is asked to redo the year, or — in extreme cases — to leave the department. However, this is never based on the results for one specific course but on the collective results and, in the latter case, on formalities such as attendance and work ethic.
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Required and Students are advised on an individual basis to do research or use recommended specific sources that will help them during their design process. sources On individual, in small groups or during presentations we discuss work of the following national and international designers from different times.
Letterror, Erik van Blokland, Just van Rossum, Petr van Blokland, Bodoni, Claude Garamand, Emigre, Zuzana Licko, Helmut Salden, Tobias Frère Jone, Syrus Highsmith, Os Cooper, Max Meidinger, Lucas de Groot, Alessio, House Ind, Ken Barber, Paul Renner, Eric Spieckermann, Paul van der Laan, Pieter van Rosmalen, Gerard Unger, Donald Beekman, Albert-Jan Pool, Martin Majoor, Fred Smeijers, Hermann Zapf, Adriaan Frutiger, Martin Wenzel, Peter Bilak, Jos Buivenga, Edward Benquiat, Matthew Carter, John Downer, Wim Crouwel, Anton Beeke, Stanley Morison, Peter Verheul, Martin Lorenz, Martijn Rijven, Neville Brodi, Martina Flor, Saul Bass.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5 EC (together with Letters) Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation Organisational ability X Communicative ability External awareness Capacity for collaboration
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Course Title Coding Teacher(s) Bente van Bourgondiën Class(es) GD 2 (fulltime students) Teaching period Brief description In this course students learn to code in a programming language (Javascript) and use this language to design and create by coding. Graphic Design for digital interfaces is more than applying traditional graphic design techniques. Knowing the techniques that are used for creating digital interfaces, enables a Graphic Designer to incorporate these techniques in their design process This course builds on the knowledge and skills the student has gained in the first year. The second year goes deeper into programming itself, focusing on digital interfaces. The course also lays a foundation for programming data visualisations in the third year. In addition, this course helps students in their second year course Interactive Media Design, in choosing and applying digital techniques for their projects. Learning objectives Beginning to program in Javascript: 1 - learning the language (syntax) 2 - learning to translate ideas into code (programming) 3 - research and experiment with code/functions/effects (creative coding)
At the end of the semester students have an understanding of the programming concepts; and are able to apply this knowledge in their design process for digital interfaces.
Teaching activities The course takes a hands-on approach: students code in and working Javascript and experiment on different platforms: web methods (html/css), mobile (Cordova) and game engines (Unity). Typically a lesson will start with the introduction of a concept, along with examples. Students then start coding and exploring this concept themselves. Students code small projects first, exploring different functions and possibilities of the language. They gradually move on to more complex projects, thus learning to creatively solve problems and to create through coding.
Assessment A student creates multiple works of art using the concepts method (including, from this course. ‘Work of art’ is taken in a broad sense: for example, creations may include games, technical experiments or minimum functional research experiments. A student’s work will be attendance and assessed by other requirements). his work method and development (objective 3);
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the way he can adopt existing program recipes and make them his own (objective 3); the technical quality of his work (objective 2); the functional quality of his work (objective 2); the code quality of his work (objective 1) Required and Introduction/basics recommended sources Learn CSS Layout http://learnlayout.com/
Learn to Code HTML & CSS http://learn.shayhowe.com/html-css/
Code Academy HTML/CSS https://www.codecademy.com/learn/web
Code Academy Javascript https://www.codecademy.com/learn/javascript
Learn HTML5 Graphics and Animation https://egghead.io/courses/learn-html5-graphics-and- animation
Google: HTML, CSS, and Javascript from the Ground Up https://www.youtube.com/playlist?list=PL697D36B35F92E9E4
next level
[CSS Zen Garden] The CSS Zen Garden invites you to relax and meditate on the important lessons of the masters. http://www.csszengarden.com/215/
[Creative JS] This is the place to come to enjoy the fruits of the imaginative and resourceful JavaScript community members as they share their new found visual coding skills. http://creativejs.com/
[Responsive Patterns] A collection of patterns and modules for responsive designs https://bradfrost.github.io/this-is-responsive/patterns.html
[Shepherding Random Numbers] Explore random generation with coding http://inconvergent.net/shepherding-random- numbers/#introduction
[CSS Ttricks] https://css-tricks.com/
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frameworks & tools
[p5.js] a JavaScript library that starts with the original goal of Processing—to make coding accessible for artists, designers, educators, and beginners https://p5js.org/
[sketch.js] minimal JavaScript Creative Coding Framework http://soulwire.github.io/sketch.js/
[a-frame] open-source web framework for building virtual reality experiences. https://aframe.io
[particles.js] A lightweight JavaScript library for creating particles http://vincentgarreau.com/particles.js/
[PaperJS] a cross-browser JavaScript library/API used to create and animate vector graphics http://paperjs.org/
[three.js] a cross-browser JavaScript library/API used to create and display animated 3D computer graphics in a web browser. https://github.com/mrdoob/three.js/
[two.js] a two-dimensional drawing api geared towards modern web browsers https://two.js.org/
[Fabric.js] a powerful and simple Javascript HTML5 canvas library http://fabricjs.com/
[Cordova] build beautiful cross-platform apps using HTML, CSS and Javascript. https://cordova.apache.org/
Creative Coding Basics https://hackernoon.com/creative-coding-basics-4d623af1c647
books playing with chaos
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Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability x External awareness Capacity for collaboration
Course Title Graphic Design Teacher(s) Esther de Vries Class(es) GD 2 (fulltime students) Teaching period Brief description In the Graphic Design Class we teach our students to combine their knowledge and skills taught in the other classes (Typography, Interactive Media Design, Image and Coding) in a variety of assignments. In this way they practise the relation between all the elements of graphic design: the relation between text and image; two dimensions versus three
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dimensions; moving image; physical versus digital work, etcetera. In the second year, we focus on the editorial side of the profession. We also explore the expressive dimensions of graphic design and the student will become aware that graphic design is a tool for social interaction. In this course, students: - practise in finding content - research, analyse and edit - develop their own view on the content they work with - start seeing content as material - translate their point of view / ideas into a structure - translate their point of view into a specific and unique form - choose a medium - look at the difference between text and image and consider how they function when combined in design - treat text as image, to see the expressive possibilities of the designer - critical reflection on their own process - try out different ways of working: with and without the computer; in 3D; translate that to 2D; organising all content on one big piece of paper, for an overview - are encouraged to experiment, and to see failures as an essential part of a design process.
Learning objectives The student has to become aware that a designer is a ‘translator’ and that it is possible to tell different stories with the same material/content. This awareness is necessary because he needs to realize the responsibility and the opportunities of the designer and the possible social interaction of graphic design. The student should be able to translate an idea into a shape/form that is both specific and original. The more specific the form, the more accurate / better / well thought of his ‘translation’ will be. The more original the form, the more varied our visual collective space in society will be. Teaching activities The course doesn’t teach ‘concrete knowledge’ so much as and working ‘practical knowledge’. The student learns from practical methods assignments; research; small lectures / screenings; talks by guest teachers. Most important however are the discussions: in small groups, individually, or even with the whole group of students. Discussing their sketches teaches students to analyse eachothers work, helps them to find words for their comments; to get used to different comments from different students on the same design. Assignments vary: some are very restricted, others are more open. In this manner, students learn to handle different ways of working.
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Assessment The student is assessed by the following criteria: method (including, for example, - whether his/her analytic capability developed well minimum - whether he/she succeeds to structure content attendance and - whether his/her design demonstrates a clear and relevant other requirements). outlook on the content - whether his/her design succeeds to translate an idea into shape/form - whether the form he/she chose is sufficiently articulate and original - whether he/she has experimented sufficiently - whether he/she manages to combine and balance all individual elements of a design - whether he/she gets more control over his/her own work process - whether his/her presentation and argumentation skills, needed for presenting the work, develop - attention paid in class, response to the assignment - ability to respond to feedback • - attendance • - participation in (group) talks
Required and Used in the first semester in relation to the assignments at recommended that time: sources In the blink of an eye, Walter Murch about film editing; Magie van Montage, documentary by John Appel; A guest lecture by Appel about editing, with examples from his own work and that of many other directors; Books designed by Linda van Deursen, embedded in a guest lecure.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of Design Cluster 14 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation X Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Image (and Theory, 1st semester) Teacher(s) Michel Hoogervorst Class(es) GD 2 (fulltime students) Teaching period 1st and 2nd semester Brief description 1st semester Docking Station, a collaborative project with the Theory course. The student reflects on an exhibition he has visited, and chooses an inspiring artwork or work of design. Based on this choice he formulates his own concept; this concept becomes the fundament for a series of works presented in a final exhibition. The publication documents the complete process: research and reflection on text, work and images of the exhibition.
2nd semester The first block of this semester is focused on colour. Four assignments allow the the student to experiment with and research the meaning and use of colour. Specific criteria for each of the four assignments challenge the student to come up with authentic and well defined concepts and outcomes. These can be based on both analogue and digital techniques. The second block of this semester is focused on drawing, painting and printmaking. Inspired by a theme, the student formulates an intriguing concept which results in a series of works that together form a narrative Gesammtkunstwerk. Students are challenged to experiment with a variety of techniques, with scale, and with ways of exhibiting their work.
In both semesters the spatiality and the display of the works are important focus points. Learning objectives This course:
- Develops a student’s awareness of his/her own strength; of his visual and theoretical talents; it lets him/her discover his own interests and idiom. - Expands and matures the visual vocabulary of a student. - Guides a student in formulating an inspiring concept and in constructing an effective working method. - Activates and challenges a student’s experimental and investigative attitudes. - Guides a student in analysing his/her own work method and results, strengthening a self-critical attitude.
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- Strengthens a student’s editorial skills. - Enhances a student’s awareness of his/her own position in the field of design and art.
Teaching activities 1st semester: and working One project that consists of multiple visual and theoretical methods assignments Discussion and evaluations both individually and in the group A midterm evaluation in the first semester A guest teacher helps the students with their publications, and with the poster design for their final exhibition
1st and 2nd semester: Visiting exhibitions; experiment with techniques. An individual assessment at the end of both semesters Assessment At the end of the first semester the student presents a method (including, publication that contains all the elements of the project. This for example, includes the student’s own reflection on the process as a minimum whole. attendance and At the end of the second semester the student presents an other overview of all the works he made in this semester. requirements). An insufficient result in both semesters can be compensated by the results of other courses; this is determined during the Collective Assessment of the second year. Required and A variety of exhibitions, books, articles, artists and designers recommended are mentioned, relevant to the students projects and sources approaches. Johannes Itten, Color Theory Catalogues Biennale Venice and Documenta Kassel Metropolis M
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 1st semester: Part of Design Cluster 14 EC & 3 EC (Theory) 2nd semester: Part of Design Cluster 14 EC & 3 EC (Theory) Contact hours
Independent study
Please check the most important competencies involved in this course (max. three!)
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Creative ability X
Capacity for critical reflection X
Capacity for growth and innovation X
Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Typography Teacher(s) Adriaan Mellegers Class(es) GD 2 (fulltime students) Teaching period First and second semester Brief description The second year builds on the basic typographic knowledge from the first year, with a stronger focus on editorial and conceptual development. The second year functions as a bridge between the first and third year. It prepares the students for the third year, where a more theoretical and research based approach is key (next to the basic typographic, editorial and conceptual development).
The course focuses on developing and reacting to either given or self-generated content. Students are confronted with important editorial choices that they need to make when working with typography.
Students will be able to better understand, structure, develop and design text-based narratives though the application of typography.
Fundamental to this is the process of developing organisational skills; the understanding of hierarchy in text; and how these can be applied in relation to the content matter that the student is dealing with.
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The contextualisation and conceptualisation of ‘typography in practice’, both from a historical and contemporary perspective, plays an important role.
The student is challenged to critically think about how typography functions within different media; and how the use of media influences both editorial and typographic choices.
Furthermore, the course continually questions the students’ application of typography in regards to his or her work: how does the students’ use of typography reflect their position / mentality as a graphic designer / practitioner; how does typography function within the broader context of the students’ developing practice.
Learning objectives — Enhancing and refining basic typographic skills — Dealing with complex editorial matter in typography projects, teaching students to make better and more consistent choices in text hierarchy and organisation of content. — Developing conceptual and intellectual thinking — Learning to use certain materials and techniques as part of the typographic / editorial design process. — Learning and thinking about the way typography and design relate to different media, especially the relation between print and digital media Teaching activities — Assignments and working — Workshops methods — Studio visits of Graphic Designers/Artists — Various excursions to lectures / printers / bookbinders etc. — Using the school workshops — Collaborating on other subjects and with other students — Readings and films in class Assessment — Attendance method (including, — Engagement in class for example, — Quality of work method minimum — Presentations of work attendance and — Development during the semester other — Quality and completeness of final work requirements). Required and — Detail in typografie by Jost Hochuli recommended — Elements of typographic style by Robert Bringhurst sources — Post digital print by Allesandro Ludovico — An essay on typography by Eric Gill — Grid systems by Joseph Muller Brockmann Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study,
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divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 3,5, part of the Design Cluster of 14 EC Contact hours 68 (4 per week) Independent study 30 (1,75 per week) Please check the most important competencies involved in this course (max. three!) Creative ability X
Capacity for critical reflection X
Capacity for growth and innovation X
Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title LetterStudio Teacher(s) Frank E. Blokland, Just van Rossum, Peter Verheul Class(es) GD 2 and 3 (fulltime students) Teaching period 1st and 2nd semester Brief description In the LetterStudio, second and third year students of the KABK as well as exchange students can follow courses (modules) on letters in the broadest sense of the word. This includes, but is not limited to, writing, type design, font production, font technology, coding and everything else that is, or could be, part of the métiers of the graphic designer, calligrapher, lettering artist, and type designer. The spectrum offered is defined by the staff lecturers, the guest lecturers, and the students themselves. The scope is not restricted to the developments in the professional world; purely theoretical approaches are legimate for instance. The expertise of the lecturers implies that different, or even opposite opinions are represented. This guarantees the pluriformity of the course.
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Learning objectives The goal of the course is to increase the insight, the technical and practical capabilities of the students in the field of typography and type design – within the context of graphic design in general. In the first place the course is meant to supply the students with essential typographical insight. However, the course could result in a student’s specialising in type design and/or typography.
The following aspects are essential: –Manual skills, such as writing, sketching and drawing; acquaintance with tools for calligraphy, lettering, type design, et cetera. –Digital skills; knowledge of available digital tools and technology. –An intellectual approach to the subject matter, by means of practical and literature research. –Insight in the history and position of the typographer and type designer in the field of graphic design.
The modules cover a wide range of subjects. Students may also define a module themselves; however they must follow two modules during the semester. They should also select modules that complement, or even contradict each other, to represent different views on the profession. The students select their modules in consultation with the lecturers.
Teaching activities The students are mostly guided individually. Every now and and working then, a staff lecturer or a guest lecturer gives a presentation methods for the whole group. The students also present their results to each other, and discuss their results together.
We keep in touch with the students outside of the lessons through a blog at http://www.letterstudio.org and related Facebook and Flickr pages. Students also post their work on the blog and these pages.
Assessment The students’ results are evaluated in presentations. method (including, Depending on the nature of the selected modules, the results for example, can be letter drawings, calligraphy sheets, printed matter, minimum time-based media, software, and other possible graphic attendance and applications. Modules that require a more theorical approach other requirements). may result in a written report, such as an essay.
The acquired insights, technical capabilities, and practical skills of the students are evaluated according to the following criteria:
-Quality and consistency of a type design, lettering, signage, et cetera. –Conceptual approach to the module’s content.
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–Intellectual approach to the matter in general. –The application of the resulting type designs, lettering, software, et cetera, in graphic designs.
Required and Books and web documents related to all aforementioned recommended subjects. The blog on the LetterStudio website contains a sources literature list with links, where available.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation Organisational ability X Communicative ability External awareness Capacity for collaboration
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Course Title IST coach Teacher(s) Frits Deys Class(es) GD 2 and 3 (fulltime students) Teaching period Semester 1 and 2 Brief description The Individual Study Track (IST) has been established to help students develop a personal artistic attitude, by discovering their specific preferences and the areas that particularly fascinate them. For their IST activities, students can choose to attend different practical and theoretical courses, research labs and electives that are offered by the KABK as well as Leiden University and Academy of Performing and Creative Arts. Each IST course, research lab and elective has a supervising lecturer. Students can also conduct personal practical or theoretical research. The student and IST coach together decide which teacher is suitable as his or her supervisor for each self- conducted project. The supervisor is consulted by the student occasionally. The task of the IST coach is to discuss and plan all IST activities with all students individually, based on their personal needs, interests and goals. Learning Research labs, courses and electives all have their own specific objectives objectives. When a student decides to work on a personal project, the IST coach helps the student to determine what the project’s objectives will be. These objectives are recorded in an IST application form. Teaching Through independent study, the student develops methods, activities and techniques, strategies and approaches that play a key role in his working or her development as a designer. In doing so, he or she methods observes and makes a note of thought processes; key considerations and strategies; important and enlightening experiences; as well as any side tracks explored; or solutions uncovered. The student works largely independently on his or her IST, occasionally consulting with an IST supervisor. The student keeps careful documentation of his or her IST, recording the various activities; documenting progress (by means of text and/or image); keeping a record of hours spent, on which date and on what type of activities.
Assessment The supervising lecturers of courses, research labs and electives method will assess the student’s work. He or she will assign the IST (including, for points. Finally the course will be evaluated with the IST coach. example, Self-conducted projects will be assessed by the supervising tutor. minimum He or she will assign the IST points. These personal research attendance and projects will also be evaluated with the IST coach. other The IST coach keeps track of all IST activities of all students. He requirements). is also responsible for the administration of all IST points.
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Required and There are no specific sources required or recommended. recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 6 EC’s per semester Contact hours Depending per course, research lab and elective. For personal conducted research: 4-6 hours Independent Depending per course, research lab and elective. study For personal conducted research: 164-162 hours Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection X Capacity for growth and innovation X Organisational ability Communicative ability External awareness X Capacity for collaboration
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Course Title Design Office
Teacher(s) Chantal Hendriksen, Gijsbert Dijker
Class(es) Elective for second and third year students GD (fulltime students) Teaching period Semester 1 and 2
Brief description In this course, students work under the supervision of Chantal Hendriksen and Gijsbert Dijker on real projects with real clients, including the (Dutch) Supreme Court; the Court of Audit; and the Council for Culture. Our list now contains the names of more than 50 organizations. Clients come to brief the students in class. During the design process there is close contact between students and their clients, from the briefing, the first contact with the client, through to the final presentation. The interaction between designer and client is essential to the design process. Throughout the process, it is all about dialogue. Students learn, among other things, that good design should be presented with convincing intellectual underpinnings. The students also learn to deal with the tension that may arise between the needs of the client and their own ideas as a designer. When implementing and producing a design, the designer has a directing and coordinating function. An important learning objective of this course is to allow students come into contact with this essential aspect of the profession of designer. Learning objectives This course will give students the opportunity to experience the real design practice by working on real cases. They will to listen to briefings; to debrief; to develop concepts; to discuss; to design; to plan; to present; to cooperate; to work with budgets; to produce; to organize. Teaching activities Students partake in all manner of meetings related to a real and working life project: briefings; visits; work meetings; working in teams; methods presentations to commissioners. Assessment Individual and collective assessments and feedback. method (including, for example, minimum attendance and other requirements). Required and Briefings, assignment descriptions, websites, et cetera. recommended sources
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Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC
Contact hours
Independent study
Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection Capacity for growth and innovation Organisational ability X Communicative ability X External awareness X Capacity for collaboration X
Course Title Hack Club (IST project)
Teacher(s) Kees van Drongelen
Class(es) GD 2 and 3 (fulltime students)
Teaching period First and second semester
Brief description The field of graphic design is no longer limited to graphic design alone. Many designs are produced with help of computers. Students are increasingly interested in creative and engaged hacking. Hacking revolves around mistrust of authority, promotion of decentralization and the idea that you can create art and beauty on a computer.
We have noticed that there is an increasing interest in connecting real life things with computers and vice versa. This can be illustrated best with developments such as Arduino, Raspberry Pi, Robotics and the like. Tools that encourage tinkering; that encourage exploring physical and
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digital interaction. Hacking is about using computers to change life for the better. Hacking is about crossing borders, transcending pre-defined fields and areas.
Learning objectives Students acquire strategies and methods that enable them to tinker, research, hack, and experiment in an open manner, continuously improving themselves.
Teaching activities The Hack Club is an initiative in the context of the so-called and working Individual Study Trajectory (IST). The Hack Club is a small methods group of around 10 students from different years, who are highly motivated and talented.
We want to offer these students the opportunity to obtain deep and specific knowledge of current developments in the field of hacking, DIY, computation and design.
Students are given an initial assignment and are then encouraged to define their own assignment. In this way they learn to define learning goals specific to their craftsmanship and development as independent designers and artists. Assessment During this IST project, students are encouraged to define method (including, their own learning objectives. At the end of the semester for example, there will be an evaluation with the student to see how these minimum objectives are realized. attendance and other Because experimenting with all kinds of technologies play requirements). an important role in these projects, they may not have a clearly defined end. They are actually more open projects.
Students must spend at least 70% of the time in class. In addition, they are encouraged to experiment in their own time. Required and As most of the concepts and used technologies are recommended computing related most important source is the web. sources Besides this books, manifesto's, documentaries and (art house) cinema are also used a lot.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent
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study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris.
Study load 1 IST point stands for 28 hrs. Assuming that a student is working on this assignment for about 28 hrs. every three weeks and that this assignment takes one semester this results in 6 EC.
Contact hours
Independent study
Please check the most important competencies involved in this course (max. three!) Creative ability X
Capacity for critical reflection X
Capacity for growth and innovation X
Organisational ability
Communicative ability
External awareness
Capacity for collaboration
Course Title IST LAB SOUNDSCAPE Teacher(s) Gert Dumbar & Merel van ‘t Hullenaar www.studiodumbar.com and www.studiovthv.com Class(es) 2nd year onwards to 4th year GD (fulltime students) Teaching period Semester 1 or 2 Brief description The IST LAB Soundscape primarily deals with ‘data sonification’: visualizing data in the form of sound waves and vice versa. We transform the (graphic) image /design into sound (data) using the notion of ‘public space’ as our working field. Though this IST LAB Soundscape is an initiative of the KABK Graphic Design department, it is an academia-broad course, inviting students of all departments, of all levels. Unique is our collaboration with the Royal Conservatory: students of composition and sonology and their tutors.
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This IST LAB focuses on the exploration of this exchange between academies and departments, between students of sound and students of image. It pursues experimentation within the realms of image and sound, thus allowing both student groups, singly or in collaboration, to explore beyond their familiar scope: working with three-dimensional objects in the first phase of the course; with technology in the second phase; and creating an installation in the third and final phase. This results in a final, joint exhibition. Learning - Collaborate: students of the Royal Academy of Art & objectives the Royal Conservatory work together. They exchange ideas, skills and knowledge of their disciplines. The tutors of both academies also strive for a fair bit of exchange – to share knowledge and broaden each other’s horizons.
- Explore: how can you work visually with sound components; how soundscapes can become highly visual.
- Students learn to deal with image and music/sound analysis, and gain skills to convert their analyses into spatial/three-dimensional objects or installations. For the IST LAB the workshops of both academies are available to the students. At the KABK for instance the workshops wood; metal and glass; textile; photography; print making; the FAB- lab; the new media & audio-visual workshop, et cetera. The Royal Conservatory offers electronic sound, music, and instrument workshops.
- Exhibit: the conclusion of the semester is a public exhibition, which we take very seriously, and we expect no less from the students involved. All students work to finalise their concluding work in auditory and visual, three-dimensional objects; interactive works and –walks; spatial or architectural installations. We reserve an exhibition venue, like the Royal Academy Art Gallery; and together we make a solid PR campaign to advertise to the public, and to interested professionals. Teaching activities and 1. Assignments: we introduce the students to the working methods given assignment and make sure there is room for group discussion amongst the students and the tutors involved. As tutors of this IST LAB we hand out an assignment description in which we divide the assignment in bite-sized chunks. To help with their planning, we include all the
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important dates of the semester that students should take into consideration.
2. Guest tutors: we invite various guest-tutors during the semester, professionals in sound, visual art + sound, and music, to enforce the knowledge and scope of the students. We often ask the guest- tutors to complement their lecture with a more active workshop. Justin Bennett for example, who is a sound-artist and a tutor at the Royal Conservatory, gave a great introductory lecture on (historical) sound-art, and continued with a hands-on workshop of audio-recording. The sound-artist Cilia Erens conducted a sound-walk with all students, walking around the KABK building focused on binaural sounds. Paul Devens focused on 3D objects and (architectural and site-specific) installations using sound as concept.
3. Our own practical approach differs weekly; sometimes we ask the students to present their drafts and sketches in front of their fellows by holding short class-presentations; sometimes we work in smaller groups; or we hold individual talks with the students to discuss their progress and any problems they encounter during the course. As tutors we try to offer them conceptual feedback; practical solutions to problems; and offer them examples of works that might inspire them in their assignment or approach.
4. As an introduction, and to overcome some shyness, we tour all students through the different workshops that both academies have to offer. We have excellent workshop assistants that are more than happy to guide them with any endeavour possible.
5. The final presentation, apart from being a lot of fun, is also an obvious learning experience in presenting their ideas into a final work in a professional way, for an external public. In addition we involve all students with the organisation of such a presentation, like planning; testing and hiring professional (electronic) equipment; PR & communication, et cetera.
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Assessment We are in the fortunate position that we have very method motivated students; they apply if they are interested and (including, for want to learn certain skills. example, minimum Even so, we do ask professional and solidary behaviour attendance and towards their fellows and tutors in this LAB: in their other attendance, their production and their social behaviour. requirements). Some students are very autonomous. They can conduct external fieldwork outside of the classroom, and are allowed a freer schedule – discussed and approved beforehand by the tutors. So on paper attendance is not a factor, as we trust students’ sense of responsibility. However, if a student is absent more than three times we do make an appointment for a conversation, to discuss any problems or difficulties.
The main assignment has three clear phases: one, three-dimensional objects; two, technology; and three, installation. Each phase has its own sub-assignments, focused on detailed skills. After the end of each phase is an (in)formal presentation moment, which we record and evaluate. The final goal is the exhibition of auditory and visual three-dimensional objects; interactive works- and walks; spatial or architectural installations. Here we as tutors verbally assess the students, together and individually.
Required and 1. The extended knowledge of the tutors. recommended They also introduce the students to their sources broad networks.
2. Guest-tutors with more specific and detailed knowledge on various fields in relation to the IST LAB Soundscape – as with the one- to-one talks of feedback in direct communication with students after the lecture’s /workshops.
3. Excursions to museums, concerts and related festivals and manifestations, for example Sonic Acts.
4. Recommended books from both libraries – with excellent librarians and tutors and guest tutors.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study,
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divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 6 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation X Organisational ability X Communicative ability X External awareness X Capacity for collaboration X
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Course Title PLAYLAB Teacher(s) Roosje Klap & Job Wouters and guest tutors Class(es) Mixed group of years 2 and 3 GD (fulltime students) Teaching period 1st and 2nd semester (elective for ±50 students per semester) Brief description PlayLab is an elective course within the Graphic Design department, focused on artistic research and translating concepts into form. It is a place where the visual and substantive limits of design are thematically researched, during one semester. PlayLab is a meeting place where students are safe to experiment and fail, and experience a strong group cohesion. At PlayLab it is important to invite guest tutors with specific skills and knowledge, to enhance and enrich a specific theme. PlayLab means serious fun; experimentation; thinking by doing; and developing one’s own professional vocabulary. Some examples of PlayLab themes from the past years are: Psycho-geography (with Pawel Pokutycki and Babette Wagenvoort) Humour (with Simon Wald-Lasowski), Sexuality (with Tabita Rezaire and Christine Bax) We are the Band (with Eddie the Eagle Museum/Aukje Dekker & Arthur van Beek) Folklore 2.0 (with Pinar & Viola) The Monument (with Arna Mackic) The Technological Imaginary (with Merel van ‘t Hullenaar and Jan Robert Leegte, for Cinekid Festival)
Learning In PlayLab the students discover and research a specific objectives subject. Playlab students also learn a tremendous amount about themselves as designers. They develop their own outlook on the theme, as well as specific positions on the subjects of the assignments: what do I think of this and how do I translate this into form. The course combines of shorter and longer assignments, resulting in a variety of outcomes. We believe it is very important to finish the semester with a presentation, exhibition or performance, presented to an (outside) audience. Students from the seconds and third years are mixed in this course; they learn from each other in a peer-to-peer situation. PlayLab is multidisciplinary: in this course students can use all the skills acquired in other courses (like typography, writing, video; or crafts like silkscreen or coding). Teaching Lectures; readers on the theme of the course; films; visiting activities and exhibitions; class discussions; writing; presenting. working methods Assessment We focus on a student’s critical reflection towards the process method of discovery and experimentation. We assess the students (including, for during their final presentation – often outside of the academy, in example, an exhibition space. A presentation to an (outside) audience is minimum part of the course. The results of Playlab are also part of the attendance and collective assessment.
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other requirements).
Required and We create a reader with background text and information about recommended the theme of the course, and we give specific additional sources individual tips for source material. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC’s (112 hrs) Contact hours 68 hrs per student, per semester Independent study ± 44 hours (around 2,5 per week) Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation X Organisational ability Communicative ability External awareness Capacity for collaboration
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Course title Interactive Media Design Teacher Lauren Alexander Classes GD 3 (fulltime students) Teaching period First and second semester Brief description In the third year the Interactive Media Design requires that students engage with the possibilities of media in a broad sense: audio, visual and multi-sensory media, and robotics. Students learn to work with these media in projects (approximately one or two per semester). They also critically explore how these media are used in our society, and consider their (possible) social and political consequences. The process starts with independent investigative research, moves onto personal authoring or refining of gathered content, and ends with the formulation of a clear statement. Guidance is given throughout this process. The course strongly emphasises the application of projects in the public sphere: either online or in collaboration with an external organisation or project partner. Students are provided with a public platform, event or context, for which they can collaboratively research and develop their work. Individually as well as in teams they must consider the relevance and context into which their work is placed.
Learning objectives • Animating curiosity and critical thinking about media in contemporary society, through reading/watching study materials. • Encouraging investigative, hands-on artistic research methods such as self conducted surveys; interviews; library visits; and other empirical methods. • Reflecting on the research in class, in discussion sessions and with relevant guest tutors. • Training storytelling with written texts; script writing; moving images; self-created images; animations; audio. • Training presentation of projects with visuals and spoken word (usually in English). • Teaching the value of testing concepts and prototypes, through mid-project presentations and feedback (with the tutor and/or the class and/or a guest tutor as an audience). • Training project-based teamwork, with classmates and with outside institutions (where appropriate). • Creating the beginnings of a critical vocabulary to talk about one’s own work as well as the work of others through presentations and writing.
Teaching activities Investigation and working • The research phase comprises artistic research in a methods broad sense; gathering and analysing data specific to a central research question. The data collection is either
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carried out by technical or empirical means, or it can be connected to theoretical components of the study (such as the Philosophy course). Students are encouraged to look at a broad range of design and art practices, which might link and inform their interests.
• In the investigative phase, the focus is on extracting from the collected information a conclusion, a point of view, or a personal interpretation.
Independent project development • In the research phase, materials are provided by teachers and students and discussed in class, at times with guest tutors.
• In the investigative phase, when they put their ideas into practice, students are encouraged to undertake visual and technical tests. Guidance is given individually and in group feedback meetings.
• In the execution phase, the assignments are executed as stand-alone projects, directed at an outside audience. Therefore, once students have decided on their final output and media, they will need to put into practice their technical and production skills to meet deadlines within a given framework.
Interacting with a public environment • Considering and designing formats for a public audience, formats relating to communication, presentation or publishing.
Assessment • Important guidelines for the evaluation: Is the student method able to conduct independent research? Is the student (including able to deduce a research question and reflect on it from attendance several points of view? Has the student attempted to requirements etc.) create a variety of visual and media outcomes? Is the student able to represent and communicate projects independently?
• Mid-project assessment takes place together with guest tutors. It monitors progress and allows the student to make changes before the final deadline.
• Attendance and project progress is monitored each week. If not satisfactory, the student is told so immediately.
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Required and General course reading: recommended sources Anthony Dunne and Fiona Raby, Speculative Everything, Design, Fiction, and Social Dreaming, MIT Press (2013) Andrew Blauvelt Ed, Graphic Design: Now In Production, Publisher Walker Art Centre (2011) Omar Kholeif, You Are Here, Art After the Internet, Cornerhouse (2013) Hito Steyerl, The Wretched of the Screen, Steenberg Press (2013)
Reading, depending on thematic projects:
Sound and Storytelling Jennifer Schine, Movement, memory & the senses in soundscape studies, 2006
Cartography Stewart Brand, The Last Whole Earth Catalogue, Menlo Park: Portola Institute,1971 Daniel Rosenberg and Anthony Grafton, Cartographies of Time, New York: Princeton Architectural Press, 2010 Currency/ Bitcoins Matteo Pasquinelli, Capital Thinks Too – The Idea of the Common in the Age of Machine Intelligence, http://www.onlineopen.org/capital-thinks-too Thomas Piketty, Capital in the Twenty-First Century, Harvard University Press, 2013 Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 3,5 x 28 = 98 per semester part of the designcluster of 14 EC Contact hours 17 x 4 = 68 per semester Independent study 30 hours per semester = 1,7 hours per week Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation Organisational ability Communicative ability External awareness X Capacity for collaboration
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Course Title Image Teacher(s) Kévin Bray Class(es) GD 3 (fulltime students) Teaching period First and second semester Brief description The image course of the third year is focused on signs, styles and compositions. It attempts to make the students aware of the meaning embedded in visual techniques, styles and media; and how to use them to create. The target is to push the students to understand their creative obsessions and needs. Once this step has been taken, they are taught to stand for their ideas by verbalising them. In contrast to the Graphic Design course, in the Image course the students’ work may be autonomous and self-reflective: this course supports the development of their own way of working. The teacher helps the students to establish a method of working that suits them. Finding and training this method is helps them to evolve and expand their technical and conceptual skills. Once they have found it, they tend to use this method in other courses. In the third year, students also start creating video, with everything that entails: from new technical skills, to reflections on time. How can the manipulation of time modify the perception of an image, and its meaning? Learning objectives In this course students learn how to relate to image in a conceptual and compositional way. They also learn which manner of working suits them best. How can their time be used in the most efficient way? The Image course is a place where they can learn how to experiment, in concrete or/and practical assignments. The students will acquire the following technical skills: Shoot and edit videos Create 3D spaces Use of photogrammetry Teaching activities The teaching method used in this course consists of several and working steps: methods -First an introduction to the course assignment, with a collective theme. -Next, the students conduct research, gathering references and examples of artists and graphic designers who have worked on this theme. -Then, a first creative phase. A number of ideas are written down and discussed during individual talks. One of these ideas is selected. -Again, the student gathers references and examples, to support the idea he selected. This new research phase helps
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them to focus their idea, and to make it more personal. -The last phase is the production. The students have to prepare and think of all the materials and technical skills they need in order to make their project possible to execute.
Class is once a month, and individual talks take place three times a month. The students are also welcome to come to the teacher at the end of the class, to ask extra technical questions.
Assessment Students have to attend each class. When students are not method (including, present in class, they have to indicate why, and how they can for example, make up for the lost time. minimum When a project is insufficient, different strategies are applied attendance and according to the case at hand. Extra time can be given, or an other adapted extra assignment can be introduced, to help them requirements). solve their problems with the course work. Required and In graphic design, students have to be aware of their recommended surroundings. They are encouraged to follow contemporary sources graphic design and art through books, blogs and websites. Some of these sources are shared at the beginning of the year. It is important for them to create bridges with the Philosophy course and to be conscious of the history of signs. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 3.5 EC’s (European credits), part of the design cluster of 14 ec Contact hours 3.5 x 17 weeks = 59.5 hrs. Independent study 98 - 59.5 = 38.5 / 17 weeks = 2.25 hrs./week Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation Organisational ability Communicative ability X External awareness Capacity for collaboration
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Course Title Typography 3 Teacher(s) Thomas Buxó Class(es) GD 3 (fulltime students) Teaching period In comparison with the second year, during which the student broadened his perspective on typography, the third year puts more focus on independent research within complex assignments. The course centers on the impact of typography, and on the ways in which networked technologies are fundamentally changing the shape and experience of language.
Brief description The course establishes the designer as content generator, editor, curator, typographer and publisher. The assignments are designed to stimulate students to navigate the complexities of text and typesetting, by continually making articulate and informed editorial decisions. The final outcome is entirely defined by the student. He will be encouraged to critically expand on the assignments’ themes, to formulate personal typographic statements and/or reflections. After successful completion of the course a student is able to:
— Apply his knowledge and skills to the typographic design of complex messages; with special attention to the hierarchy of information, on both the macro and micro levels.
— Demonstrate his ability to create and develop original concepts; to channel them into sound editorial design choices; to integrate feedback; and to carry projects through to the realisation phase; with no limitations on the type of media (digital, print, motion, 3-D, etc.)
— Apply principles of research-based design as they relate to Learning objectives engaging audiences, the impact of typography on society, and the ability to work cooperatively.
— Identify key aspects of typography history, theory and criticism from a variety of perspectives, including prominent designers, contemporary writers and theorists.
— Show fluency in the breadth of disciplines that overlap with typography; with deep exploration into information design, user interface design, interactive design, motion graphics, iterative and generative design.
— Demonstrate understanding of the typographic design process, typographic thinking and professional practices. Teaching activities The course exposes the student to a variety of working
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and working methods, to develop his independence, his collaborative and methods innovative skills. It includes workshop-based activities and the involvement of visiting lecturers. Students work both individually and in teams. Formative feedback is an ongoing process and is delivered via critique, tutorial, group discussion and peer input. Assessment The student gives a presentation upon completion of each method (including, assignment. These presentations are part of his evaluation. for example, After his final presentation, the student receives an indication minimum of his performance to date, and guidance on how to improve. attendance and At the end of each semester the student receives written other feedback on his performance. If so desired, the written requirements). comments can be discussed further in one-to-one talks. Required and
recommended
sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of Design Cluster 14 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical X reflection Capacity for growth
and innovation Organisational ability Communicative
ability External awareness X Capacity for
collaboration
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Course Title Philosophy
Teacher(s) Maarten Cornel MA Class(es) GD 3 (fulltime students) Teaching period Semester 1 and 2
Brief description Philosophy is a course developed for the graphic design department. This course is part of theory, and is placed in the third year in order to create a bigger social conscience with the students. This course encourages students to think more, associate, contextualise and if necessary, reposition themselves towards many existential questions and issues. Essential to this development is the training in research skills. For the current graphic designer it is essential to do research and implement this in his or her practice. Philosophy also helps to prepare the students for the final year, their thesis and to awaken and sharpen their own ideas. Philosophy also frequently collaborates in the second semester with main courses like graphic design or play lab on various projects.
Learning objectives The basic task is to familiarise students with essential concepts from the history of philosophy, with a special focus on 20th century theories. The following aspects are relevant aims of the Philosophy course: A) Cognitive skills: the "delay of judgment," reflection upon argumentation, formulation and not taking anything for granted. Analytical skills: critical thinking. B) Training interpretative skills: reading accurately, making your interpretation of short philosophical texts or passages. C) Research skills. Students learn to relate to different types of sources, research criteria and to interconnect different types of research to each other. D) Writing Skills: writing an essay. Capacity to organise research, integrate knowledge and vision and articulate and argue positions. E) Formal skills.
Teaching activities A) Central approach is the reading, analysis and classical and working discussion of selected passages from essential philosophical methods texts. Often contemporary articles are discussed as well, and often related to specific texts or philosophical concepts. B) Lectures. Multiple lectures will be given full of models, theories and also images. These lectures deal with wide ranging aspects of philosophy and relevant notions of sociology, art theory and mythology. But there are lectures on argumentation, logic and writing skills.
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C) Socratic talk, which is a philosophical method to achieve consensus through a very systematic way. This talk will be held in smaller groups, and contribute to the sharpened sense of the relevance of specific formulations. As well, it is a strong method to develop social understandings and skills. D) A debate. In the debate students are asked to formulate pro and contra arguments for specific ethical dilemma and after the debates, analyse the debates collectively.
Assessment Attendance for this course is 80 %. Each semester the method (including, students will practice reading, interpretation and writing skills. for example, During the semester some small writing assignments are minimum given, also there is the need to do a presentation. But the attendance and most important assignment is writing an essay at the end of other requirements). the semester (3500 words). This essay will be given extensive feedback. There is the possibility for a (written) resit.
Required and Historical to contemporary texts: recommended A) Plato's Symposium sources B) Spinoza, Ethica. C) Kant "What is Enlightenment?" D) Nietzsche's Birth of Tragedy from the Spirit of Music. Texts from Twentieth Century: A) Marcuse: the one-dimensional man. B) De Beauvoir: The second sex. C) Butler: Gender Trouble. D) Foucault Words and Things E) The "Self" (Jung, Simone Weil, Lao Tze) F) Determinism versus free will (Dennett, Spinoza) G) Globalisation and the Hybrid, Post human. H) Flusser, The Saussure, Barthes: Media theory. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 3 EC for each semester Contact hours 34 Independent study 2 hours a week Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection X Capacity for growth and innovation Organisational ability Communicative ability X External awareness X Capacity for collaboration
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Course Title Internship supervision (vocational preparation)
Teacher(s) Gijsbert Dijker
Class(es) GD 3 (fulltime students)
Teaching period Semester 2
Brief description In this course, students prepare their internship. The internship is being prepared, monitored and evaluated by means of forms. In the first form, called ‘internship plan,’ students explain what they want to learn in their internship. In search for a suitable placement we look at similarities between the portfolio, future plans and learning goals of the student and the work of the design studios. For more detailed information: see the brochure Beroepsvoorbereiding / Training Manual (Available at the student administration). Learning Finding a suitable internship where they can bring the at objectives academy learned skills into practice and where they can experience to work with real clients on real assignments. Teaching activities In weekly meetings (each week another group of about 10 and working students) and contact by email the following issues are methods discussed: General introduction / explanation forms / formulating the internship learning objectives / portfolio tips and presentations / agency selection (long list and shortlist) on the basis of training reports of predecessors / viewing websites of BNO and studios / reading job vacancies / writing a application letter and curriculum vitae (cv) / preparing the interviews / completing and signing the contracts. Assessment This block is finished as an internship has been found and method (including, all the paper work has been completed and signed by all for example, parties. minimum attendance and other requirements). Required and Vacancies, forms, websites etc. recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent
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study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris.
Study load 10 EC
Contact hours
Independent study
Please check the most important competencies involved in this course (max. three!) Creative ability X
Capacity for critical reflection X
Capacity for growth and innovation X
Organisational ability X
Communicative ability X
External awareness X
Capacity for collaboration X
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Course Title Graphic Design Teacher(s) Niels Schrader Class(es) GD 3 (fulltime students) Teaching period semester 1 and 2 Brief description Design in its very essence addresses communication problems. Understanding and solving a problem requires approaching the matter from multiple perspectives and posing the right questions, especially in interdisciplinary collaboration. Since media types and communication devices are getting increasingly diverse, interdisciplinary working methods are becoming mandatory for contemporary designers.
In fact, the term graphic design covers three different domains: 1. journalism (know your sources): doing investigative research; structuring content and evaluating information 2. design (know your visual language): finding the appropriate form to make the information digestible 3. broadcasting (know your medium): prototyping; learning craft and production, including programming and printing techniques
Learning objectives Students are trained to develop their analytic skills and to approach design problems conceptually. Important qualities that are encouraged during the course are critical thinking and careful research: in dealing with information, in structuring information. Furthermore, students learn how to handle different types of media and how to manage interdisciplinary questions.
Teaching activities The goal is to keep didactic and experimental learning in and working balance: between theory and concept on one hand, and methods practical implementation on the other. Each block in the semester revolves around a theme: a current political, socially relevant subject. Students investigate this subject in depth. Even though a block is linked to a specific assignment, there is room for the students’ individual approaches.
Consequently, a block consists of the following two phases:
1. reflection phase: To provide context, a thematic block starts usually with an introduction to the topic. This includes the presentation of similar cases and hands-on exercises. Students are assigned to write down their observations and to contribute to the discussion, for instance by writing a seminar paper on
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selected aspects of the issue. Thought and reflection must be part of the final product.
2. creation phase: This phase focuses on individual tutoring. The student investigates a personal subject and formulates a corresponding research proposal; gives interim presentations in class; participates actively in class discussions. The tutor provides feedback and supervision; advises on texts to be read; shares his expertise. The main goal is to stimulate creativity and individualism rather than following the beaten path. The students are conducted to present their progress on a regular basis. Assessment The grading and evaluation is based on the following criteria: method (including, 1. research for example, 2. concept development minimum 3. visual implementation attendance and 4. presentation other requirements). 5. creativity 6. motivation 7. team skills 8. participation Required and www.infosthetics.com recommended www.onlineopen.org sources www.e-flux.com www.designobserver.com www.bldgblog.com www.grafik.net www.postmatter.com blogs.walkerart.org
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 3,5 EC’s (14 EC’s Part of Design cluster) Contact hours 2 x 3,5 hrs per day, 17 x 7 hrs = 119 hrs per semester (238 hrs per year) Independent study Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection X Capacity for growth and innovation Organisational ability Communicative ability External awareness X Capacity for collaboration X
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Course Title Creative Coding: Visualisation Teacher(s) Jochem Spek Class(es) GD 3 (fulltime students) Teaching period First and second semester Brief description Data visualisation with JavaScript/HTML
Learning objectives Students learn how to use programming technologies, specifically JavaScript/Canvas, to create images and data visualisations. At the end of the semester students can generate images themselves, using external data sources (APIs).
In addition to generating two-dimensional images, students acquire an understanding of three-dimensional file formats and gain experience in 3d-printing. Teaching activities The lessons always start with an introduction to the featured and working technologies, using real-life examples and inspirational methods videos. Afterwards the lesson turns into an atelier, where students obtain skills by coding projects themselves. We work in close collaboration with the 3d-printing workshop. Assessment The research, design and production process are method (including, documented in a booklet. Evaluation criteria for the final for example, project are originality, thoroughness and aesthetics; These minimum qualities must be present in the visuals as well as in the attendance and code. The quality of a student’s cooperation and other presentation is also taken into account. requirements). Required and recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC per semester Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection Capacity for growth and innovation X Organisational ability Communicative ability X External awareness Capacity for collaboration
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Course Title Design Teacher(s) Frits Deys Class(es) GD 4 (fulltime students) Teaching period Semester 2 Brief description The second semester of the fourth year is the graduation semester. In the second semester the student proposes a graduation project around one or more self-formulated design questions. These questions are based on the research carried out in the thesis. After having successfully presented the design questions, the student starts working on the graduation project. The student is intensively guided by two 4th year tutors during this time. Being the 4th year class coach, I am the tutor that sees all the students, so I can keep track of their entire development and all of their results. The final results are presented and assessed in the graduation exhibition. Learning objectives At the end of the second semester, the student has to be able to apply the knowledge acquired in the past 31/2 years. He has to be able to reflect on his future position, in a professional career. He also has to be able to reflect on the way he operates; has to show an interest in society; and has to be able to choose appropriate and relevant media for his work. The fourth year student has to demonstrate his own vision; to be able to define and solve design questions; to have a constructive design method; a well as a developed sense of form; the ability to communicate a message and to apply suitable visual means in his work. The student also has to be able to present relevant design choices; has to have the capacity for doing research and experiments; and has to have a well-developed design intuition. Teaching activities The student works on his graduation project by himself. His and working progress is discussed once in the two weeks in twenty minute methods sessions. At the end of each session the student is advised how he could or should continue.
Assessment The second semester has three important collective method (including, assessments. The first one is the so called ‘Dog & Pony’- for example, presentation. Here the student presents his graduation design minimum question and his initial sketches. At the second assessment, attendance and the student presents his progress. other requirements). At these so called ‘green light assessments’ the student’s chance of a positive final result is assessed. The student gets feedback on the presented work as well as an advice to continue (green light) or stop and redo the second semester (red light).
The second semester ends with a presentation of the final work in the graduation exhibition. A student’s graduation
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project is assessed by all 4th year tutors as well as an external advisor. If a student fails, he is advised how to improve his skills. He then has to redo the second semester.
Required and There is no required reading during the second semester. The recommended student is expected to have completed the fundamental sources reading for this course in earlier years. Reading material and other sources are suggested to students individually, based on the specific subjects and concepts of their projects. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Semester 2: for all tutors together total 18 EC’s Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation* Organisational ability X Communicative ability* External awareness* Capacity for collaboration* * in fact all competences are relevant to exam students
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Course Title Image Teacher(s) Michel Hoogervorst Class(es) GD 4 (fulltime students) Teaching period First semester, block 2; second semester Brief description In block 2 of the first semester the student works on his thesis. For a Graphic Design student, is not only a process of thinking and writing. It also has a visual component, which is addressed in the Image course. In this course, the student visually explores the core and the range of the thesis topic. This visual experimentation helps to sharpen the design question(s) for his graduation project. As the visual fundament of the graduation project is developed, the status and progress of the thesis is discussed alongside. The student also has to draw up a time schedule.
In the second semester the student proposes a graduation project around one or more self-formulated design questions. These questions are based on the research carried out in the thesis. After having successfully presented the design questions, the student starts working on the graduation project. Learning objectives At the end of the first semester the thesis must be completed, providing clear conclusions for the final graduation project. The thesis forms a solid and inspirational fundament for this final project, both conceptually and visually.
At the end of the second semester, the student has to be able to apply the knowledge that he acquired during the past 31/2 years. He has to be able to reflect on his future position, in a professional career. He also has to be able to reflect on the way he operates; has to show an interest in society; and has to be able to choose appropriate and relevant media for his work. He has to demonstrate his own vision; to be able to define and solve design questions; to have a constructive design method; a well-developed sense of form; the ability to communicate a message in his work; and he has to apply suitable visual means). The student also has to be able to present relevant design choices; has to have the capacity for doing research and experiments; and has to have a well- developed design intuition.
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Teaching activities First semester, block 2: Individual and group discussions and and working evaluations. At the end of block 2 the student presents his methods thesis, which includes all items of the project.
Second semester: The student works on his exam assessment by himself. His progress is discussed once every two weeks, in individual sessions of twenty minutes. At the end of each session the student is advised how he could or should continue. The student is intensively guided by two 4th year tutors during this time. Assessment The second semester has three important collective method (including, assessments. The first one is the so called ‘Dog & Pony’- for example, presentation. Here the student presents his graduation design minimum question and his initial sketches. At the second assessment, attendance and the student presents his progress. other At these so called ‘green light assessments’ the student’s requirements). chance of a positive final result is assessed. The student gets feedback on the presented work as well as an advice to continue (green light) or stop and redo the second semester (red light).
The second semester ends with a presentation of the final work in the graduation exhibition. A student’s graduation project is assessed by all 4th year tutors as well as an external advisor. If a student fails, he is advised how to improve his skills. He then has to redo the second semester.
Required and There is no required reading during the second semester. The recommended student is expected to have completed the fundamental sources reading for this course in earlier years. Reading material and other sources are suggested to students individually, based on the specific subjects and concepts of their projects. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Semester 1 block 2 : for all tutors together total 8 EC’s Semester 2: for all tutors together total 18 EC’s Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X
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Capacity for growth and innovation* Organisational ability X Communicative ability* External awareness* Capacity for collaboration*
* in fact all competences are relevant to exam students
Course Title Dream Team
Teacher(s) Roosje Klap and Ewoud Traast
Class(es) Selected graduation students GD (fulltime students) Teaching period Semester 2 Brief description This team of selected graduation students (6-10 students) is responsible for the look and feel of the whole graduation exhibition: the exhibition design, the catalogue; a wayfinding system; the online- and offline appearance of the promotional campaign, as well as planning and budgeting. They organise a preview of the exhibition for design professionals as well as the press. The Dream Team is also responsible for a 3D modular system that all graduation students can use to present their project. The team also takes care of all communication to all students about the graduation exhibition. A student’s work for the Dream Team is conducted on top of his own graduation project. It is assessed with the final exam and is thus part of his/her graduation. Learning objectives Under the guidance of two exhibition coordinators, every student has to formulate design solutions for the graduation exhibition. The students develops proposals, they gather material, make inventories, do relevant research and make sketch designs. The team is then divided into groups of two students. Each group takes care of a part of the exhibition design and realization: the catalogue; a module system; the wayfinding system; the promotional campaign. At this second stage, the students are expected to work together and be decisive. Their design proposals have to be related to an overall theme that they select together. An accurate planning is important. This means proposals and presentations have to be delivered on time, but the execution of the designs has to meet its deadline as well. Students have to manage the overall budget; they are
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engaged with fundraising. They also learn how to present and sell the final proposal to all fellow graduation students. Teaching activities The groups prepare a weekly presentation, which is then and working discussed in the team. The groups also receive individual methods guidance from the teachers. After these evaluations, the groups prepare a new design solution for the next week, and so on, until the final designs are implemented. Assessment The Dream Team work is an important part of the graduation method (including, of these students: their individual projects and their collective for example, exhibition project are both assessed. minimum The student is evaluated on the basis of attendance and • The design for the graduation project and the other requirements). graduation exhibition • The level in which the design is developed for and applied to this specific exhibition • The visual presentation of the final project and the exhibition project • The oral presentation of the final project and the exhibition project Also assessed are competences such as • creative ability • capacity for critical reflection • capacity for growth and innovation • organisational ability • communicative ability • external awareness • capacity for collaboration
Required and recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Semester 2: for all tutors together total 18 EC’s Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection Capacity for growth and innovation Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Typography Teacher(s) Matthias Kreutzer Class(es) GD 4 (fulltime students) Teaching period Semester 1&2 Brief description My typography course in the fourth year aims at helping the students to integrate and coordinate the elements of the typographic design process in their graduation project: type design; questions of typographic layout and structural aspects of publication design; object/materiality; production; the problems of publishing and distribution; the editorial process as an organic whole (the making and un-making of a plan); and the social, psychological and philosophical implications of the above.
It is a broad setup that includes a multitude of processes, with the medium typography (i.e. materialised language) as a common denominator. It is about looking at the world through the lens of typography.
The term ‘Subjective Typography’ has helped me in recent years to come to a better understanding of my own work. In this course, the term is a critical instrument in working with type, in producing content and objects. The course awakens the students’ awareness of the DNA of a design, meaning the typeface and its shapes. It encourages them to take the typeface and the shapes as starting points for the concept of a design; a context where visual (alphabetical) forms can become content.
Learning objectives In first place, this course helps students to develop their own working method. In second place, it teaches students to subjectively discuss the relationship of the designer with a specific situation (the content) on one side, and with the audience on the other. In its successive translations, the design process re-writes and re-contextualises. Thus the design process shapes the outcome as well as the source. The course teaches students that in this subjective process, the designer can become an author in several ways.
Students learn that typographic comment (the invention, the novelty) can be subtle, in the details, embracing the micro- scale; or it can take on a monumental, architectural scale (‘symbol dominates space’).
As an answer to seemingly objective norms, the course
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teaches that all typographic design has the potential to be critical.
Teaching activities - Feedback: students receive personal guidance in and working sessions with the tutor and/or in small groups, to reflect methods on the work in progress and focus the project’s concept and form. In contrast to earlier years, the feedback sessions will be longer (up to 30 minutes per student) and students are expected to present and discuss work in a way that is open, self-critical, and professional.
- Presentation: at two so-called ‘green light’ presentations, students present their work in a way that simulates or builds up towards the graduation. Here the students can experiment with spatial presentation and challenge their abilities further. A high quality presentation is expected; the project must be well articulated in form and concept.
- Communication: during the development of their graduation project, students are expected to articulate their ideas and work towards a clear graduation project proposal. In personal talks and in the green light presentations, students are expected to communicate their ideas concise and clearly, with a proper understanding of related developments in society and in the field.
Assessment The second semester has three moments of assessment: the method (including, two ‘green light’ presentations and the graduation. The two for example, presentations are moments to assess whether the student is minimum given the ‘green light’ to continue to graduation. attendance and other requirements). At the first ‘green light’-presentation, students have to clearly convey what their graduation project is, which form it will take, what ideas are used, and what media will be used.
The second ‘green light’ is close to graduation, when the student has to present their graduation in a preliminary form. All ideas and designs have to be ready, or close to completion. The work must communicate clearly, and its presentation at this stage offers a clear image of what can be expected at graduation.
When assessing the student, their attendance in class is taken into account.
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Required and There is no required reading during the second semester. recommended Students are expected to have completed the basic reading sources for the course in earlier years. Reading material and other sources are suggested individually, based on the subjects and concepts of the students’ projects.
Having said that, for the typography course students should have read one or more titles from the following (incomplete) reading list, as they are essential for a deeper understanding of the roles and responsibilities of the typographic designer, and stimulate the questioning and further development of one’s design practice: What is a designer, by Norman Potter The stroke, by Gerrit Noordzij The Elements of Typographic Style, by Robert Bringhurst Moholy-Nagy: Experiment in Totality, by Sibyl Moholy-Nagy Die Kunst der Typografie, by Paul Renner Anthony Froshaug, edited by Robin Kinross Unjustified Texts, by Robin Kinross About Graphic Design, by Richard Hollis (…) Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of Final Projects 22 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation Organisational ability X Communicative ability External awareness Capacity for collaboration
Course Title Graphic Design Teacher(s) Ruben Pater Class(es) GD 4 (fulltime students) Teaching period Semester 2 Brief description The graduation year prepares the students for their activities as a graphic designer after their studies, whether as a professional graphic designer working in the field, or in the trajectory of continued education.
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In the second semester there are no assignments and students have to conceive their own graduation project, on which they will work for four months. They start by writing their own briefing, and use the conceptual and formal skills learned in previous years to bring this project to a successful graduation.
The graphic design course challenges the student to do their own critical visual and textual research, so they can articulate their ideas in a way that exhibits their understanding of their own role as a graphic designer. The students are challenged to explore their own roles and responsibilities, both within and outside of their graduation project. They should be critically aware of the outside world and use their graduation project to communicate their vision clearly, maturely, and with excellence in both concept and form.
Learning objectives Students must develop their personal outlook on the graphic discipline; define their own graphic design assignments; and put forward solutions in both form and concept. They have to show highly developed formal skills; the ability to communicate their ideas into a message; and the capability of finding appropriate visual means to do so. They should be able to do research and develop critical methods of both working and thinking. Students must reflect on their work, on their personal position, consider other points of view as well as their responsibilities as a future graphic designer in society.
Teaching activities - Feedback: students receive personal guidance in and working sessions with the tutor and/or in small groups, to reflect methods on the work in progress and focus the project’s concept and form. In contrast to earlier years, the feedback sessions will be longer (up to 30 minutes per student) and students are expected to present and discuss work in a way that is open, self-critical, and professional.
- Presentation: at two so-called ‘green light’ presentations, students present their work in a way that simulates or builds up towards the graduation. Here the students can experiment with spatial presentation and challenge their abilities further. A high quality presentation is expected; the project must be well articulated in form and concept.
- Communication: during the development of their graduation project, students are expected to articulate their ideas and work towards a clear graduation project proposal. In personal talks and in the green light
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presentations, students are expected to communicate their ideas concise and clearly, with a proper understanding of related developments in society and in the field.
Assessment The second semester has three moments of assessment: the method (including, two ‘green light’ presentations and the graduation. The two for example, presentations are moments to assess whether the student is minimum given the ‘green light’ to continue to graduation. attendance and other requirements). At the first ‘green light’ presentation, the students have developed the conceptual framework of their graduation projects. The students have to present their graduation project in a preliminary form, in a short public presentation called ‘Dog and Pony’. The presentation must clearly convey what the graduation project is; what its goals are; which forms are considered for the project; what media will be used.
The second ‘green light’ is close to graduation. The conceptual framework should be solid at this stage. Whether a student is given the ‘green light’ depends on the conceptual level of the project overall, as well as its execution in details of form and production. Designs have to be either ready, or close to completion. The work communicates clearly and its presentation at this stage offers a clear image of what can be expected at graduation.
When assessing the student, their attendance in class will also be taken into account.
Required and There is no required reading during the second semester. recommended sources Students are expected to have completed basic reading for the course in earlier years. Reading material and other sources are suggested individually, based on the subjects and concepts of the students’ projects.
To cater to each student’s personal, deeper exploration of their graduation topic, they are encouraged to find sources and reading materials outside the confines of the discipline, such as, but not limited to: communication sciences, psychology, biology, philosophy, technical sciences, sociology, anthropology, et cetera. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of Final Projects 22 EC Contact hours
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Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation Organisational ability Communicative ability X External awareness X Capacity for collaboration
Course Title Creative Coding: Post-digital Code Teacher(s) Eric Schrijver Class(es) GD 4 (fulltime students) Teaching period Semesters 1 and 2; blocks 2, 3, 4 Brief description Graphic Designers work in an increasingly diverse set of media, and increasingly collaborate with software developers. Digital and printed publications are no longer conceived separately. The last year at the KABK prepares the students to excel in the post-digital workplace. Learning objectives Students obtain an overview of the evolving technologies in the publishing industry, and of the ways in which web publishing and paper publishing can converge.
Students understand the differences between technologies for web sites, for web applications and for mobile applications.
Students design a digital publication with a design that adapts to mobile, desktop and print publishing.
To facilitate future collaboration with software developers, students obtain a basic understanding of the culture of code. They learn what collaborative software is used, and what collaborative customs these developers have. Teaching activities The web development skills developed in the previous and working years are now tested in the students; development of a methods hybrid screen and paper version of their theses. This assignment is in collaboration with the Typography and Theory tutors.
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A code sharing platform (Github) is used to track students’ progress, provide feedback opportunities, and facilitate the publishing and archiving of the theses. This also allows students to get to know the collaborative tools used by software developers.
In the second semester, students are offered the opportunity to discuss their graduation projects. In individual feedback and group discussions, the conceptual implications of the students’ technological decisions are explored. A number of seminars (on intellectual property, hacktivism, and gender in computing) provide inspiration and references for this process. As the projects get more concrete, the tutor provides practical assistance with the coding.
Assessment In the first semester, the student delivers a hybrid thesis. A method (including, checklist with criteria ranging from concrete code level to for example, conceptual quality is distributed to the students, so that they minimum can first assess each other before receiving their individual attendance and assessment. other requirements). In the second semester, the student delivers his final exam project. A student’s development and class attendance are taken into account. Required and recommended sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of Final Projects 22 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection X Capacity for growth and innovation X Organisational ability Communicative ability External awareness Capacity for collaboration X
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Course Title Thesis Teacher(s) Marjan Brandsma, Els Kuipers, Dirk Vis Class(es) GD 3 and 4 (fulltime students) Teaching period 3rd year second semester, 4th year first semester Brief description The thesis is the theoretical and intellectual foundation of the graduation project. It is both written and designed. In writing their thesis, students conduct the research process that is needed for a well-grounded graduation project. The thesis functions as an exploring argument: to define the graduation project’s historical and theoretical context, as well as its practical and/or methodological starting points. The aim of this course is to end up with a specific research question in the artistic field of choice. This question is then explored in the design and art work of the graduation project. The thesis has three aspects that are equally important: the written text, its digital design and its analog design. Learning objectives - Formulating and reformulating a relevant and precise research question related to the artistic field of interest - Trying out modes of reading and writing, choosing and editing the most relevant mode(s): for example academic/scientific, essayistic, literary, journalistic, artistic - Using smaller writing assignments and case studies to explore the field of interest and start formulating the research question - Building an argument with both writing and visuals, using ekphrasis; case studies; figures; the editorial, graphic and/or typographic design of the text - Editing one’s findings to form a single, relevant argument - Designing the thesis as both a web publication and a print output - Communicating about the thesis project in a written abstract as well as in a public presentation Teaching activities - Lectures and working - Reading groups methods - Sub-assignments: chapbooks, short essays - Presentations and discussions in smaller groups - Group seminars and individual feedback - Written feedback - Individual close reading sessions Assessment - Writing style, voice, language, quality, depth and conclusion method (including, of the thesis as well as relevance for the field for example, - Process minimum - General attendance attendance and - Deadlines or written material other requirements). - Chapbooks - Essays - Full theses in draft and final versions with footnotes, bibliography, list of sources and abstract.
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- Length of approximately 7500 words (15-20 pages), - Web publication with screen and print version
Required and - Required sources: the chapter How to Write an Art Thesis recommended from the Art & Design Reader. How to Write a Thesis, by sources Umberto Eco. - Recommended sources: any number of sources from the Art & Design Reader that is updated yearly with entries like (2017): Walter Benjamin, Marshall McLuhan, Hito Steyerl, Lev Manovich, A. Ludovico, Daniel van der Velden, Johanna Drucker, Ruben Pater, John Berger, Kenneth Goldsmith, E. M. Gombrich. - Recommended sources: the theses of alumni in the library as well as on the thesis website. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 6 EC Contact hours Independent study Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation* X Organisational ability X Communicative ability* X External awareness* X Capacity for collaboration* * in fact all competences are relevant to exam students
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Course Title Interactive Media Design Teacher(s) Roel Wouters Class(es) GD 4 (fulltime students) Teaching period Semester 2 Brief description In the second semester of the graduation year, students are focused on developing their graduation project. The Interactive Media Design (IMD) course revolves around the use of different digital media within their graduation project, with emphasis on interactive media and spatial presentation. Within individual projects, the IMD course challenges students to use different media effectively and creatively, with a good understanding of the technical and conceptual consequences of their choices. Learning objectives Research: - Experimenting with different media - Finding appropriate sources and references - Understanding innovation and new development in media
Process: - Making plans to implement media - Considering how these media interact with the audience - Choosing appropriate media - Knowing what to leave out - Perfecting use of media in detail, step by step
Production: - Being able to implement media professionally and with confidence - Understanding technical and conceptual limitations and possibilities of media Teaching activities There are mandatory talks with individual students, weekly or and working bi-weekly, either individually or in small groups. During these methods talks each student presents her/his work in progress. Each time, the student is expected to reflect on her/his use of media within the graduation project, improving step by step. The teacher guides the students in creatively choosing and using media, and in reflecting critically on their choices. Assessment The second semester has three moments of assessment: two method (including, presentations and the graduation. The two presentations are for example, moments to assess whether the student is given the ‘green minimum light’ to continue to graduation. attendance and other requirements). The first ‘green light’ moment is a short public presentation called ‘Dog and Pony’. At this stage, the student has developed the conceptual framework of her/his graduation project. At the ‘Dog and Pony’, the student must clearly convey what the graduation project is; what its goals are; which forms are considered for the project; and what media
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will be used.
The second ‘green light’-presentation is close to graduation. At this stage, the conceptual framework of the graduation project must be solid. Whether a student is given the ‘green light’ depends on the conceptual level of the project overall, as well as its execution in details of form and production. Designs have to be either ready, or close to completion. The work communicates clearly and its presentation at this stage offers a clear image of what can be expected at graduation.
When assessing the student, their attendance in class will also be taken into account.
Required and No required reading recommended sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of Final Projects 18 ECs Contact hours 51 hrs Independent study 61 hrs Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection Capacity for growth and innovation X Organisational ability X Communicative ability External awareness Capacity for collaboration
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Staff
Heads Graphic Design Roosje Klap & Niels Schrader
Coordinators Graphic Design Pauline Schep and Ingrid Grunwald [email protected]
Graphic Design Bart de Baets Susana Carvalho Frits Deys Gert Dumbar (éminence gris) Richard Niessen Ruben Pater Niels Schrader Esther de Vries
Image Willem Goedegebuure Michel Hoogervorst Merel van ’t Hullenaar Katrin Korfmann Reinoud Oudshoorn Simon Wald-Lasowski
Interactive Media Lauren Alexander Kees van Drongelen Dennis Flinterman Jan Robert Leegte Henrik van Leeuwen Lizzie Malcolm Olivier Otten Dirk Vis
Typography & Letters Erik van Blokland Thomas Buxó Paul van der Laan Adriaan Mellegers Rob van den Nieuwenhuizen Diana Overzea Donald Roos Just van Rossum
Drawing Willem Moeselaar Jordy van den Nieuwendijk
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Letterstudio (elective) Frank Blokland Donald Roos Just van Rossum Peter Verheul
Design Office (elective) Gijsbert Dijker Chantal Hendriksen Pawel Pokutycki
PlayLab (elective) Kévin Bray Roosje Klap Job Wouters
Coding Frederic Brodbeck Pascal de Man Eric Schrijver Jochem van der Spek
Theory Marjan Brandsma Maarten Cornel Els Kuijpers Ellen Schindler Dirk Vis
Coordinator final exam exhibition Ewoud Traast
Coordinator internships Gijsbert Dijker
Coordinator IST/electives Frits Deys
Guest Lecturers Hannes Bernand Bits of Freedom Remco van Bladel Sandra Kassenaar Max Kazemzadeh Silvio Lorusso Rosa Menkman Moniker Sjoerd van Oevelen Polak van Bekkum Dirk Poot (Pirate Party) Gabrielle Provaas
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Lex Reitsma Sanne Rovers Ben Schot Susan Schüppli Jorinde Seijdel Pot van der Velden Richard Vijgen
Contact
Coordinators Pauline Schep and Ingrid Grunwald [email protected]
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2.1.5 Interactive/Media/Design
Facts
Educational variant Full-time Duration full-time 4 years Degree Bachelor of Arts Credits (ECTS) 240 ECTS Head of department Janine Huizenga
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
Interactive Media Design (I/M/D) is a full time programme that trains students to become designers of interactive concepts and processes. I/M/D lays down the link between people and processes as well as those between people and products. Ideas are our main product and that's why students at I/M/D are taught to think in non- media specific terms, which are later translated into a concept and meta-medial, multi-medial or cross-medial applications. Interactive/Media/Design is offered as a full-time programme that emphasises research and self-development. The courses are structured according to a logical pedagogical line of development, which does not recognise sharp boundaries. It is unlikely that students would ever be able to stop learning or disregard anything that might be useful in the development of their interests. The programme resembles a relatively fluid scale, allowing for acceleration of the learning curve at almost any stage.
The structure of the programme can be divided into five major phases: • Skill development • Advanced skill application • Research development • Exploration of the professional domain • Self-development
See also: Bachelor programme I/M/D (full text) General Study Information: 1.4 Study Information
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Courses and ECTS Credit Points Overview
Interactive/Media/Design Full time Year 2017-2018 1 2 3 4 Semester 1 2 3 4 5 6 7 8 Graphic Design 1 and 2 5 5 Visualisation 1 and 2 5 5 Electronics 1, 2, 3 and 4 3 3 3 3 Interaction Design 1, 2, 3 and 4 3 3 3 3 Concept, Design & Presentation 5 Sound Design 4 Animation 4 Moving Image 1 and 2 4 5 Animation 3D 5 G.E.R.T. 3 Interactive Architecture 1 and 2 3 5 Art Fundamentals 5 Writing 1, 2 and 3 5 5 12 MAD 5 Cultural Hacking 4 Professional Practice Skills 4 PPS Workshops 4 Project 12 Internship 12 Senior Seminar 10 Final project 30 Individual Study Trajectory (IST) 6 6 6 6 6 COLLECTIVE ASSESSMENT 2 2 2 2 2 2 Subtotal EC I/M/D 27 26 30 29 30 30 30 30 Academy wide program Year 2016-2017 1 2 3 4 Semester 1 2 3 4 5 6 7 8 Research and Discourse 3 3 Project Week (ABPPW) 1 Studium Generale 1 Subtotal EC Academy wide 3 4 0 1 0 0 0 0 Total EC per semester 30 30 30 30 30 30 30 30
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Staff
Head of I/M/D Janine Huizenga
Coordinator Dave Willé [email protected]
Lecturers: Anja Hertenberger Anna Arov Arthur Elsenaar Coen Brasser Dave Willé Gitta Pardoel Jan Treffers Johan Gustavsson Lena Shafir Nick van 't End Pawel Pokutycki Raymond Taudin Chabot Remus Ockels Renske van Dam Shayna Schapp Wim van Eck
Contact
Coordinator Dave Willé [email protected] and [email protected]
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2.1.6. Interior Architecture and Furniture Design
Facts
Educational variant Full-time Duration full-time 4 years Degree Bachelor of Arts Credits (ECTS) 240 ECTS Head of department Herman Verkerk
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
The discipline Interior Architecture and Furniture Design is populated by product and spatial designers who regard space, in the wider sense of the word, as their field of expertise. This field covers a wider area than that of just the interior or furniture, and the designers also focus on other objects and products, and on public and open space. They increasingly cross the traditional boundaries of their discipline and explore other domains, think cross-disciplinary, establish interconnections and always try to find the larger context. With a curious attitude they continuously question, search and fight for their position and that of the discipline.
The four-year programme of the BA Interior Architecture/ Furniture Design consists of three phases: the propaedeutic phase, the main phase and the graduation phase. Each phase has a specific mission. The line followed by these missions is that of crosspollination (Year 1), depth and connection (Years 2 and 3) and positioning (Year 4). This chronological structure is elaborated into four learning tracks, which constitute the domains that are addressed in each of the study years. These four domains are Design, Morphology and Research Labs, Media and Materials and Knowledge and Context. The curriculum is based on principles of experimentation and research. In each study year, research (by design) focuses on a specific area or current topic, based on a solid historical and cultural foundation and the potential efforts for interpreting and integrating this basis in design.
See also: Bachelor programme Interior Architecture and Furniture Design (full text) General Study Information: 1.4 Study Information
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Courses and ECTS Interior Architecture
EXPLORE [year 1] Interior Architecture EC and Furniture Course sem Design 1 EC Domain sem 2 Introduction Interior 6 Architecture Introduction Furniture 6 Design Studio Introduction Urban 6 Interior Introduction Digital 6 Design Professional Events 1 1 Practice Skills Morphology Morphology 1-2 5 5 History & Theory 1-2 5 5 Knowledge Lectures + SG (part of History & 1/2 1/2 Theory) Research & 3 3 Academy-wide Discourse Education ABBPW 1 Materials Blanks 5 Photography & Media 3 Graphic Design Total EC per 30 30 semester
FOCUS [year 2] EC Course Interior Architecture sem
3 Course EC Domain sem 4 Material & Detail 6 Design & Analysis 6 Studio [DOK] Material & 6 Organisation
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Improvised Building 6 [DOK] Professional Practice Events 2-3 2 1 Skills Reality Check 1 3 Morphology 3 / 3 Morphology Variations 1-2 Urban Morphology 3 IST (preparation) 3 IST IST 1-2 3 6 Discourse & Practice 4 4 1-2 Knowledge Lectures + SG (part of Discourse 1/2 1/2 & Practice) Academy-wide Studium Generale* > 1 Education Media Website & Identity 3 Materials Integrated in Studios 3 3 Total EC per 30 30 semester
CONTEXT [year 3] EC Course Interior Architecture sem
5 EC Domain sem 6 Design & Society 1-2 8 4 Field Research 1 Studio 8 [DOK] Tectonics [DOK] 4
Professional Practice Reality Check 2 6 Skills Magazine 2 4 Internship Internship 15 IST IST 3-4 6 3 Integrated in 4 1 PPS/Studio domain Knowledge Lectures + SG (part of 1/2 Magazine) Total EC per semester 30 30
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POSITION [year 4] EC Course Interior Architecture sem
7 EC Domain sem 8 Applied Assignment 8 Design & Research (IST 6 Studio 5) Graduation Project (+ 16 IST 6) Professional Positioning & Realisation 4 6 Practice Skills Theoretical Research 12 8 Knowledge Lectures + SG (part of Positioning & 1/2 1/2 Realisation) Integrated in Studio IST 6 6 domain Total EC per semester 30 30
Courses and ECTS Furniture Design
EXPLORE [year 1] EC Course Furniture Design sem
1 EC Domain sem 2 Introduction Interior 6 Architecture Introduction Furniture 6 Design Studio Introduction Urban 6 Interior Introduction Digital 6 Design Professional Events 1 1 Practice Skills Morphology Morphology 1-2 5 5 History & Theory 1-2 5 5 Knowledge Lectures + SG (part 1/2 1/2 of History &
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Theory) Research & 3 3 Academy-wide Discourse Education ABBPW 1 Materials Blanks 5 Photography & Media 3 Graphic Design Total EC per 30 30 semester
FOCUS [year 2] EC Course Furniture Design sem
3 EC Domain sem 4 Material & Detail 6 [DOK] Reverse Engineering 6 Studio Resources 6 Improvised Building 6 [DOK] Professional Practice Events 2-3 2 1 Skills Reality Check 1 3 Morphology 3 / 3 Morphology Variations 1-2 Urban Morphology 3 IST (preparation) 3 IST IST 1-2 3 6 Discourse & Practice 4 4 1-2 Knowledge Lectures + SG (part of Discourse 1/2 1/2 & Practice) Academy-wide Studium Generale* > 1 Education Media Website & Identity 3 Materials Integrated in Studios 3 3 Total EC per 30 30 semester
EC Course CONTEXT [year 3] sem
Furniture Design 5
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EC Domain sem 6 Design & Society 1 8 Field Research 1-2 Studio 8 4 [DOK] Collection 4
Professional Practice Reality Check 2 6 Skills Magazine 2 4 Internship Internship 15 IST IST 3-4 6 3 Integrated in 4 1 PPS/Studio domain Knowledge Lectures + SG (part of 1/2 Magazine) Total EC per semester 30 30
POSITION [year 4] EC Course Furniture Design sem
7 EC Domain sem 8 Applied Assignment 8 Design & Research (IST 6 Studio 5) Graduation Project (+ 16 IST 6) Professional Position Presentation 4 6 Practice Skills Theoretical Research 12 8 Knowledge Lectures + SG (part of Positioning & 1/2 1/2 Realisation) Integrated in Studio IST 6 6 domain Total EC per semester 30 30
Staff
Head of department Herman Verkerk
Coordinators: Mariska Beljon
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Roosmarijn Hompe
Internship coordinator: Willem Moeselaar
Study advisor: Ellen Vos
IST coach: Ronald van Tienhoven
Team of lecturers Studio Gijs Baks Amber Beernink Erik Blits Samira Boon Jan Harm ter Brugge Krijn Christiaansen Lars van Es Ingeborg Horst Lada Hršak Maarten Kolk Barend Koolhaas Tessa Koot Maartje Lammers Cathelijne Montens Laura van Santen Christoph Seyferth Nienke Sybrandy Ronald van Tienhoven Thomas Vailly Ramin Visch Ellen Vos
Media and Materials Marie Ilse Bourlanges Coen Brasser Frank Bruggeman Corine Datema Roel van Herpt Elena Khurtova Jelle Kooper Harold Linker Bert Lonsain Willem Moeselaar Jeroen Musch Jof Neuhaus Sanne Peper Tatjana Quax Michaël Snitker Donald Weber
Knowledge Mariska Beljon
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Inger Groeneveld Roosmarijn Hompe Ernie Mellegers Joana Ozorio de Almeida Meroz
Guest lecturers (2015-2016) Markus Bader Marc Dubois Gert Dumbar Mauricio Freyre Dirk van den Heuvel Wessel de Jonge Rianne Makkink Jeroen van Mastrigt Stephan Petermann Leeke Reinders Louise Schouwenberg Eva Stricker Endry van Velzen Harmen van de Wal
Contact
Coordinators: Mariska Beljon [email protected] Roosmarijn Hompe [email protected]
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2.1.7 Textile and Fashion
Facts
Educational variant Full-time Duration full-time 4 years Degree Bachelor of Arts Credits (ECTS) 240 ECTS Head of department Jurgi Persoons
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
Textiles and fashion can be regarded as a visual language reflecting the spirit of the time, coupled to materials, craft and tradition. Finding a personal balance between textiles and fashion is essential. An important guideline for the Textiles and Fashion programme at the KABK is the history of historical costumes and folklore. Developing a personal style, a way of working and a personal statement in all of the facets of the textile and fashion profession is thoroughly explored.
The objective of the study programme is to train students to be independent and professional designers. We guide their individual development process in a semiprofessional context. What is unique about KABK is that the Fashion Design and Textile Design courses are integrated into one study programme. However, each specialisation has a separate approach and trajectory, allowing students to graduate in either Fashion or Textile. This ensures interaction and unique opportunities for creative cross- pollination, which gives this course a specific identity.
Structure After the first joint semester in the propaedeutic year, the textile and fashion specialisations separate into two different programmes. Students are required to choose one of these programmes. Each programme is characterised by extensive and intensive research, supported by theoretical subjects designed to provide students with the required content-based skills.
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Each academic year is divided into clusters which each represent a specific domain in the programme and become more refined and distinctive with each study year.
These clusters are: • Design I: textile design, fashion design • Design II: technical design (textile) , technical design (fashion) • Visualisation: visual development, photography • Drawing: model drawing, 2D forms and colour studies, fashion drawing • Theory: art history, fashion, textile and design history, thesis • Other: internship, Individual Study Track
See also: Bachelor programme Textile & Fashion General Study Information: 1.4 Study Information
Courses and ECTS Credit Points Overview
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Semester Fashion 1 2 3 4 5 6 7 8 Textile and Fashion Design 6 Fashion Design 6 7 7 7 7 3 Experimental Shapes 3 2 Tayloring & Finishing 3 3 Technical Design 4 4 5 4 2 Draping 2 2 3 2 1 Weaving & Textile Theory 2 2 Knitting 2 2 Print & Dessin 2 2 Model Drawing 2 2 2 2 2 2 1 Fashion Drawing 2 2 1 1 Technical Drawing 2 2 2 Visual Development 2 2 2 2 2 2 1 Photography 1 1 1 1 1 Textile & Fashion History 2 2 1 1 1 1 Art History 1 1 Textile & Fashion Design 2 2 2 2 Philosophy Thesis 6 Internship 15 Graduation Project 18
Entrepreneurship 1 Studium Generale 1 ABPPW 1 Research & Discourse 3 3 IST 6 6 6 6 6 6 Total 30 30 30 30 29 31 30 30
Note that although classes are scheduled for all subjects in semester 8, they are all supporting the Graduation Project. Therefore, the associated workload is included in the Graduation Project.
Note: 5EC will be deducted (put on hold) from the obtained study credits in case of an insufficient collective grade.
Textile Semester
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1 2 3 4 5 6 7 8 Textile and Fashion Design 6 Textile Design 6 6 6 6 6 3 Product Design 3 3 2 2 1 Tayloring & Finishing 3 2 Experimental Shapes 3 Weaving & Textile Theory 2 3 2 2 2 2 Knitting 2 3 2 2 2 2 2 Print & Dessin 2 3 2 2 2 2 Model Drawing 2 2 2 2 2 2 1 Fashion Drawing 2 Visual Development 2 2 2 2 2 2 1 Concept and Perception 2 1 1 1 1 Photography 1 1 1 1 1 Textile & Fashion History 2 2 1 1 1 1 Art History 1 1 Textile & Fashion Design 2 2 2 2 Philosophy Thesis 6 Internship 15 Graduation Project 18
Entrepreneurship 1 Studium Generale 1 ABPPW 1 Research and Discourse 3 3 IST 6 6 6 6 6 6 Total 30 30 30 30 29 31 30 30
Note that although classes are scheduled for all subjects in semester 8, they are all supporting the Graduation Project. Therefore, the associated workload is included in the Graduation Project.
Note: 5EC will be deducted (put on hold) from the obtained study credits in case of an insufficient collective grade.
Course descriptions Textiel and Fashion
Course Title Art History
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Teacher(s) Steef Eman Class(es) Year 1 Textile & Fashion Teaching period Semester 1 & 2 The course Art History will give a general overview of western art and architecture, with a specific focus on the Netherlands. The course set up will be chronological, but several sessions will have a more thematic character, with titles like ‘Medieval Architecture’, or ‘Landscape Painting’. A basic course like this can never be in- Brief description depth. However, while covering the art historical highlights, famous artists and objects, there will also have to be sufficient attention for the lesser known and unfamiliar. Only then can one assess differences in quality and understand why someone, or something is outstanding. 1. Give students a general overview of western art and architecture. 2. Equip students with the necessary instruments to approach and tackle art: what to look for in a work, how to interpret it, Learning how to ‘re-create’ it. objectives 3. Help students reflect critically on their own work and that of others. 4. Inspire students in their thinking and develop their creativity.
Classroom lectures with slides and also some museum classes and field trips. Art appreciation will be specifically practiced during museum Teaching visits. This will teach how to approach a work of art, see how it is activities and built up and analyze it in detail, so as to finally help to interpret it. working In this way ‘looking’ becomes ‘seeing’, understanding what a work methods of art conveys, what it is about. Several library-based classes are held to help search and organize materials for writing papers. This includes supervision writing and presentation of the paper. 1. Presentation (20% grade): a five-minute classroom presentation on an artist of choice and one specific work by Assessment that artist. method 2. Art appreciation (10% grade): museum class session + (including, for presentation. example, 3. Term paper and its constituent assignments (70% grade): minimum the term paper will be in the form of a project that gradually attendance and takes shape during the course. This paper project consists of a total of 4 assignments (10%,20%,20%20%=70%), all other th requirements). to be handed in on the given dates. The 4 assignment is the final paper. 4. 80% attendance is required
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Required and Recommended reading: E.H. Gombrich, The Story of Art, recommended Phaidon Press, London 1978 (thirteenth edition or later). sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 3 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability x Communicative ability External awareness x Capacity for collaboration
Course Title Dessin and Print Teacher(s) Neeltje Schoenmaker Class(es) Textile & Fashion Year 1 Teaching period Semester 1 & 2 In this class the practice of (repetitive) pattern design and textile screen printing will be taught to fashion and textile design students. The classes provide technical knowledge and practical exercises and result in the outcome of a presentation of printed textile samples and pattern designs. The learned skills and outcome of this class can be implemented in the courses of fashion and textile design.
In the first year, the focus lies on developing ground skills and basic knowledge. Brief description Dessin:
Blok 1 • Looking at patterns, what makes a pattern? • Distinguishing different genres and motifs in patterns in the field of textile and fashion design • What makes a good repeat? Blok 2 • Analysing different structures and compositions of patterns
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• Creating repetitive patterns, fulldrop and halfdrop • Distinguishing and naming design elements and principles and applying principles in your design making Blok 3 • Creating intuitive repetitive designs with monoprinting
Screen printing: Blok 4 • Looking more closely at your printed clothes, printed textiles; which printing method was used? Why and how do you find out? • Learning about different inks and pastes for textile printing • Learning to make a clean sharp print and setting up your working space in a self-efficient manner • Working with different stencilling techniques • Creating prints according pre-defined principles and structures • Preparing your artwork for screen printing • Preparing a repeat design for screen printing • Screen printing 1,5 metre of a repetitive design on the printing rails in the workshop
The student • can critique his/her own work as the work of others as a functioning pattern design • understands and can apply certain elements and principles of design into his/her work • has an awareness of different motifs and styles in pattern design which are common and or relevant in fashion or textile design • can create a balanced and functioning pattern design and different repeating styles of a pattern Learning objectives • can create patterns in the framework of pre-defined parameters • has knowledge and skills of screen printing on textile • can create artworks suited for screen printing • has a knowledge of how different inks respond to different substrates in screen printing • can create print ready patterns that function for screen printing • can print an artwork on repeat
Teaching activities Discussing image material, Screen printing in the printing and working workshop, practical work exercises, group discussions and methods work reviews, individual coaching.
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There is a requirement of at least 80% attendance to pass. The student must produce a collection of printed samples or pattern designs per the given assignment. In the assessment, the following points will be addressed: • attendance, commitment and progress in class • printing samples: printing quality; exhaustive research Assessment and variety in: materials, techniques and patterns; method (including, for example, completeness of the notes of material and technical minimum information attendance and • pattern design: harmony, balance and variety in other requirements). repetitive patterns, experimenting and application of new skills into the artworks • The originality, communication and professionality of the final presentation When the result is insufficient the student can be given an extra assignment.
Required and recommended - sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Textile: 5 EC Study load Fashion: 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation Organisational ability x Communicative ability External awareness Capacity for collaboration
Course Title Experimental Shape Design Teacher(s) Chris Fransen Class(es) Year 1 Textile & Fashion
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Teaching period Semester 1 (textile & fashion) & semester 2 (fashion) In this first year the students are expected to work using as much creativity as possible with an emphasis on experiments of 3D shapes. During their own research, they open new Brief description prospective with original ideas and materials, on this way the student will be encouraged to work with new forms based on their own 2-D designs on an artistic and innovative way. This course will encourage a way of researching the relation between garments and the body as an artistic and creative Learning objectives entrepreneurship. They will be able to translate their own 2-D design into a 3-D design in an innovative way by communications and research of shapes and materials. It’s a very individual approach on an innovative and Teaching activities conceptual way in communication with the docent, but with and working accent on self-research of the student to translate their methods original ideas in a creative process.
The student is required to produce for the individual reviews Assessment an innovative 3D shape that reflects the 2D design made in method (including, the fashion design course. The result of the course will be for example, determined by presenting their 3D design on a model together minimum with an overview of their research. The student will explain the attendance and inspiration for this design. other requirements). 80% attendance is required
Required and recommended Exhibitions, technical books, personal notes, etc. sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Fashion: 4 EC (semester 1+2) Study load Textile: 2 EC (semester 1) Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration x
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Course Title Fashion Drawing Teacher(s) Marina Yee Class(es) Fashion Year 1 Teaching period Semester 1 & 2 The fashion drawing course encompasses diverse stages of development; from perceptive drawing towards abstractions of the human body as a stylized silhouette drawing in form, texture, composition, proportions, imagery, mood. Brief description First focus lies on drawing poses and stances that allow for displaying clothing design to be presented and interpreted. Second focus lies on drawing specific technical details/accessories and textural/materials/ornamental displays of the design. Concrete learning objectives – the fashion drawing course is primarily aimed to: - teach the student at expressing and developing their ideas into a fashion silhouette in all the various aspects of their design process, by means of drawings and sketching the conceptual ideas “in their head” on to Learning objectives paper with a visible 2D representation of these ideas and helping them explore that in the research of their design process. - the student learns this way how to communicate and evaluate their vision/ideas/collection concepts of their own creation process - to themselves - and towards others/outside world. - The fashion drawing methodology first attempts to de- condition ‘schooled’ methods and outdated perspectives into a re-evaluated vision. The course methodology’s intuitive and playful reorientation provides students with heightened awareness of their Teaching activities abilities to perceive and focus, their discovery of and working authentic self-expression for personal inspired creation methods and fashion design. - Practical activities; research drawing process + study /work- drawings + illustration/presentation drawings. - Experimental drawing- /sketching-/ painting-/collage- exercises in both a wide range of dry and wet techniques. The fashion drawing course is on its own a perpetual process Assessment in continue method (including, development of each learning skill of each student, meaning for example, that all exercises are evaluated together in their progress. minimum Dedication, discipline, focus and attendance/planned time -
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attendance and management for the course assignments is required for the other requirements). individual and collective assessment evaluations.
As their teacher I recommend the students to be open minded, curious in Required and awareness of their own creative potential and what’s out recommended there; to expand their knowledge, to discover and fuel their sources imagination, inspiration and passion for creative fulfillment, for being happy as a young designer. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 5 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability x External awareness Capacity for collaboration
Course Title Textile and Fashion Design Teacher(s) Jan-Jan Van Essche Class(es) Year 1 Textile & Fashion Teaching period Semester 1 & 2 The main focus in this year is helping the student take their first steps on the path of being an autonomous designer. They need to find out if they would prefer to continue in the direction of textile- or fashion design. They need to try and find their own voice as an aspiring designer. It’s an introduction to what design can be and what it could represent in the students’ further (professional) life. Brief description As a framework to do this, the students have 3 main assignments –The Skirt, The Dress and The Kimono or Silhouette. The Skirt is mainly about shape, The Dress adds colour and textile design to that, and the third one should be somehow an accumulation of what they’ve learned through the year, and a personal expression of what they want to express. Through all of the process the students are
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encouraged to integrate their other courses as much as possible.
- The student must be able to develop a consistent and coherent design story - The student must be able to do so in an autonomous and personal way Learning objectives - The student must be able to communicate his/her vision in a visually interesting, innovative and personal way - The student must be able to make a good design presentation
The main learning method will be one on one feedback moment between the teacher and the student. When the Teaching activities student presents his/her sketchbook and discusses the latest and working developed work, and figure out possible future directions. methods Some classical debate sessions might be held, but they will be rather few.
The student’ evolution will be documented weekly, and get briefed about his progression during the different assessments. They also need to attend a minimum of classes to be able to be evaluated.
Assessment The students need to present a full and serious design method (including, process (sketchbook), a design presentation per assignment, for example, and a finished garment per assignment. Also the student is minimum expected to produce designs that show a certain degree of attendance and personal vision. If a student fails to deliver at least two good other requirements). results out of the three main assessments over the years course, it will become very difficult to let this student pass the year.
80% attendance is required Required and recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 14 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x
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Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Knitwear Instructions
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Teacher(s) Hilde Frunt Class(es) Fashion & Textile Year 1 Teaching period Semester 1 & 2 I introduce the students the possibilities of machine knitting, hand knitting and crochet. Also the specific characteristics of the numerous thread species and how to handle them. I learn them to not use the machine ‘out of the book’, but to find new Brief description structures and shapes while playing with the needles and the treads. The intention is to give the students the insight of making, by means of only 1 thread at the same time, the fabric and the shape of a garment. The course has to insure the students about the importance of knitwear in fashion. Learning objectives They should know about draping and shaping in a total different way than they are using fabric. Starting with the basic jersey, further with the different Teaching activities techniques and the combination of colours, the students will and working make samples, followed by the making of a garment, knitted methods in shape. Assessment For the individual review I ask the students an overview of the method (including, samples they have to make for the collective assessment. For for example, the second individual review I expect a mood board in order to minimum create the front part of a sweater wich they have to show at attendance and the collective assessment. other requirements).
Required and For their mood board the students must not only search in recommended fashion magazines but also find inspiration in their sources surrounding.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Textile: 5 EC Study load Fashion: 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability X Capacity for critical reflection X Capacity for growth and innovation X Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Model Drawing Teacher(s) Eric Hirdes Class(es) Textile & Fashion Year 1 Teaching period Semester 1 & 2 Students learn to develop their observational ability and to develop an elementary understanding of shape and form sense. Observe, discover, and capture of forms and proportions, in combination with different drawing techniques and use of materials. Learning to handle formal and contents image resources, the training of the eye-hand coordination, acquiring technical skills, attitude, and discipline. Brief description Students search for their own form of expression; the ultimate ʻgoalʼ is to develop a personal and unique drawing style. Students will also been taken through the process of reflection and analysis: how does the student analyze his observations, how does he/she reflect on their own drawings and on those of the fellow students? How do they make use the conclusions for their drawings to develop a focused process? How does the student present the work? Semester 1
Block 1: the main focus will be on observing shape and proportion. On the basis of a still-life, portrait and model, the following matters will be treated and studied: - Form - Shape - Proportion - Translation from 3 dimensional space to 2 dimensional on paper - Composition Learning objectives - Tonality - Big form versus details - Material expression - Position/ expression head, neck, shoulders - Contra position (hip/shoulders) - Eye hand coordination In addition, students will be familiarized with concepts such as handwriting, line lining and locomotion, structure, suggestion and use of coincidence. Block 2: the main focus will be on observing the subject in relation to material experiments. - Speeding up the tempo
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- Fast drawing - ʻBlindʼ drawing - Big shape versus detail - Only silhouette - From inside to outside - Working from the volume - No outline - Light versus darkness - Atmosphere - Experiments with short postures of the model; making drawing conclusion in longer position - More and more emphasis on one’s own interpretation
Semester 2
Block 3: - Anatomy of the Skeleton - Anatomy of the main muscles in chest, back, leg and arms - Details of the face; eyes, nose, mouth, ears, hands and feet
Block 4: - Deepening the model drawing experiments in color and atmosphere - Working with paint (acryl, water colour, ecoline, gouache) and collage - Applying various materials and techniques - Emphasis will be on personal expression, choice of materials and drawing style Practice lessons for the entire group, with individual tutorials. Students will be trained to draw in relation to observation. Lessons are focused on visual and technical training. Observation in relation to material experiments and different drawing/painting techniques. The students will become familiar with different subjects and drawing materials.
• Still life drawing – understanding elementary forms, Teaching activities research into basic forms, composition, contrast, and working rhythm, texture and tonal values. methods • Head and figure drawing - study of the human body, general construction, individual characteristics and expression. • Anatomy drawing - the skeleton and the main body muscles. • Model drawing – short and long live positions in different postures.
A specific drawing assignment regarding life-model-drawing is
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given weekly. These model sessions are split in two parts. In part one the model takes short positions and the students are asked to experiment in their drawings to find and explore new possibilities. In the second part students interact by reflection and analysis of the first part and while doing so there findings shall be more in depth with longer poses of the model. For the individual reviews (4 times a year) the student is expected to show all the drawings of the previous working period, and in response to the assignments give a presentation that shows a critical evaluation of their drawing Assessment experiments and process. method (including, for example, During the collective assignment, the student makes a minimum presentation of drawings that show a good reflection of the attendance and working process of the previous study period. Is the student other requirements). within his or her presentation showing enough creative ability, potential to be able to continue the study successfully? Minimum attendance in drawing class is 80 % Insufficient result may be compensated after the results of semester 1, not at the end of semester 2.
Recommended sources: internet, books, catalogues searches Required and to collect recommended information about artists, designers, works, opinions that are sources important for their own artistic development.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Tailoring & Finishing Teacher(s) Mirjam Ingram
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Class(es) Textile & Fashion Year 1 Teaching period Semester 1 & 2 BLOCK 1 Introduction in sewing & pattern drawing and the technical base for the skirt design assignment.
- Making samples of different kind of seams - Explanation about the basic skirt - Explanation on cutting the basic skirt and sewing darts - Making a sample of a blind zipper - Explanation about facing and waistband, sewing the waistband on the basic skirt - Sewing cornered seams - Sewing curved seams - Sewing a basic skirt - Individual discussions about the skirt design
BLOCK 2 Technical base for the dress design assignment and the making of the skirt design assignment.
- Individual discussions about the skirt design - Copy skirt assignment (group assignment) - Explanation about the dress: cutting and darts, neckline facing, setting the sleeve Brief description - Presentation of the copy skirt assignment
BLOCK 3 Technical base for the silhouette & kimono assignment and the making of the dress.
FASHION - Explanation about dart manipulation - The pattern magic assignment - Explanation about sleeve variations - The sleeve assignment (group assignment) - Presentation of the sleeve assignment - Explanation about overlap, yoke, stand and collar of a shirt - Sewing a collar with stand - Individual discussions about dress design and the silhouette
TEXTILE - Drawing the pattern of the kimono - Technical research of processing the kimono materials - Making the toile of reversible kimono
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BLOCK 4 Technical base for and the making of the silhouette & kimono assignment.
FASHION - Raglan sleeve, sewing sleeve vents - Collars, sewing a collar and lapel - Closures, sewing a fly - Individual discussions about the making of the silhouette
TEXTILE - Explanation about making the reversible kimono - Individual discussions about the making of kimono
BLOCK 1 The student: - will learn basic sewing techniques - can make the skirt design assignment
BLOCK 2 The student: - will learn basic sewing & pattern drawing techniques - can make the dress assignment - understands skirt & dress constructions
Learning objectives BLOCK 3 The student: - will learn basic sewing & pattern drawing techniques - can make the silhouette or kimono design assignment - understands dress & shirt constructions
BLOCK 4 The student: - will learn basic sewing & pattern drawing techniques - can make the silhouette or kimono design assignment - understands garment constructions - Class lectures: general explanation on sewing & pattern drawing. Teaching activities - Group assignments: research on sewing & pattern and working drawing. methods - Individual work discussions: about the making of the design assignments. - Blended learning: technical tutorials to make the samples / homework.
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- The student makes a technical reference book throughout the first year. This will be assessed after every block on quality & completeness. Assessment - The outcome of the design assignments will be method (including, assessed on technical quality & process. for example, - Hand-in deadlines need to be respected. minimum - Handing-in late will be taken into account with the attendance and assessment. other requirements). - Students need to attend a minimum of 80% of all classes in order to be able to pass. - Assignments with insufficient result can be improved and handed-in for a resit asap. Books: all available in the library - Pattern Magic volume 1 - Tomoko Nakamichi - Fabric Manipulation – Colette Wolff - Make your own Japanese clothes – John Marshal Required and - Complete pleats – Paul Jackson recommended Tutorials: sources - Some Serious Sewing Stuff on You-tube - KABK T&F Technical Design on You-tube All other learning material will be provided as readers and hand-outs. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Concept and Perception Teacher(s) Laut Rosenbaum Class(es) Textile Year 1 Teaching period Semester 2
Concept and Perception is geared towards providing clarity. The aim is to help students translate abstract concepts and emotions into clear images and maquettes. This way the meaning or essence of the subject is more effectively conveyed. Visualisation is used to share ideas and develop concepts. The students create several visual representations, either through drawing, digital manipulation and 3D mock ups, Brief description the last of which is intended to stimulate spatial insight. Design thinking and creative concept development tools help students to optimize their output. This is spread out through the 4-year program the student follows.
First year students are introduced to several creative thinking methods and techniques and are challenged to bust assumptions.
Concrete learning objectives:
Analysing, (re)defining, ideation, visualisation and sharing. 1. The students develop methods that help grow ideas Learning objectives into concepts. 2. Critical thinking techniques. 3. Documentation of ideas, insights and concept process 4. Various 2D techniques (analogue and digital) 5. Various 3D techniques (maquettes, installation, presentations)
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6. Presentation techniques (verbally, visually and textual)
Lessons focus around various iVisualisation Techniques and Design – and Critical Think methods. Each lesson starts with a group discussion about that weeks progress, after that a more individual approach is taken. Coaching and giving Teaching activities feedback in a 1-on-1 style. Students visualize new insights and working through various mixed media techniques. Half way each block methods the focus will turn to the presentation. Exploring the possibilities and developing spacial insight. Students make drawings and maquettes. They do this in the classroom or/and in one of the several workshops.
The results of the course will be determined during the individual and collective assessments. Deliverables include: - at least dummy’s with process - multiple visualisation concerning the concept Assessment - a 3D exploration of the presentation possibilities method (including, for example, Any student’s performance, that is not on an accepted level or minimum standard, runs the risk of a negative assessment. It goes attendance and beyond saying that a student that does not dig deep, or fully other requirements). engages in the course process will also not receive a positive assessment.
80% attendance is required.
Required and recommended sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x
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Capacity for collaboration
Course Title History of Costume and Textile Teacher(s) Els de Baan Class(es) Textile & Fashion Year 1 Teaching period Semester 1 & 2 Research on Morphology: proportion and silhouette. Research into the costume and textile history to the 19th century.
Linking to the design courses for the assignments.
Block1: The Basics of Textiles and the Body Proportions: Clothes can cover, distort or enhance parts of the body. How did people deal with this throughout different centuries? (= Creating Perfect Pictures). What has lead to create (basic) clothing (throughout the Brief description world)? What makes Western clothes so typically Western?
Block 2-3: Costume and Textile Historical Overview Attention for styling accents, shifting ideals of beauty and proportions from Antiquity till 19th century. Combinations of fashion and apparel designers and manifestations ‘Past- Present’.
Block 4: Idem and Textiles in the arts - Textiles as art / design
This course will give a general overview of the history of proportions, fashion and textiles from Antiquity till the 19th century. Also focussing on the combination of Art- Textile/Textile-Art.
The student can demonstrate their ability to: Learning objectives - Make choices - Apply planning - Make a written argument that shows a studious attitude and approach. - Show a critical attitude - Reflect - Draw a conclusion
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- Implement feedback - The student is able to explain their own work in context of the assignment - The student can reflect on the found sources. The research reflects the vision and analysis. Lectures, information exchange, using internet, film and documentary fragments. Students also assess each other's written work.
Teaching activities Bringing (Textile) Realia to the lessons, among them: and working Unfolding paper copy of Bayeux Tapestry. methods Original fragments of 16th century tapestry. 18th/19th century fabrics and clothes. Original books (Library collection) (Dürer > proportions and others)
Assessment Each task is submitted in advance on paper and discussed in method (including, class. It shows the assessment-criteria so the student knows for example, how the different components are reviewed. There is always a minimum possibility to re-sit the same assignment. attendance and 80% attendance is required. other requirements).
Required and Nothing specific, but during classes I do mention some recommended possible sources. sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 3 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness x Capacity for collaboration
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Course Title Visual Development Teacher(s) Ellen Vos Class(es) Textile and Fashion Year 1 Teaching period Semester 1 & 2 On behalf of the design course (fashion & textile) and the connoting theme’s there, students are challenged to develop an authentic approach in research, conceptually, represented Brief description by keywords and -images. This research will be translated in an on-going process, into the very concrete – to be implemented in the design course. • The student learns to develop an authentic visual, conceptual research, as a tool to be used directly in the design classes. Also to be in charge of communication visually and verbally, in presentation to tutor and fellow Learning objectives students and during the formal presentations, to other tutors and the head of the department. • The student also learns how to translate the research into a so-called key-image, an image that represents the identity of the design.
Every week progress of the research is being presented on a A1 foam board on which the dynamic connotation of clusters of words and images show an emerging identity, a coherent atmosphere, increasingly translated in the more and more concrete. The concrete means aspects like: shape, texture, structure, technique, colour, details, models, posture etc. Teaching activities Every stage of this process is being photographed, printed on and working A3-size and put in a file, by which the process is available to methods both students and teachers. The same procedure goes for the development of the according key-images. Every week progress of the research is presented by the student, visually and verbally and discussed by the tutor, in front of and in participation with fellow students, in small groups.
• The student needs to produce an authentic research and needs to be able to implement the given feedback Assessment for growth. method (including, • File (A3) has to be handed in, concerning process for example, minimum research, content and translation into the key-image. attendance and • Criteria are made clear upfront. other requirements). • Student has to attend at least 80% of the classes; otherwise this will be taken into consideration of the evaluation grade. Because the student lacked steps,
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moments of feedback and as such, made less progress than possible.
Source of research in all fields, except fashion and textile. For Required and example; architecture, art, design, nature, science, history etc. recommended Specific available image-sites should be avoided, this shows sources the clichés, this to encourage the authentic visual search and its translations. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
Course Title Textiles and Weaving Teacher(s) Joost Post Class(es) Textile & Fashion Year 1 Teaching period Semester 1 & 2 During the first semester (block 1 and 2) students will learn different aspects of weaving with a focus on the technical aspect. They learn how to weave on a loom, but are also motivated to try out different ways of weaving without using the standard tools or materials. Besides this, they will learn about textile materials (raw materials and their processing steps) in a series of six theory Brief description classes during block 3. During these lessons students get to know the ins and outs of textile industry and its environmental impact and are triggered to discuss these during and after class. During block 4 we shift focus to yarns in theory and practice. We take for granted the yarns we work with but don’t realize all of the steps involved in order to make it in the first place.
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Students are motivated to implement newly learned skills in their designs.
Block 1,2: Learning the basics of weaving in theory and practice: knowledge of basic terminology of weaving and common bindings, being able to make/read/weave technical drawings, being able to calculate a warp and set up a loom independently, learning to deal with limitations but think outside of the box, learning how to present samples. Block 3: This course will give a general overview of textile Learning objectives sources, the textile supply chain and its environmental impact. Students are triggered to discuss topics and relate it to their work and the work/business of others (reflective awareness). Block 4: Learning the basics of making yarn and rope in theory and practice: learn about fibres/tools/techniques, repeat exercises and confront the craft process, make a collection of yarn and rope using various techniques and newly learned skills. Block 1, 2 and 4: Group lessons in smaller groups teaching practical skills and theory. Students are motivated to bring theory into practice right away and hand in questions only after having tried out finding an answer for themselves first. Teaching activities Block 3: Theory classes using Powerpoint presentations, also and working showing movies/clips. Students are asked to make notes of methods these lessons and triggered to overthink their design practice after every lesson. Also students are motivated to bring in interesting textiles/subjects related to these lessons to discuss in the group. Block 1,2: Hand in a selection of weaves made on the loom including technical details and properly presented. Besides hand in a minimum of 10 experimental samples that are made without existing weave tools, in flat and 3D shapes. We will individually discuss the use of materials, techniques, technical Assessment solutions, aesthetic means and the relations between them. method (including, Block 3: Good attendance, being actively involved with the for example, content, hand in notes. minimum Block 4: Hand in a selection of yarns and ropes with at least attendance and few of all techniques learned and a collection of experimental other requirements). yarns, all properly presented with technical details. We will individually discuss the use of materials, techniques, technical solutions, aesthetic means and the relations between them. For all courses there is a requirement of a minimum attendance of 80%. Block 1,2: The reader belonging to these lessons is required Required and and used during all lessons. recommended Block 3, 4: During theory classes in Powerpoint presentations sources many references to websites/articles/movies/books are mentioned. Students are motivated to check these out.
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Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Textile: 5 EC Study load Fashion: 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Art & Fashion Philosophy Teacher(s) Danielle Bruggeman Class(es) Textile & Fashion Year 2 Teaching period Semester 3 & 4 Art & Fashion Philosophy is one of the theoretical courses on textile and fashion in Year 2. In contrast to the other theoretical course Textile & Fashion History, the course Art & Fashion Philosophy offers a wide range of theoretical Brief description perspectives on central themes in contemporary culture and society, and specifically in the fields of fashion, textile and the arts.
Themes that we will focus on in Year 2 include the
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(im)materiality of fashion and textile, the concept of time, re- interpretations of the past, performances of memories, the complexities of identity, and the body. The cultural theories and philosophies discussed in class will help to critically reflect on the focus of the 2nd year design assignment, a historical costume or textile object, and on the students’ ideas for their final collection or textile object.
Students will gain insight into central themes in art philosophy, fashion theory and in contemporary culture and society, which will:
- Deepen their (conceptual) thinking and creative ideas as a designer - Help them to critically reflect on their own work and on the work of other artists/designers - Help them to contextualize and position their work in a larger societal and cultural context
Based on the theoretical knowledge that the students gain, they are expected to write two essays (one in semester 1, and one in semester 2) in which they should use the theories Learning objectives discussed in class in order to critically reflect on one of the central themes of the course, also in relation to their own work.
Criteria for the assignments/essays: - Critical use of (at least one of) the theories discussed in class / or other theories that are relevant in relation to the topic of your essay - The images included should support your writing and show your creative expression - The essays should show your ability to critically reflect - The essays should show that you are able to position your ideas in a broader cultural context - Correct use of language and style - Correct referencing system and bibliography Teaching activities Theoretical lectures, group discussions, writing practices, and working reading texts, individual feedback/coaching. methods The grades are based on the essays written by the students. Assessment Students will thus receive one grade per semester based on method (including, their essay that semester. In addition, students are expected for example, to actively participate in class and to contribute to group minimum discussions. A minimum of 80% attendance is required. An attendance and insufficient result can be compensated by handing in a other requirements). revised version of the essay based on the feedback of the
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teacher. The re-sits should be handed in on the deadline of the next assignment.
During class, the teacher will always recommend sources for the students to read in case they want to learn more about the theories discussed. Which sources are recommended depends on their relevancy for the themes discussed.
A couple of recommended sources are, for instance,
• Barthes, Roland (1983 [1967]) The Fashion System, New York: Hill and Wang. • Lehmann, Ulrich (2000) Tigersprung. Fashion in Modernity, Massachusetts/London: MIT Press. Required and • Lipovetsky, Gilles (2005) Hypermodern Times, recommended Cambridge: Polity Press. sources • Plate, Liedeke & Smelik, Anneke (eds.) (2013) Performing Memory in Art and Popular Culture, London/New York: Routledge. • Negrin, Llewellyn (2008) Appearance and Identity. Fashioning the Body in Postmodernity, New York: Palgrave MacMillan. • Bauman, Zygmunt (2000) Liquid Modernity, Cambridge: Polity Press. • Butler, Judith (1990) Gender Trouble, London/New York: Routledge.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
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Course Title Dessin and Print Teacher(s) Neeltje Schoenmaker Class(es) Textile Year 2 Teaching period Semester 3 & 4 In these classes the practice of (repetitive) pattern design and textile screen printing will be taught textile design students. The assignments and topics of this class pick up on the assignments of the textile design class. After the first-year fashion students will no longer take these classes but will have access to feedback and coaching for their projects on a weekly basis.
From the second year on textile design students study more deeply on specific aspects of printing techniques, pattern layout and the connection in these fields towards the textile design class. Students will consider subjects like colour, surface quality and design, how to create a collection, file handling and creating more technically advanced designs for screen printing and Brief description digital printing.
Screen printing:
Blok 1 • Mimicking a historical technique with screen printing; use only white as a colour, which techniques are there to mimic the historical textile technique
Screen printing and dessin: Blok 2 • Use the findings of technique and material from blok 1 to develop modern textile prints by exploring new pattern elements and compositions
Dessin:
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Blok 3 • What are textures? On which surfaces and products are they applied? • Create monoprinting textures within a frameset of pre- defined parameters. Use only black • Turn 3 designs into a digital bitmap file and apply it to a material using a machine in school such as: laser, embroidery, wood cutting, knitting, printing, … • Show in a presentation how these samples could be applied in a fitting context
Screen printing: Blok 4 • Researching patterns and composition for the textile design assignment • Applying artworks in context, creating mock-ups, communication material and working sketches • Creating and producing a comprehensive series of pattern designs for the textile design assignment • Creating a professional and communicating presentation of the series considering atmosphere, colour, material, context, scale, application, function and target group
The student • can critique his/her own work as the work of others as a functioning pattern and texture design • has knowledge about and can create more advanced surface treatments with different techniques and materials available in screen printing • has the skills to prepare, create, apply and archive digital artworks for print and pattern Learning objectives • has a knowledge about how to start a research process for developing a pattern design series • can create a series of patterns or print designs that correlate • has the ability to put his/ her artwork in context • has the ability to communicate his/ her designs answering relevant questions about context and application Teaching activities Screen printing in the printing workshop, practical work and working exercises, group discussions and work reviews, individual methods coaching. There is a requirement of at least 80% attendance to pass. Assessment The student must produce a collection of printed samples or method (including, pattern designs per the given assignment. for example, In the determination of the result the following aspects will be minimum taken into consideration: attendance, commitment and
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attendance and progress in class, printing and pattern quantity and quality, other requirements). application of new techniques, variety in used materials and techniques, the communication of the work, quality of presentation, fulfilment of the assignment. When the result is insufficient the student can be given an extra assignment.
Required and recommended - sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness Capacity for collaboration
Course Title Draping Teacher(s) Gerrit Uittenbogaard Class(es) Fashion Year 2 Teaching period Semester 3 & 4 Draping will give the opportunity to design directly on the mannequin in 3-D, develop technical skills, give insight in the relationship of proportion of shapes and the human body, Brief description handling and treatment of fabric and an intensive research of the history of fashion design and its shapes to understand design through a period of time. The student will be able to execute any example of design with a clear sense of proportion and treatment of fabric. Next Learning objectives to the knowledge of all technical possibilities the student will also be able to put designs in a historic context and
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perspective. The relationship between certain periods and shape, proportion and presentation. The students shows awareness of shape, proportion, fabric and is therefore able to develop an idea from 2-D into 3-D. Semester 1 By recreating fixed examples the student will get acquainted with the general technical skills.
Semester 2 Teaching activities Students will do individual research from the period 1945- and working 1970 in order to make a selection of designs that they find methods distinctive, interesting shape wise or typical for a certain period in order to find out how these designs are developed and constructed. Students will actually re-construct these designs in 3-D. Research, analysis, sketching, constructing. All these steps are communicated. The student is able to use the skills learned to communicate a study on a chosen design. Organises the examples, the sketches, and the material to create an actual design on the Assessment mannequin that is ready to be re-produced in another stage of method (including, the design process (making patter, choosing final fabric, for example, lining, finishing). minimum The student is aware of that and is able to communicate the attendance and work as such. other requirements). Students show consciousness of the impact of history and its designers on contemporary design. Their opinion is backed by historical knowledge. - Exhibitions on fashion design. Shape, history, material, Required and etc. recommended - Research on designers and their view on sources shape/fashion in relation to the human body. (library, internet) - Research on material. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 6 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability x Communicative ability External awareness x Capacity for collaboration
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Course Title Fashion Drawing Teacher(s) Marina Yee Class(es) Fashion Year 2 Teaching period Semester 3 & 4 The fashion drawing course encompasses diverse stages of development; from perceptive drawing towards abstractions of the human body as a stylized silhouette drawing in form, texture, composition, proportions, imagery, mood. First focus lies on drawing poses and stances that allow for displaying clothing design to be presented and interpreted. Brief description Second focus lies on drawing specific technical details/accessories and textural/materials/ornamental displays of the design. In the 2 year the focus is upgraded expanded to the expressed identity of the students collection ; more specific individual drawings of details ,textures and especially the mood and feeling of their unique vision. Concrete learning objectives – the fashion drawing course is primarily aimed to: - teach the student at expressing and developing their ideas into a fashion silhouette in all the various aspects of their design process, by means of drawings and sketching the conceptual ideas “in their head” on to paper with a visible 2D representation of these ideas Learning objectives and helping them explore that in the research of their design process. - the student learns this way how to communicate and evaluate their vision/ideas/collection concepts of their own creation process - to themselves - and towards others/outside world. - In the 2 year the fashion drawing course teaches the student to express the entire design profile of a fashion collection. - The fashion drawing methodology first attempts to de- condition ‘schooled’ methods and outdated perspectives into a re-evaluated vision. The course methodology’s intuitive and playful reorientation provides students with heightened awareness of their Teaching activities abilities to perceive and focus, their discovery of and working authentic self-expression for personal inspired creation methods and fashion design. - The second year student is given more responsibility in the choice of assignment and multiple drawing/painting or collage techniques according their own collection identity and personal signature. They are free to experiment layered techniques /stances or portraits.
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- Practical activities; research drawing process + study /work- drawings + illustration/presentation drawings. - Experimental drawing- /sketching-/ painting-/collage- exercises in both a wide range of dry and wet techniques. The fashion drawing course is on its own a perpetual process Assessment in continue method (including, development of each learning skill of each student, meaning for example, that all exercises are evaluated together in their progress. minimum Dedication, discipline, focus and attendance/planned time - attendance and management for the course assignments is required for the other requirements). individual and collective assessment evaluations. As their teacher I recommend the students to be open minded, curious in Required and awareness of their own creative potential and what’s out recommended there; to expand their knowledge, to discover and fuel their sources imagination, inspiration and passion for creative fulfillment, for being happy as a young designer. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability x External awareness Capacity for collaboration
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Course Title Fashion Design Teacher(s) Gerrit Uittenbogaard Class(es) Fashion Year 2 Teaching period Semester 3 & 4 Present the historic costume and preliminary studies within the spirit of the costume. Make your presentation an experience in the best possible way within the context of given space. 1. Design a collection that communicates your view in response to the historic costume. 2. The collection consists of 15 outfits from which you execute 4 outfits (the catwalk collection). 3. These 4 outfits should be a coherent and relevant reflection of the complete collection. Brief description 4. Research and develop a collection identity in silhouettes from your idea, on paper and eventually in actual shape on the body. 5. Develop, explore and communicate a distinctive and personal design language. 6. Fit toiles (these can be in unbleached cotton and on a relevant model)) during class every week. Accompanied by drawings of the design and samples of material, color, images, model etc. (developed during other classes too)
• To generate ideas and make progress by evaluating ideas objectively. Learning objectives • Ideas are generated via experimentation, exploration of materials and by making sketches
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and toiles. Make use of a sketchbook that includes visual explorations of ideas, experiments, registration of process, thoughts and ideas • Progress is registered in a sketchbook that shows that ideas are thoroughly evaluated and clearly used to inform steps taken in development and refinement stages. • To develop a distinctive position and opinion to express your view using visual language and fashion design. • To reflect on your own work and that of others, and to evaluate its quality and effectiveness by participating in group discussions, and by letting go of pre-conceived solutions in favor of more adventurous, innovative and experimental discoveries. • To use and combine newly acquired knowledge, skills and insight as well as feedback of others to advance the development of your collection. • To exhibit professionalism by meeting deadlines and by prioritizing and managing your work processes in a time-effective manner and by presenting your work with the greatest care during trails and work discussions. • To be able to interpret assignments and clearly articulate generated ideas both verbally and visually. • To refer to social and cultural resources to formulate a precise proposition for your collection, and to translate these resources in a contemporary fashion statement that reflects your ideas. • To be able to collaborate with others and to use your talents and that of others to make the collaboration beneficial for all parties.
To demonstrate that you are a designer that expresses a contemporary view on fashion design by developing an innovative, unique and relevant signature identity, show that you are able to interpret contemporary fashion and understand its origin and history. To use fashion design as a visual language; a form of communication.
- Guest lectures or workshops will be communicated throughout the year. - A large portion of time will be spent discussing your Teaching activities work, which is an essential part of the design process. and working methods In a group discussion I expect your contribution. - In class you will also demonstrate and express the connections made between different courses.
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Development of shape, materials, drawing, images, techniques, etc. You should be able to present that in a pro-active coherent way. - Fitting on models
1. Work in your sketchbook and bring this to class every week. Use your sketchbook to archive your experiments/ design research. Use it to freely associate. Draw, paint, sketch, take photos, collect, experiment, write down any ideas that you might get, make connections, give your opinion, play, and don’t forget to have fun in the process. No limits. The way you process information is personal and unique. Use your sketchbook as a tool for communication, to register, further develop, generate and express ideas. This is your identity as a designer!
2. Analyze and interpret content with the aim to come to a perspective from which you communicate. Your sketchbook and samples are your visual research; they should be present during all assessments
3. Produce samples Textile samples: weave, knit, print, knot, embroideries, colours, combinations of everything mentioned. In short: experiment, explore and discover the materials you work with. Aim to find alternative ways to use and create materials. Technical samples: seam finishes, what stitch, what thread, what fabric, does it need reinforcement, -parts of pockets, ways to close a garment etc. Skill yourself during the process. Master the techniques you develop. All parts of your final silhouettes are subject to design decisions. Shape of collar, sleeve, pocket, fastenings Study all options and try parts of your design. You might come up with solutions you haven’t thought of before in the process.
4. Toiles! By using pattern and draping techniques you are able to experiment freely and unconventional on shape and silhouette. Show as much as possible the possibilities of your ideas on, and in relation to, the human body. Demonstrate the connection between the intended identity of the idea and the communication of that idea on the body, in material, shape, color, etc. The idea does not exist when it is not researched in the most extended way!
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The toiles you show us during trail and work discussions cannot be the first ones you make. Fit, fit, fit and fit again (document the process). Keep in mind that the assessment is a presentation of your work! All the time, every week!
5. Design Drawings: front, side, back! You’re supposed to design all sides of your collection. Develop a signature in designing on paper and three- dimensional way (on the body). Go back and forth from 2-D to 3-D and back again. Learn to understand your designs and communicate the collection identity! Be able to express the context of the collection. What is the attitude of the collection. Express color, texture, atmosphere.
6. Research contemporary photography. Create a vision on communicating with your images. Document your process using photography. Broaden your knowledge and opinion about fashion photography. Visit the exhibition at the photography department during the open day in January to see if any of the photography students has a style that fits the spirit of your collection. Work together on a concept for a photo shoot. Be aware of the difference between registering and campaigning your collection
7. Model casting for the fashion show should start early on. Your good-looking best friend is not always the best person to represent your collection. Have an idea about what type of person you’re looking for and what attitude is needed for the collection. Do everything in your power to find people that have the right features for your collection.
8. Styling think accessory. Hair, make-up, music, taste and smell. Right from the beginning. Everything that can help you to communicate the identity of your collection. Make it a part of the design process. Work out styling ideas in your sketchbook.
9. Make a collection book. This should contain a mix of collection drawings, illustrations, color swatches, fabric swatches, samples of research and photographs of the finished collection. Other than your sketch book the collection book is edited and designed. You’re allowed to work with a graphic designer.
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10. Make technical drawings of the pieces in your catwalk collection.
COMMUNICATION - Communication goes through the class representative since topics are often relevant to all of you. - Ask questions in class as much as possible.
ATTENDANCE Class meetings starts at 9:00. When you’re late I won’t discuss your work. You can still participate in discussions about other people’s work. Being late is disruptive, inconsiderate to the rest of the class and above all unprofessional. So be in time. If you are not able to attend class please inform me in advance. Work on the assignments independently at all time and show weekly progress in class.
80% attendance is obligatory! Missing more than 20% of the lessons will automatically result in not succeeding the course. Assessment method (including, for example, At the trial and work discussions you always show your minimum designs in the intended fabrics as much as possible. attendance and Not only will you see how the fabrics behave, you will also other requirements). experience the way colors act and interact in real life proportions. Don’t be afraid to start working in the intended fabrics. The outcome doesn’t have to be definite; you will still have the chance to change and adjust. If because of technical reasons working in final fabrics is impossible consult me in time.
ASSESSMENT First semester - Present the historic costume and preliminary studies within the spirit of the costume. - Make your presentation an experience in the best possible way within the context of given space. - Present the finished concept for the collection. - Bring your sketchbook
During the weekly evaluations you work on the development of your concept for your collection in your sketchbook next to all research concerning the costume.
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Individual assessment - Show all your work so far. This assessment is about your progress. - Communicate the identity of the collection presented in shape/silhouette (2 outfits in toile), sketches, color, material, images etc.
Collective assessment - 3 complete outfits presented on models with styling. 1 outfit finished+2 in toile deluxe - All research (sketch book, samples) - At least 10 design drawings (front side back) - Music suggestions - Photography research
ASSESSMENT Second semester
Individual assessment - 5 complete outfits presented on models with styling. 2 outfits finished + 3 in toile deluxe - All research (sketch book, samples) - At least 20 design drawings (front side back) - Music suggestions - Photography research
Collective assessment COLLECTION FINISHED!
- Attend 1, 3 and 4th year trials and work discussions - Visit all kinds of exhibitions concerning art, design, architecture, etc. Required and - Search for an inspiring and efficient IST which can recommended support your personal interest and development as a sources designer. - Stay conscious and up to date concerning contemporary developments in general (magazines, newspapers etc.) Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 14 EC Please check the most important competencies involved in this course (max. three!)
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Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability x External awareness Capacity for collaboration
Course Title Knitwear instructions Teacher(s) Hilde Frunt Class(es) Textile Year 2
Teaching period Semester 3 & 4
After learning all the opportunities of machine knitting the students are guided to use knitwear in a total different context Brief description than clothing. They will learn to think in other dimensions and other structures.
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The textile students have to make the link between the weaving course, the possibilities of knitting and their Learning objectives experience in the color lab, in a way to translate their knowledge of these techniques into stitches and rows. The textile students learn to translate their subject in stitches Teaching activities and rows. Also the use of ‘not done for knitting’ materials will and working be recommended and the knowledge that there’s no limit into methods experience. By making samples the students give me an idea of the Assessment direction they want to follow in order to include the knitwear in method (including, a total image. for example, Together we select the more interesting items and discuss the minimum following step. attendance and 80% attendance is obligatory as well as a warning in case of other requirements). absence.
Required and The emphasis is on the influence of the surrounding , the recommended always evolving techniques and the interpretation of the sources student.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 6 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration x
Course Title Model Drawing Teacher(s) Eric Hirdes Class(es) Textile & Fashion Year 2 Teaching period Semester 3 & 4
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Students learn to develop their observational ability and to develop an elementary understanding of shape and form sense. Observe, discover, and capture of forms and proportions, in combination with different drawing techniques and use of materials. Learning to handle formal and contents image resources, the training of the eye-hand coordination, acquiring technical skills, attitude, and discipline.
Students search and deepen their own form of expression; the ultimate ʻgoalʼ is to realize a visible connection between their personal and unique drawing style and what they want to Brief description communicate with the image of the drawing. It will be a creative search, in connection and relation to their designing process.
Besides practice and production, the process of reflection and analysis will be very important to come towards a growing development of the whole drawing process: How does the student analyze his observations, how does he/she reflect on one’s own drawings and on those of the fellow students? How do they make use of the conclusions for their drawings to develop a focused process? How does the student present the work? Semester 1: lessons in the first block divided in 2 parts: 3 hours of live model drawing & 1 hour costume (atmosphere) and fascinations (in relation to chosen costume).
1. Model drawing. Weekly model drawing, alternating male/female. In drawing, the main thing will be to find and deepen their personal and unique way in creating the drawings. Exploring and discovering their own method of working and way of drawing. Model drawing which takes place as a floor of the exercises that were used in year 1, with more and more attention and emphasis on material choice and personal vision and expression. The student’s personal approach towards what it is that they observe, what it is that fascinates or Learning objectives triggers them, particularly about the human body. How do they see it, how do they visualize this, and how does the student making use of the materials to give the drawing the desired expression, will be the main questions and learning points. 2. Working on an atmospherically drawing of the historical costume; how can the drawing communicate the feeling of it all. 3. Drawings inspired on personal fascinations, especially those coming from the chosen historical period. Semester 2: Model drawing in ʻthe spirit of their own collectionʼ. There will be weekly model drawing, alternating male/female. Starting to orientate and find a visible connection in the model
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drawing with the image of their own collection. What does the student wants to communicate with the drawings; how does he/she visualize their ideas, in shape, material, structure, color and atmosphere in relation to the body of the model. On all the drawing experiments, a proper reflection will be necessary, to bring their work into a desired process; a process to get the drawings towards a more personal, unique and higher artistic level. Learning to get grip on their own method of drawing. Practice lessons for the entire group, with individual tutorials.
Students will be trained to draw in relation to observation. Lessons are focused on visual and technical training. Observation in relation to material experiments and different drawing/painting techniques. The way the students make their decisions in the drawings, will be questioned and discussed Teaching activities every lesson. and working The live model sessions are split in two parts. In the first part methods the model takes short positions and the students are asked to experiment in their drawings to find and explore new possibilities. In the second part students interact by reflection and analysis of the first part and while doing so there findings shall be more in depth with longer poses of the model. It is a process where students learn to deepen their own method of drawing for further personal development. Herewith the tutor acts as stimulator but also as a critic. For the individual reviews (4 times a year) the student is expected to show all the drawings of the previous working period, and in response to the assignments give a presentation that shows a critical evaluation of their drawing experiments and process.
During the collective assignment, the student makes a Assessment presentation of drawings that show a good reflection of the method (including, working process of the previous study period. for example, • Is the student capable to steer and direct their research minimum for themselves? attendance and • Is the student able to determine on its own strength the other requirements). next steps for their own method of artistic development? • Is the student within his or her presentation showing enough creative ability, potential to be able to continue the study successfully? Minimum attendance in drawing class is 80 % Insufficient result may be compensated after the results of semester 1, not at the end of semester 2. Recommended sources: Internet, books, catalogues searches Required and to collect recommended information about artists, designers, works, opinions that are sources important for their own artistic development.
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Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Photography Teacher(s) Nico Laan Class(es) Fashion & Textile Year 2 Teaching period Semester 3 & 4 Introduction to photography: basic camera technique and basic studio technique. Introduction photography software: Photoshop, Bridge and Lightroom. Brief description One photography assignment per period: Block 1: Alphabet and Pinhole Block 2: Photographer’s Style or Back to the Future. Block 3: Texture & Rhythm. Block 4: Fascination. The photography course of the of Textile and Fashion design department aims: 1. Students examine and gain a general understanding of the possibilities the photographic technique. 2. Students learn to apply the possibilities of photography Learning objectives as part of the design courses, the photography used as a method of research, inspiration and presentation. In the second year the focus is on the application of photographic techniques and possibilities to serve the chosen specialization. The final results are shown in assignments, collection books and portfolios.
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Lessons are a combination of working in the studio, short technical exercises and discussing the progress of the results. The main goal of working in the studio during class is to make Teaching activities students more familiar with studio equipment learning how to and working work independently. The technical exercises are placed on methods Google Drive and can be reached at any time. Because most classes are a mix of work discussion and there is always an on-going period assignment. Assessment For the individual review the student must meet the criteria method (including, specified in the assignment. These results are part of the for example, collective assessment and, a negative individual assessment minimum will influence the collective mark. attendance and 80% attendance is required other requirements). Required and • Licence Adobe Creative Cloud recommended • SLR camera sources • Laptop Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Product design Teacher(s) Maarten Kolk Class(es) Textile Year 2 Teaching Semester 3 & 4 period Semester 1: The student will be doing short exercises in designing products/objects. Every two weeks they are making models and sketches on different scales, from accessory to furniture and Brief space. All approached from the textile discipline. description
The starting point of these studies is the main project they are working on in their design classes, which means the historical or
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ethnical piece or the modern interpretation they are developing. It is not so much about the conceptual element of this subject, but we use it as a reference so that the things they are working on in my class should fit in a bigger context.
Semester 2: light installation in black; the students start collecting black. They will do experiments with these materials as basic source. Goal is to create new self made aesthetic materials that can have an interaction with light. Halfway the semester they have to design a light object from this material.
The course will give the students a broader view on what textile Learning design is and in which disciplines it can be applied. objectives They also learn how to translate a textile piece or a textile technique into a product. Teaching The students need to work fast in my classes, it is all about making activities and models and sketches. Not so much on paper, but mainly in material working and 3 dimensional. The short exercises force them to focus on methods shape instead of concept. During the collectives they should present all studies and the final Assessment prototype. I will mainly judge the students on their process. method • Were they able to make good translations to product? (including, for • Did they follow up and learned form my advices? example, • Were they able to focus on shape and material instead of minimum concept? attendance and other And off course the result of the prototype is a significant part as requirements). well. 80% attendance is required No required sources but their historical / ethnical piece. Required and Recommended sources are examples of designs of the same scale recommended they are working on. (for example look into furniture designs where sources textile design has a significant role). Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Year 2: 6 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability External awareness x Capacity for collaboration
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Course Title Technical Design Fashion Teacher(s) Roy Verschuren Class(es) Fashion Year 2 Teaching period Semester 3 & 4 - In learning to be a fashion designer it is necessary to acquire a large number of technical skills that allow yourself to work professionally and to develop a Brief description creative idea into a product. - Study of patterns and finishings. - Technical execution of the design project. - To convert two-dimensional designs into three- dimensional form. - To gain insight in the study of the human body by means of patterns, moulding, draping and modelling. - To gain knowledge of machines necessary to execute Learning objectives ideas. - To use and combine acquired knowledge in developing collection. - To reflect on work by yourself and others to use for the benefit of the collection. - Research and experiment in shape in a most extensive way and with the human body in mind. - Research and experiment with materials and its possibilities in executing ideas. - Research and experiment with techniques and Teaching activities finishings in executing ideas. and working - A large portion of the time will be spent discussing the methods work done in progress and development towards the collection. - Class will be a combination of pattern development, research in shape and materials and discussing progress. Assessment All research and experiment should lead to the regular fitting method (including, of toiles and the creation of technical samples, all for the use for example, of the collection. The collection should show a high level of minimum quality in shape and execution and look professional. attendance and Minimum attendance is 80%. other requirements). The workshop and the library have an extensive range of books on patterns and techniques. Required and The fashion industry makes use of highly standardized recommended working methods of which awareness is important. Therefore sources it is important to keep an open eye at what is being done in the field of fashion. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris.
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Study load 8 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness x Capacity for collaboration
Course Title Technical Drawing Teacher(s) Anoek van Beek Class(es) Fashion Year 2 Teaching period Semester 1 & 2 (Block 2, 3 & 4) The purpose of this course is to become crafty and skilled in making 'flat' technical drawings of a garment, drawn by hand. This means that the students can make a drawing made in line, in the right proportion, with all the details of the garment drawn as clearly as possible. It is not a 'creative' 'atmospheric' drawing; it is a drawing of the garment in its most realistic way, with all its seams, stitching’s and further details. This Brief description means that they are able to make a technical drawing of a garment that can (and will) be interpreted by everybody in the same way, for example the design teacher, pattern maker or factory supplier. They will learn to make technical 'worksheets' of their designs. A worksheet is a technical drawing with all the important details mentioned, such as fabric use, prints, applications, measurements and inside finishing. When drawing a design in a technical way the student will be forced to think about the whole construction of the garment. Details such as closure, stitching’s, facings and finishing’s will Learning objectives be taken in consideration in a much earlier stage in the design process. Next to that students need to know how to brief other people about their designs and ideas. Teaching activities Practising in class and as homework, following my book and and working my feedback. methods The students need to hand in a book with all the assignments Assessment given in class. method (including, This needs to be presented in a nice way. for example, If not completed in time it needs to be handed in later, at a minimum given date and the grade will be 1 point lower.
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attendance and other requirements).
Required and recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection X Capacity for growth and innovation X Organisational ability X Communicative ability External awareness Capacity for collaboration
Course Title Concept and Perception Teacher(s) Laut Rosenbaum Class(es) Textile Year 2 Teaching period Semester 3 & 4
Concept and Perception is geared towards providing clarity. The aim is to help students translate abstract concepts and emotions into clear images and maquettes. This way the meaning or essence of the subject is more effectively conveyed. Visualisation is used to share ideas and develop concepts. The students create several visual representations, either through drawing, digital manipulation and 3D mock ups, Brief description the last of which is intended to stimulate spatial insight. Design thinking and creative concept development tools help students to optimize their output. This is spread out through the 4-year program the student follows.
Second year students will be more focused on framing. From idea to concept. Defining boundaries.
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Concrete learning objectives:
Analysing, (re)defining, ideation, visualisation and sharing. 7. The students develop methods that help grow ideas into concepts. 8. Critical thinking techniques. Learning objectives 9. Documentation of ideas, insights and concept process 10. Various 2D techniques (analogue and digital) 11. Various 3D techniques (maquettes, installation, presentations) 12. Presentation techniques (verbally, visually and textual)
Lessons focus around various iVisualisation Techniques and Design – and Critical Think methods. Each lesson starts with a group discussion about that weeks progress, after that a more individual approach is taken. Coaching and giving Teaching activities feedback in a 1-on-1 style. Students visualize new insights and working through various mixed media techniques. Half way each block methods the focus will turn to the presentation. Exploring the possibilities and developing spacial insight. Students make drawings and maquettes. They do this in the classroom or/and in one of the several workshops.
The results of the course will be determined during the individual and collective assessments. Deliverables include: - at least dummy’s with process - multiple visualisation concerning the concept Assessment - a 3D exploration of the presentation possibilities method (including, for example, Any student’s performance, that is not on an accepted level or minimum standard, runs the risk of a negative assessment. It goes attendance and beyond saying that a student that does not dig deep, or fully other requirements). engages in the course process will also not receive a positive assessment.
80% attendance is required.
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Required and recommended sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
Course Title History of Costume and Textile Teacher(s) Els de Baan Class(es) Textile & Fashion Year 2 Teaching Semester 3 & 4 period Research and deepen in Fashion & Textiles, meaning and identity
Accents: - Support Research Historical Costume/Textile, investigation design courses. - Western costume history with emphasis on the period around 1900, 20th and 21th centuries. Including: theory of Veblen, woman emancipation and fashion, Ballets Russes and the Brief influences at textiles and fashion, focus on some iconic description fashion and textile designers, labels highlighted (a.o. Poiret, Chanel, Dior, S. Delaunay, Constructivism – Popova, Stepanova – Marimekko and other name-droppings), media influence, among others.
Working around themes like: - Crisis and Optimism: 30s and later; scarcity and ingenuity and couture during WW II. - Art influences such as Op Art, PopArt, music and film.
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- New roles men/woman, new materials, posters etc. - Culture Mix: focus on years 70-80-90; hippies and other exotica. No future? No nonsense! Influence sportswear, Japanese designers mix and match styles, poverty-look, romance and power women - Looking back and looking ahead around the year 2000 and beyond - Design concepts, among others traditionalists and innovators, designers and cooperation industry: less is more, less and more, less but better, less is bore - (Postmodernism), Theories of Piet Paris (Shape), Dieter Rams (which is good design?), Donald Norman (the design or everyday things), Meta Modernism. - Linking to the design courses for the assignments. - Acquiring and expanding knowledge, insight and understanding on the development of Western clothing, fashion and textiles (especially 20th and 21th century) - Provide handles for critical understanding of complex stuff - Learn to look sharper and evaluate the own field and on/over the limits of art - Encouraging personal position and critical attitude - Being informed about current fashion/textile and related activities, exhibitions etc. - Emphasis on theory and practice.
Learning The student can demonstrate their ability to: objectives - Make choices - Apply planning - Make a written argument that shows a studious attitude and approach. - Show a critical attitude - Reflect - Draw a conclusion - Implement feedback - The student is able to explain their own work in context of the assignment - The student can reflect on the found sources. The research reflects the vision and analysis. Lectures, information exchange, using documentaries like a Teaching reconstruction of Ballet Russes, and about Chanel, Dior and other activities and designers. I do bring study-textile-realia sometimes. working Student have to prepare and give a Speech: 'Sources of inspiration methods for designers’. Assessment Each task is submitted in advance on paper and discussed in class. method It shows the assessment-criteria so the student knows how the (including, for different components are reviewed. There is always a possibility to example, re-sit the same assignment. minimum 80% attendance is required attendance
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and other requirements).
Required and recommended Not special, but while classes I do mention some possible sources. sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness x Capacity for collaboration
Course Title Textile Design Teacher(s) Hil Driessen Class(es) Textile Year 2 Teaching period Semester 3 & 4 In comparison with the first year, more focus will be put on the way students are able to translate their ideas, and be critical of what they want to communicate. The second year is the phase in which the student can gain insight into the textile design profession and become aware of their work field and work process. They can explore different textile disciplines as a career option and learn to formulate their vision on textile design.
The course will concentrate on the composition, the Brief description appropriate context, and the way resourses are translated into a contemporary textile statement. In the second year we will make more use of the IST workshops, the silkscreen, knit and weave courses, and start to develope your own textile archive, and learn more about the use of alternative techniques, innovative and experimental materials The student will learn how to use scaling, to represent simplified versions of objects and plans, and how to integrate photography, sketching and 2-D, 3-D studies.
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• The student is expected to be able to present the final results in a surprising and convincing spatial presentation. • The student has learned how to make use of different materials, various techniques, and blend everything that they have learned together. • The student is able to motivate their research and Learning objectives concept both verbally and visually, using a 3D mood board, associative materials, leporello, maquette, scale models, sketches, sample collection, dummy’s etc. • The student can explain the meaning and expressiveness of the work and the student is expected to develop their own way of putting an idea across, and discover a personal style and a unique identity. Discussing homework, and the learning objectives of the assignment. Feedback during half-time presentation (halfway through the course).
• How to translate research into a contemporary statement that reflects on modern textile design. • Motivate and visualize thoughts, picture ideas, using associative materials and digitally enhance images on Teaching activities computer. Defining the size by using a scale maquette and working to visualize ideas for the spacial presentation, to methods convey your most important ideas. • How to work with simplified versions of objects and plans with 2-D, 3-D studies and the ability to scale easily with materials • Professional presentation skills by creating a leporello, an exercise in storytelling, and how to integrate text, photography, and sketching to communicate the concept. • How to create and present the sample collection, and develop a professional textile archive.
Assessment • IST 12 points for the 2nd year method (including, • Work must be finished on time for example, • The student has made a clear choice for fashion, minimum interior or autonomous attendance and • Will give a clear picture of the concept and keeps other requirements). critical of what he/she wants to transfer.
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• Presents and communicates work in the best possible way! • This can have the shape of an installation or any form, depending on what kind of textile statement the student wants to make • Attendance at least 80%
In addition to the presentation of the final Textile Design: • Title of the installation • Inspiration, materials, samples, concept and photos comes together in the leporello for the end presentation. • Scale model to visualize the spacial research. • A3 dummy and sample book
• Textile, fashion, interior and art exhibitions • Fairs on innovation and materials like Materia • TextileLab, Fablab and other open source labs Required and • Textile fairs like Heimtextil, Première Vision recommended • Specialist books and magazines on textile design, art sources and interior design • And keeping track of the leading social media platforms, interesting talks, lectures, and seminars
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 14 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability x External awareness Capacity for collaboration
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Course Title Visual Development Teacher(s) Ellen Vos Class(es) Textile and Fashion Year 2 Teaching period Semester 3 & 4 • As where in the first year the focus is on the exercise of research, visually and conceptually, in the second year students commit themselves to a very specific choice to begin with. Research as being described in the first year is being implemented. From the width to the specific choice. Brief description • Awareness of the emerging identity of the collection (fashion) / translation into contemporary textile (textile) is encouraged. • Collaboration with design courses is evident. • Translation of research, conceptually and visually, into the concrete is increasing. Besides on-going more authentic research discourse, visually and conceptually, the student needs to become more in charge of the emerging identity of the identity of the design. Learning objectives The student needs to be able to translate this identity into a key-image and a collection book / representation of the identity of the design in an authentic way to the outside world. Every week progress of the research is being presented on a A1 foam board on which the dynamic connotation of clusters of words and images show an emerging identity, a coherent atmosphere, increasingly translated in the more and more concrete. The concrete means aspects like: shape, texture, structure, technique, colour, details, models, posture etc. Teaching activities Every stage of this process is being photographed, printed on and working A3-size and put in a file, by which the process is available to methods both students and teachers. The same procedure goes for the development of the according key-images. Every week progress of the research is presented by the student, visually and verbally and discussed by the tutor, in front of and in participation with fellow students, in small groups. Compared to the first year, the reflection of fellow students on each other’s work is increased.
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• The student needs to produce an authentic research and needs to be able to implement the given feedback for growth. • File (A3) has to be handed in, concerning process research, content and translation into the key-image. Assessment method (including, • Criteria are made clear upfront. for example, • Student has to attend at least 80% of the classes; minimum otherwise this will be taken into consideration of the attendance and evaluation grade. Because the student lacked steps, other requirements). moments of feedback and as such, made less progress than possible. • Students history for growth and innovation • The course will result in either a collection book (fashion) or a leporello (textile). Source of research in all fields, except fashion and textile. For Required and example; architecture, art, design, nature, science, history etc. recommended Specific available image-sites should be avoided, this shows sources the clichés, this to encourage the authentic visual search and its translations. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
Course Title Textiles and Weaving Teacher(s) Joost Post Class(es) Textile Year 2 Teaching period Semester 3 & 4
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During the first semester students will work on an in-depth technique research which is connected to a historical piece (block 1) and make modern interpretations of this piece/these techniques (block 2). In the modern interpretation students are challenged to be inventive and innovative in materials and Brief description techniques. During the second semester students make a woven sample collection matching the still life in black assignment. Students choose their own weaving technique to research. Both assignments are directly related to the overall design assignments. First semester: In depth research in (a) specific textile technique(s) related to the chosen historical piece with an emphasis on technical skills. Development of modern interpretations on the chosen historical piece/materials/techniques, transforming more traditional textile values into new contexts and technologies. Second semester: In depth research into a specific self- chosen weaving technique. Researching the technique as Learning objectives well as the subject still life and the colour black. Finding ways to make a monochrome black fabric interesting to the eye and to the touch using light, texture, binding, materials etc. Making and presenting a collection of samples in a professional manner. General: Gain knowledge of and practice new skills and implement them in the work, develop a personal style, analyse and criticise the work and reflect on the work process, learn how to set up and present a sample collection. In year 2 emphases is placed on the development and definition of individual direction. Practical and theoretical Teaching activities guidance is following the students’ needs (1:1). Technical and working instructions asked for by individual students are always open methods to other students from year 2 as well. Now and then we have group talks to inform each other about the progress. Block 1,2: Hand in a professionally presented sample collection based on the traditional technique of the chosen historical piece and a sample collection based on the modern Assessment interpretation of the historical piece (combination of method (including, techniques promoted). for example, Block 3,4: Hand in a collection of woven samples matching minimum the still life in black theme. Either presented as a separate attendance and collection of weaves or presented combined with other other requirements). techniques like knitting and printing. In all cases professional attitude and a minimum attendance of 80% is required.
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Recommended sources for the technical research are, next to Required and the internet and school library, specialised libraries like the recommended library of the Textile museum Tilburg, Kantmuseum Horst and sources TRC (Textile Research Centre) in Leiden. Other suggestions depend on the students’ individual needs. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Art & Fashion Philosophy Teacher(s) Danielle Bruggeman Class(es) Textile & Fashion Year 3 Teaching period Semester 5 & 6
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Art & Fashion Philosophy is one of the theoretical courses on textile and fashion in Year 3. In contrast to the other theoretical course Textile & Fashion History, the course Art & Fashion Philosophy offers a wide range of theoretical perspectives on central themes in contemporary culture and society, and specifically in the fields of fashion, textile and the arts.
Brief description Themes that we will focus on in Year 3 include cultural hybridity, orientalism/occidentalism, ethnicity, performances of authenticity, Deleuzean art philosophy, metamodernism and digitalisation/new technologies. The cultural theories and philosophies discussed in class will help to critically reflect on the focus of the 3rd year design assignment, a folkloristic or ethnic fashion or textile object, and on the students’ ideas for their final collection or spatial work and textile collection.
Students will gain insight into central themes in art philosophy, fashion theory and in contemporary culture and society, which will:
- Deepen their (conceptual) thinking and creative ideas as a designer - Help them to critically reflect on their own work and on the work of other artists/designers - Help them to contextualize and position their work in a larger societal and cultural context
Based on the theoretical knowledge that the students gain, they are expected to write two essays (one in semester 1, and one in semester 2) in which they should use the theories Learning objectives discussed in class in order to critically reflect on one of the central themes of the course, also in relation to their own work.
Criteria for the assignments/essays: - Critical use of (at least one of) the theories discussed in class / or other theories that are relevant in relation to the topic of your essay - The images included should support your writing and show your creative expression - The essays should show your ability to critically reflect - The essays should show that you are able to position your ideas in a broader cultural context - Correct use of language and style - Correct referencing system and bibliography Teaching activities Theoretical lectures, group discussions, writing practices, and working reading texts, individual feedback/coaching. methods
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The grades are based on the essays written by the students. Students will thus receive one grade per semester based on Assessment their essay that semester. In addition, students are expected method (including, to actively participate in class and to contribute to group for example, discussions. A minimum of 80% attendance is required. An minimum insufficient result can be compensated by handing in a attendance and revised version of the essay based on the feedback of the other requirements). teacher. The resits should be handed in on the deadline of the next assignment. During class, the teacher will always recommend sources for the students to read in case they want to learn more about the theories discussed. Which sources are recommended depends on their relevancy for the themes discussed.
A couple of recommended sources are, for instance,
• Paulicelli, Eugenia & Clark, Hazel (2009) The Fabric of Cultures: Fashion, Identity and Globalization, London/New York: Routledge. Required and • Brand, Jan & Teunissen, José (2009) Global Fashion. recommended Local Tradition. On the Globalisation of Fashion, sources Arnhem: Uitgeverij Terra Lannoo. • Said, Edward (1979 [1978]) Orientalism, New York: Vintage Books. • Entwistle, Joanne (2000) The Fashioned Body. Fashion, Dress and Modern Theory, Cambridge: Polity Press. • O’Sullivan, Simon (2001) ‘The Aesthetics of Affect. Think Art Beyond Representation’, Angelaki. Journal of the Theoretical Humanities 6 (3), pp. 125-135.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
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Course Title Dessin and Print Teacher(s) Neeltje Schoenmaker Class(es) Textile Year 3 Teaching period Semester 5 & 6 In these classes the practice of (repetitive) pattern design and textile screen printing will be taught textile design students. The assignments and topics of this class pick up on the assignments of the textile design class.
Screen printing:
Blok 1 • Mimicking an ethnical technique with screen printing; which techniques are there to mimic the historical textile technique • Colour theory, rules and how to play with them and use them in your design Brief description Screen printing and dessin: Blok 2 • Use the findings of technique and material from blok 1 to develop modern textile prints by exploring new pattern elements and compositions
Dessin: Blok 3 • Illustrator for pattern design, learning basic drawing skills • Learning assignment: trace and colour an existing artwork • Creating convincing colourways in textile design
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• Presenting the design in 3 colourways in 3 different contexts, communicate colour, scale and application
Screen printing: Blok 4 • Pattern and brush design in Illustrator • Creating different styles and signatures in Illustrator • Creating different patterns in Illustrator using different tools and methods • Organizing, archiving and backup-ing files • Creating production file and production info files for your designs • Executing a design in 3 different colourways and materials • Communicating the design: context, purpose, application. production
The student • can critique his/her own work as the work of others as a functioning pattern regarding colour usage • has knowledge about and can create more advanced surface treatments with different techniques and materials available in screen printing • has the skills to create more advanced and complex artworks and patterns using Illustrator to express their Learning objectives unique signature • can apply colour harmonies in (pattern) designs that result in harmonious, readable and convincing designs • has a knowledge about what information is needed for production • has an archive of functional design files • has the ability to communicate his/ her designs answering relevant questions about application and context Teaching activities Screen printing in the printing workshop, practical work and working exercises, group discussions and work reviews, individual methods coaching, computer classes. There is a requirement of at least 80% attendance to pass. The student must produce a collection of printed samples or pattern designs per the given assignment. Assessment In the determination of the result the following aspects will be method (including, taken into consideration: attendance, commitment and for example, progress in class, printing and pattern quantity and quality, minimum application of new techniques, variety in used materials and attendance and techniques, the communication of the work, quality of other requirements). presentation, fulfilment of the assignment. When the result is insufficient the student can be given an extra assignment.
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Required and recommended - sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness Capacity for collaboration
Course Title Draping Teacher(s) Gerrit Uittenbogaard Class(es) Fashion Year 3 Teaching period Semester 5 & 6 Draping will give the unlimited opportunity to design directly on the mannequin in 3-D, develop technical skills, give insight Brief description in the relationship of proportion and shapes on the human body and handling and treatment of fabric will enable the student to design in a free and experimental way.
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This intensive research of shapes and material provides the student with tools to create a distinctive design statement.
The student will be able to execute any example of design with a clear sense of proportion and treatment of fabric. Next to the knowledge of all technical possibilities the student will also be able to put designs in a bigger context and perspective. The relationship between contemporary design and personal development in shape, proportion and presentation. The students show awareness of the relationship of shape, Learning objectives proportion, fabric and is therefore able to develop an idea from 2-D into 3-D, and is able to reflect and react on that by monitoring the process and make necessary changes and present new options.
Other than 2nd year, 3rd year students will develop their shapes from the ideas emerging from designing their own collection.
Semester 1 Communicate the process of designing the collection with in particular the focus on the basic silhouette of the collection to be developed.
Teaching activities Semester 2 and working Students will do individual research on shape, proportion and methods material in order to make a selection of designs they find distinctive and representative shapes for their collection to be communicated. They will make drawings, change designs, make photographs of the process and perform fittings with actual models. All these steps are communicated. The student is able to use the skills learned to communicate a study on a chosen design. Organises the examples, the sketches, and the material to create an actual design on the mannequin that is ready to be re-produced in another stage of the design process (making patter, choosing final fabric, Assessment lining, finishing). method (including, The student is aware of that and is able to communicate the for example, identity of the collection in 3-D silhouettes. minimum
attendance and Students show consciousness of the impact of the shapes other requirements). and proportion, the selection of fabrics and its effect on the collection and contemporary design. Their opinion is backed by an intensive research that shows extensive sampling of materials and shapes. Resulting in a clear individual experimental created context.
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- Exhibitions on fashion design. Shape, history, material, Required and etc. recommended - Research on designers and their view on sources shape/fashion in relation to the human body. (library, internet) - Research on material. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness Capacity for collaboration
Course Title Fashion Design Teacher(s) Natasja Martens Class(es) Year 3 Fashion Teaching period Semester 5 & 6 RESEARCH AN ETHNIC COSTUME AND CREATE AN EXACT REPLICA - Costumes for children are not allowed – Block 1
Part 1 Choose a costume that triggers and inspires you both visually and intellectually, the costume should trigger collection ideas Brief description immediately, if it doesn’t, it’s not a good choice.
Look into: Geographic vicinity, politics in the region, religion; does religion have an influence on the costume and in what way?, does the garment influence the behavior of the wearer and how?, climate, rituals, social background, objects, is there a special meaning to used materials or colors; are they widely available or scarce?, techniques/textiles/dyes or other
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materials used, has the costume undergone changes over time and if yes with what reason? Anything else you come up with in relation to the topic.
Don’t forget to show the context of your theoretical research, show your sources. For example: if you find an article in a magazine, bring/scan the whole article, not just the photograph, same goes for newspaper articles, books etc.
Part 2 Make an exact replica of the costume shown on the chosen photograph. You should capture the spirit and the feel of your chosen costume by imitating the wear and tear, by finding a suitable model, and by making your presentation during the assessment into an experience.
Your preliminary studies are of great importance. Not only do they show you’ve considered all options, they are also valuable in the sense that they can be a source of inspiration, discovery and innovation.
DESIGN, CREATE AND PRESENT A COLLECTION OF SEVEN FASHION OUTFITS Block 2 + 3 + 4
1. Design a collection that communicates your view in response to the ethnic costume. The collection consists of 30 outfits from which you execute six outfits. These six outfits should be a coherent and relevant reflection of the complete collection. Fit toiles during class every week. These should be in unbleached cotton or the actual fabrics.
2. Design Drawings: front, side and back! You’re supposed to design all sides of your collection.
3. Research contemporary photography, and visit the exhibition at the photography department during the open day in January to see if any of the photography students has a style that fits the spirit of your collection. Work together on a concept for a photo shoot.
4. Model casting for the fashion show should start early on. Your good looking best friend is not always the best
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person to represent your collection. Have an idea about what type of person you’re looking for and do everything in your power to find people that have the right features for your collection.
5. Styling; think shoes, hair, make-up right from the beginning. Make it a part of the design process. Work out styling ideas in your sketchbook.
6. Make Technical drawings of the pieces in your catwalk collection.
During the assignment you are working in your sketchbook to generate ideas and to work towards a perspective that will form the base of your collection.
• To generate ideas and develop productive work habits independently, by making use of a sketchbook that includes visual explorations of ideas, experiments, registration of process, thoughts and ideas • To research and make an ethnic costume, find a topic within this research, develop a position, and express a contemporary view • To let go of pre-conceived solutions; explore and experiment to find innovative solutions to design problems • To articulate your ideas well, both visually and verbally Learning objectives • To produce a coherent collection that advances a personal contemporary vocabulary and vision • To exhibit professionalism by being on time, by meeting deadlines, and by presenting your work with the greatest care during trails and work discussions • To work together with, and give direction to professionals from other disciplines in order to enhance visual communication
Guest lectures or workshops will be communicated throughout the year.
A large portion of time will be spent discussing your work, Teaching activities which is an essential part of the design process. In a group and working discussion I expect your contribution. methods By asking questions and telling what you see you give valuable feedback to your fellow students, it might help someone to find a new direction or it could expose communication problems that didn’t turn up before. Feel
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comfortable to speak freely about your work and about the work of others.
COMMUNICATION Communication goes through the class representative since topics are often relevant to all of you. Ask questions in class as much as possible.
ATTENDANCE Class meetings begin at 9:00. When you’re late your work won’t be discussed. You can still participate in discussions about other people’s work. Being late is disruptive, inconsiderate to the rest of the class and above all unprofessional, so be in time. If you are not able to attend class please inform me in advance. 80% attendance is obligatory! Missing more classes will result in a lower grade.
ASSESSMENT Block 1 - Present the ethnic costume and preliminary studies within the spirit of the costume - Make your presentation an experience in the best Assessment possible way within the context of given space method (including, - Present the finished concept for the collection for example, - Bring your sketchbook minimum attendance and other requirements). ASSESSMENT Block 2 - 2 outfits in real fabrics presented on models, with styling - Finalized Ethnic Costume on Model - All research (sketch book, samples) - At least 15 design drawings (front side back) - Music suggestions
ASSESSMENT Block 3 - 5 outfits in real fabrics presented on models, with styling - All research (sketch book, samples) - At least 20 design drawings (front side back) - Music suggestions
ASSESSMENT Block 4 - Final Collection of 6 outfits
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- All research (sketch book, samples) - At least 30 design drawings (front side back) - Final choice in show Music
Collections not finished for the last assessment can be withdrawn from the annual fashion show. - Attend 4th year’s trial and work discussions (dates are Required and in calendar) recommended sources - Visit Fashion, Art, Design and Architecture exhibitions throughout the year Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 14 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability External awareness x Capacity for collaboration
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Course Title Knitwear instructions Teacher(s) Hilde Frunt Class(es) Textile Year 3 Teaching period Semester 5 & 6 I want the students to show there is an evolution and progress in their work. Brief description But they also have to be aware of the link between the other courses in order to make a total statement. The use of experimental yarns and handcraft will be Learning objectives emphasized, such as to bring in shapes of for instance wood or metal.
Teaching activities Student and teacher will discuss the method and used items and working in order to find solutions and come to a final satisfactory methods creation. -According to the other courses such as weaving and printing, Assessment the student has to decide how the knitwear will be placed in method (including, the subject. Materials and techniques will be discussed, for example, samples have to be made. minimum -The working process will be judged. attendance and 80% attendance is obligatory as well as a warning in case of other requirements). absence.
Required and Books, exhibitions, concerts, discussions with colleague recommended students and handcraft workers, sources Try to visit other cultures and open your mind.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation Organisational ability
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Communicative ability External awareness x Capacity for collaboration x
Course Title Model Drawing Teacher(s) Eric Hirdes Class(es) Textile & Fashion Year 3 Teaching period Semester 5 & 6 Students learn to develop their observational ability and to develop an elementary understanding of shape and form sense. Observe, discover, and capture of forms and proportions, in combination with different drawing techniques and use of materials. Learning to handle formal and contents image resources, the training of the eye-hand coordination, acquiring technical skills, attitude, and discipline. Students search and deepen their own form of expression; the ultimate ʻgoalʼ is to realize a visible connection between their personal and unique drawing style and what they want to Brief description communicate with the image of the drawing. It will be a creative search, in connection and relation to their designing process. Besides practice and production, the process of reflection and analysis will be very important to come towards a growing development of the whole drawing process: How does the student analyze their observations, how does he/she reflect on one’s own drawings and on those of the fellow students? How do they make use of the conclusions for their drawings to develop a focussed process? How does the student present the work? Semester 1: lessons in the first block divided in 2 parts: 3 hours of live model drawing & 1 hour costume (atmosphere) and fascinations (in relation to chosen costume) 1. Model drawing. Weekly model drawing, alternating male/female. In drawing, the main thing will be to find Learning objectives and deepen their personal and unique way in creating the drawings and eventually to come to a meaningful image of the model. Deepening their own method of working and way of drawing, a process started in the previous years. There will be more and more attention and emphasis on material choice and personal vision
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and expression, to come towards a strong, outspoken and personal vision in drawing the model. The students personal approach and vision towards what it is that he/she observes, what it is that fascinates or triggers them, particularly about the human body. How does the student see it, how does he/she visualize this, and how do they make use of the materials to give the drawing the desired expression, will be the main questions and learning points. 2. Working on an atmospherically drawing of the ethnic costume; how can the drawing communicate the feeling of it all. 3. Drawings inspired on personal fascinations, especially those coming from the chosen ethnic period.
Semester 2: Model drawing in ʻthe spirit of their own collectionʼ. There will be weekly model drawing, alternating male/female. Figure drawing in the spirit of their own collection; figure drawing in various capacities, with emphasis on further development and deepening ones own point of view, where it is expected that attention will focus mainly to create a link with the formal and substantive principles of its own collection. Like the drawing in the 2nd year, the student starts to experiment, to find a visible connection with the image of his or her own collection. What do they want to communicate with the drawings; visualize their ideas, in shape, material, structure, color and atmosphere, all in relation to the body of the model. On all the drawing experiments, a proper reflection will be necessary, to bring their work into a desired process; a process to get the drawings towards a more personal, unique and higher artistic level. Practice lessons for the entire group, with individual tutorials.
Students will be trained to draw in relation to observation. Lessons are focused on visual and technical training. Teaching activities Observation in relation to material experiments and different and working drawing/painting techniques. The way the students make their methods decisions in the drawings, will be questioned and discussed every lesson. It is a process where students learn to deepen their own method of approach for further personal development. Herewith the tutor acts as stimulator but also as a critic. Assessment For the individual reviews (4 times a year) the student is method (including, expected to show all the drawings of the previous working for example, period, and in response to the assignments give a minimum presentation that shows a critical evaluation of their drawing attendance and experiments and process. other requirements).
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During the collective assignment, the student makes a presentation of drawings that show a good reflection of the working process of the previous study period. • Is the student capable to steer and direct their research for themselves? • Is the student able to determine on its own strength the next steps for their own method of artistic development? I • Is the student within his or her presentation showing enough creative ability, potential to be able to continue the study successfully?
Minimum attendance in drawing class is 80 % Insufficient result may be compensated after the results of semester 1, not at the end of semester 2. Recommended sources: Internet, books, catalogues searches Required and to collect recommended information about artists, designers, works and opinions that sources are important for their own artistic development. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Photography Teacher(s) Nico Laan Class(es) Fashion & Textile Year 3 Teaching period Semester 5 & 6
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Studio and camera technique. Introducing InDesign One photography assignment per period: Block 1: Workshops photography. Brief description Block 2 / 3 / 4: Fascination. A ‘free’ assignment, exploring a specific item or to combine photography with other assignments. The photography course of the of Textile and Fashion design department aims: 3. Students examine and gain a general understanding of the possibilities the photographic technique. 4. Students learn to apply the possibilities of photography Learning objectives as part of the design courses, the photography used as a method of research, inspiration and presentation. In the third year the focus is on the application of photographic techniques and possibilities to serve the chosen specialization. The final results are shown in assignments, collection books and portfolios. Lessons are a combination of working in the studio, short technical exercises and discussing the progress of the results. The main goal of working in the studio during class is to make Teaching activities students more familiar with studio equipment learning how to and working work independently. The technical exercises are placed on methods Google Drive and can be reached at any time. Because most classes are a mix of work discussion and practice there is always an on-going period assignment. Assessment For the individual review the student must meet the criteria method (including, specified in the assignment. These results are part of the for example, collective assessment and, a negative individual assessment minimum will influence the collective mark. attendance and 80% attendance is required other requirements). Required and • Licence Adobe Creative Cloud recommended • SLR camera sources • Laptop Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Fashion: 6 EC / Textile: 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Product design Teacher(s) Maarten Kolk Class(es) Textile Year 3 Teaching period Semester 4 & 5 Semester 1: The student will be doing short exercises in designing products/objects. Every two weeks they are making models and sketches on different scales, from accessory to furniture and space. All approached from the textile discipline. The starting point of these studies is the main project they are working on in their design classes, which means the historical or ethnical piece or the modern interpretation they are developing. It is not so much about the conceptual element of Brief description this subject, but we use it as a reference so that the things they are working on in my class should fit in a bigger context. Semester 2: The students start to write a story about how they think the world in 2050 will look like and mention 5 objects they wish to bring with them to this future world. These stories will be passed through, so each student gets the story of someone else. Based on this story the students have to design a backpack. The course will give the students a broader view on what textile design is and in which disciplines it can be applied. Also they learn how to translate a textile piece or a textile Learning objectives technique into a product. In semester 2, the element of working for someone else becomes part of the program. The students need to work fast in my classes. it is all about Teaching activities making models and sketches. Not so much on paper, but and working mainly in material and 3 dimensional. The short exercises methods force them to focus on shape instead of concept. During the collectives they should present all studies and the prototype. I will mainly judge the students on their process.
Assessment • Were they able to make good translations to product? method (including, • Did they follow up and learned form my advices? for example, • Were they able to focus on shape and material instead minimum of concept? attendance and other requirements). And off course the result of the prototype is a significant part as well. 80% attendance is required.
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No required sources but their historical / ethnical piece. Required and Recommended sources are examples of designs of the same recommended scale they are working on. (for example look into furniture sources designs where textile design has a significant role). Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability External awareness x Capacity for collaboration
Course Title Technical Design Fashion Teacher(s) Roy Verschuren Class(es) Fashion Year 3 Teaching period Semester 5 & 6 - In learning to be a fashion designer it is necessary to acquire a large number of technical skills that allow yourself to work professionally and to develop a Brief description creative idea into a product. - Study of patterns and finishings. - Technical execution of the design project. - To convert two-dimensional designs into three- dimensional form. - To gain insight in the study of the human body by means of patterns, moulding, draping and modelling. - To gain knowledge of machines necessary to execute Learning objectives ideas. - To use and combine acquired knowledge in developing collection. - To reflect on work by yourself and others to use for the benefit of the collection. - Research and experiment in shape in a most extensive way with the human body in mind. Teaching activities - Research and experiment with materials and its and working possibilities in executing ideas. methods - Research and experiment with techniques and finishings in executing ideas.
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- A large portion of the time will be spent discussing the work done in progress and development towards the collection. - Class will be a combination of pattern development, research in shape and materials and discussing progress. Assessment All research and experiment should lead to the regular fitting method (including, of toiles and the creation of technical samples, all for the use for example, of the collection. The collection should show a high level of minimum quality in shape and execution and look professional. attendance and Minimum attendance is 80%. other requirements). The workshop and the library have an extensive range of books on patterns and techniques. Required and The fashion industry makes use of highly standardized recommended working methods of which awareness is important. Therefore sources it is important to keep an open eye at what is being done in the field of fashion. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 8 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness x Capacity for collaboration
Course Title Technical Drawing Teacher(s) Anoek van Beek Class(es) Fashion Year 3 Teaching period Semester 4 The purpose of this course is to learn how the draw technical drawings by using Adobe Illustrator CC. They learn how the basics of the program works, and next to that they learn how Brief description to use features especially used in fashion. They learn how to apply brushes and swatches, so they can be more specific in their designs.
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In all big companies, all designers work in Adobe Illustrator. As an intern, it will be expected that a student can work in Learning objectives Illustrator. You need to know how to design yourself but also how you can adjust existing drawings. Teaching activities Practising in class and as homework, following my book and and working my feedback. methods Assessment The students need to hand in a book with all the assignments method (including, given in class. for example, This needs to be presented in a nice way. minimum If not completed in time it needs to be handed in later, at a attendance and given date and the grade will be 1 point lower. other requirements). Required and recommended sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 1 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection X Capacity for growth and innovation X Organisational ability X Communicative ability External awareness Capacity for collaboration
Course Title Concept and Perception Teacher(s) Laut Rosenbaum Class(es) Textile Year 3 Teaching period Semester 5 & 6
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Concept and Perception is geared towards providing clarity. The aim is to help students translate abstract concepts and emotions into clear images and maquettes. This way the meaning or essence of the subject is more effectively conveyed. Visualisation is used to share ideas and develop concepts. The students create several visual representations, Brief description either through drawing, digital manipulation and 3D mock ups, the last of which is intended to stimulate spatial insight. Design thinking and creative concept development tools help students to optimize their output. This is spread out through the 4-year program the student follows.
Third year emphasis is on narrative and presentation.
Concrete learning objectives:
Analysing, (re)defining, ideation, visualisation and sharing. 13. The students develop methods that help grow ideas into concepts. 14. Critical thinking techniques. Learning objectives 15. Documentation of ideas, insights and concept process 16. Various 2D techniques (analogue and digital) 17. Various 3D techniques (maquettes, installation, presentations) 18. Presentation techniques (verbally, visually and textual)
Lessons focus around various iVisualisation Techniques and Design – and Critical Think methods. Each lesson starts with a group discussion about that weeks progress, after that a more individual approach is taken. Coaching and giving Teaching activities feedback in a 1-on-1 style. Students visualize new insights and working through various mixed media techniques. Half way each block methods the focus will turn to the presentation. Exploring the possibilities and developing spacial insight. Students make drawings and maquettes. They do this in the classroom or/and in one of the several workshops. The results of the course will be determined during the individual and collective assessments. Deliverables include: Assessment method (including, - at least dummy’s with process for example, - multiple visualisation concerning the concept minimum - a 3D exploration of the presentation possibilities attendance and other requirements). Any student’s performance, that is not on an accepted level or standard, runs the risk of a negative assessment. It goes beyond saying that a student that does not dig deep, or fully
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engages in the course process will also not receive a positive assessment.
80% attendance is required.
Required and recommended sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
Course Title History of Costume and Textile Teacher(s) Els de Baan Class(es) Textile & Fashion Year 3 Teaching period Semester 5 & 6 Focusing on the student’s research of the selected ethnical costume / textile. - Folklore, globalization, glocalisation, identity. - Who determined fashion (and the materials, prints, colours, etc.)? - Fashion and textiles for the mass: rise of systems, Brief description institutes, changing role - Couturiers, ready-to-wear and other designers, emerging trend agencies, forecasting, segmentation models, fairs such as Premiere Vision etc. - How is fashion and textile imaged > photography, illustrations, movies etc.
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Linking to the design courses for the assignments.
- Acquire and deepen knowledge and understanding of developments in Western and non-Western clothing, fashion and textiles - Develop a sense for current developments - Investigate and implement
The student can demonstrate their ability to: - Make choices - Apply planning Learning objectives - Make a written argument that shows a studious attitude and approach. - Show a critical attitude - Reflect - Draw a conclusion - Implement feedback - The student is able to explain their own work in context of the assignment - The student can reflect on the found sources. The research reflects the vision and analysis. Lectures, exchange information, using documentaries. I do bring study-textile-realia sometimes. Teaching activities
and working Students have to prepare and give a speech: ‘Is the methods fashion/textile designer living in a vacuum of…?’.
Assessment Each task is submitted in advance on paper and discussed in method (including, class. It shows the assessment-criteria so the student knows for example, how the different components are reviewed. There is always a minimum possibility to re-sit the same assignment. attendance and 80% attendance is required. other requirements).
Required and Nothing specific, but during classes I do mention some recommended possible sources. sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 2 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation x
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Organisational ability Communicative ability External awareness x Capacity for collaboration
Course Title Textile design Teacher(s) Desiree Hammen Class(es) Textile Year 3 Teaching period Semester 5 & 6 While in Year 2 ‘color’ and ‘historic design’ are central themes, in Year 3 we are introducing two new themes: ‘texture’ and a self-chosen ‘ethnic historic item’. These themes are forming the base for the entire Year 3. While working on these themes students develop a broad vision, they develop a designmethod and – attitude in which knowledge of techniques, crafts and traditions form the base for creation of their own textiles. The students are open for Brief description experiments and they are always looking for innovation, to catch the spirit of the time.
With the two foundations in mind the students produce a replica of the ethnic textile, they search and study a new artistic vision which directs their work while producing the modern version of the replica. The next step is creating a futuristic scenario, in which they
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are formulating answers on how we will live in the future and what the world will look like. They are learning to approach the assignment on a macro and micro level. Relevance, sociological, economic and technical aspects are being researched and continuously re-considered.
For each assignment the students make use of technical design courses weaving, knitting and pattern design to develop their textiles and to make a sample book. They learn new competences and they are being stimulated to experiment and to work with new techniques and how to apply them.
With the textiles the students developed, they make spatial works as a final outcome, in which they are revealing and communicating their world and concept, vision and personal style. To realize these spatial works the students make use of several workshops that are available within the academy. In order to develop their specific skills and interests, within and without the textile field but always in addition to their program and work, they make use of the IST program.
The textile design course is forming the base of Year 3, including the items/subjects they have selected to work on. The students are expanding their knowledge by working on their items/subjects in other courses. In this way the programm is set up to be expanding and enhancing. - After the course the student will be able to develop and show a collection of textiles in a layered and complex world as a spatial work that is personal, modern, and relevant. - She/he can reflect on her/his own work, make sensible design choices and is ready to make the final steps to Learning objectives develop her/his personal identity as a textile designer. - The student will be able to choose her/his own working field within the textile world (fashion, interior, architecture or autonomous) in which the student wants to do her/his final exam and form her/his own concept for the final year which is personal, relevant, meaningful, layered, interesting and convincing.
Meetings are one on one or as a group. We discuss the concept, development, research, samples and work made in other courses (knitting, weaving, pattern design or otherwise) Teaching activities that is relevant for the project. and working methods Thorough research in making and conceptual thinking is required to develop the work. Research is based on historical, cultural and anthropological, economical context. Relevance, technical approach, colour research, sample making,
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purpose, experience, model making, transform ideas into a communicative textile collection and spacial work.
During the assessment the student presents the deliverables verbally and visibly to the teacher/ teachers and to her/his classmates. The deliverables are: Assessment - the spacial works as an end result method (including, - sample books for example, - research minimum - textile experiments attendance and - models other requirements). - dummy - writings
Process, vision, attitude, and all the required competencies are the base for the assessment. Minimum attendance is 80%
The required and recommended sources are adapted per each student and dependent on the subject chosen by the Required and student. The student will be encouraged to read professional recommended literature, visit exhibitions, watch movies, documentaries, sources blogs and vlogs etcetera that is relevant to the work or working field. We visit professional fairs collective or privately in the Netherlands and abroad.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 12 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability x External awareness Capacity for collaboration
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Course Title Visual Development Textile & Fashion Teacher(s) Peter De Potter Class(es) Textile & Fashion Year 3 Teaching period Semester 5 & 6 The Visual Development education program for the textile and fashion students has two stages, each stage becoming the theme of the overall course year. For the students in the third year, the overall theme is: understanding and creating a personal visual language. Year 3 is completely about producing the image. During the Brief description whole year the focus is on how (fashion) images are constructed and produced but also on the effect and impact they have and how they can benefit the communication a designer has with his (potential) audience. The assignments will touch upon various genres of imagery: fashion photography/collection shoot, abstract/personal imagery and collaborative image-making. -understanding the art/act of image making, through research, investigation and analysis. Learning objectives -the students actively making imagery themselves, either in collaboration and/or guided by a theme or concept. While the teaching is mainly done individually, at regular times there are collective talks and sessions in order to let ideas and opinions feed off each other.
Teaching activities Since image development is different for each student and and working each student has a personal style to develop, the weekly methods meetings/talks are very important: the student is required to give the most complete overview of his/her work, including work for other courses, as well as sharing motivations, personal interests and other skills that could benefit the development of the visual style. The assignments for Year 3 are:
Assessment - costume look book including costume shoot. method (including, - portfolio for example, - entry for magazine ‘4Magazine’ minimum - collection book including collection shoot. attendance and other requirements). Assessments depend on the level and quality of the finished works, as well as on the fact in what way and in what spirit they were produced.
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The students are required to hand in completed, fully finished works that have been reviewed regularly during the courses. The main criteria for assessment are: development of personal creativity, professionalism and a forward-thinking approach.
All students are encouraged to use as many sources as Required and possible (internet, books, magazines, artworks, movies, music recommended etc) in order to find examples as well as inspiration to find an sources appropriate working method.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 6 EC Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
Course Title Textiles and Weaving Teacher(s) Joost Post Class(es) Textile Year 3 Teaching period Semester 5 & 6 During the first semester students will work on an in-depth technique research which is connected to a self-chosen ethnic piece (block 1) and make modern interpretations of this piece/these techniques (block 2). In the modern interpretation students are challenged to be inventive and innovative in materials and techniques. Brief description During the second semester students make a woven sample collection matching ‘the world in 2050 assignment’. Students choose their own weaving technique to research. Both assignments are directly related to the overall design assignments.
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First semester: In depth research in (a) specific textile technique(s) related to the chosen ethnic piece with an emphasis on technical skills. Development of modern interpretations on the chosen historical piece/materials/techniques, transforming more traditional textile values into new contexts and technologies. Second semester: In depth research into a specific self- chosen weaving technique. Researching this technique in Learning objectives relation to the subject ‘the world in 2050’. Discover ways to implement conceptual ideas in a woven structure by hacking the technique, combining it with other techniques and/or make use of special finishing techniques. General: Gain knowledge of and practice new skills and implement them in the work, develop a personal style, analyse and criticise the work and reflect on the work process, learn how to set up and present a sample collection.
In year 3 emphases is placed on the development and definition of individual direction. Practical and theoretical guidance is following the students’ needs (1:1). Technical Teaching activities instructions asked for by individual students are always open and working to other students from year 3 as well. methods Now and then we have group talks to inform each other about the progress.
Block 1,2: Hand in a professionally presented sample collection based on a modern interpretation of the ethnical piece. Part of the research into the traditional ethnic techniques may be included. Combinations of techniques and introduction of modern production techniques next to more Assessment traditional techniques are promoted. method (including, Block 3,4: Hand in a collection of woven samples matching for example, the ‘2050’ assignment. Either presented as a separate minimum collection of weaves or presented combined with other attendance and techniques like knitting and printing. If weaving becomes an other requirements). essential part of the students’ design assignment the sample collection may be less extensive. In all cases professional attitude and a minimum attendance of 80% is required.
Recommended sources for the technical research are, next to Required and the internet and school library, specialised libraries like the recommended library of the Textile museum Tilburg, Kantmuseum Horst and sources TRC (Textile Research Centre) in Leiden. Other suggestions depend on the students’ individual needs. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 4 EC
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Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Draping Teacher(s) Gerrit Uittenbogaard Class(es) Fashion Year 4 Teaching period Semester 7 & 8 Draping will give the unlimited opportunity to design directly on the mannequin in 3-D, develop technical skills, give insight in the relationship of proportion and shapes on the human Brief description body and handling and treatment of fabric will enable the student to design in a free and experimental way. This intensive research of shapes and material provides the student with tools to create a distinctive design statement.
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The student will be able to execute any example of design with a clear sense of proportion and treatment of fabric. Next to the knowledge of all technical possibilities the student will also be able to put designs in a bigger context and perspective. The relationship between contemporary design and personal development in shape, proportion and presentation. The students shows awareness the relationship of shape, Learning objectives proportion, fabric and is therefore able to develop an idea from 2-D into 3-D, and is able to reflect and react on that by monitoring the process and make necessary changes and present new options.
Other than 2nd and 3rd year students, 4th year students will develop their shapes from the ideas emerging from designing their own graduation collection. Semester 1 Communicate the process of designing the collection with in particular the focus on the basic silhouette of the collection to be developed.
Teaching activities Semester 2 and working Students will do individual research on shape, proportion and methods material in order to make a selection of designs that they find distinctive and representative shapes for their collection to be communicated. They will make drawings, change designs, make photographs of the process and perform fittings with actual models. All these steps are communicated. The student is able to use the skills learned to communicate a study on a chosen design. Organises the examples, the sketches, and the material to create an actual design on the mannequin that is ready to be re-produced in another stage of the design process (making patter, choosing final fabric, Assessment lining, finishing). method (including, The student is aware of that and is able to communicate the for example, identity of the collection in 3-D silhouettes. minimum
attendance and Students show consciousness of the impact of the shapes other requirements). and proportion, the selection of fabrics and its effect on the collection and contemporary design. Their opinion is backed by an intensive research that shows extensive sampling of materials and shapes. Resulting in a clear individual experimental context created. - Exhibitions on fashion design. Shape, history, material, Required and etc. recommended - Research on designers and their view on sources shape/fashion in relation to the human body. (library, internet) - Research on material.
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Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of the total cluster of 27 EC (graduation project) Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness Capacity for collaboration
Course Title Fashion Design Teacher(s) Jurgi Persoons Class(es) Fashion Year 4 Teaching period Semester 7 & 8 In the fourth and final year of your Bachelor´s degree program, you will compile your own collection of 10 full silhouettes.
During the first year of the program, the creative emphasis was on free experimentation in design, materials and expression. In the second year, you explored an historical context and in the third year, a phenomenon from folklore.
In a subsequent, logical phase, you were then expected to develop a personal, modern interpretation based on your Brief description research into these pre-set themes. In the fourth year, you must suggest a concept yourself, which will serve as a basis for your own collection.
It is vital that your idea embodies not only your personal and artistic standpoint, but also that the ‘theme’ provides enough interesting and inspiring material for you to compile a full graduation collection. Think long and hard about whether the subject you are considering provides enough links to other themes, whether the story is interesting enough to create a full graduation collection and whether you have found a contemporary and
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substantive way of conveying a relevant, innovative or alternative message about modern fashion design.
You will be supervised while you create a professional collection, focusing on innovative modern design, production and content.
- You must develop these 40 + 10 silhouettes as fashion sketches + technical drawing + choice of materials. - Your aim is to present your ideas about fashion in a convincing, professional way, which demonstrates both technically perfect results (tailoring, finish, form study, etc.) and the process that led to these results, which will also be examined critically. - You should also take a professional approach to the dummies, collages, concepts, drawings, toiles etc., and realize that these are not isolated from the process, but form an intrinsic part of your personal visual and substantive communication as a fashion designer. - Conduct lots of serious research into the visual material you intend to use. Ensure that you have prints of these images so that you can use them in your dummy. - Show that you are capable of taking all the knowledge, skills and insight you have acquired over the past 3 years to the next level, and know how to use them to your personal advantage. - Continue to develop your own original style and methods in this respect. Learning objectives - Your dummies, drawings (both sketches and technical drawings), collages, models, material research, etc. are essential elements that support your work, demonstrate your dedication to innovative and personal research and reflect the quality of your artistic personality. - Deadlines will be set: prove that you are able to meet them. - You will be asked relevant questions about your authentic position as a designer during the presentation. Think about how to answer these beforehand!!! Who are your intended ‘customers’? How do you envisage your professional career? Is this evident from your work? What makes you a unique designer? How do you view fashion? What do you consider to be important developments? Where do you see opportunities for yourself and: what do you absolutely not want and why? What are you particularly good at and very keen to work on? - You will encounter questions like these during the course of your graduation year. It is very important to think about them carefully and formulate a solid answer with your reasons.
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- A major portion of time will be spent in individual discussions and explanations of your work, which is an essential part of the design process. Teaching activities - From time to time a group session will be organized. and working methods - Open and complete communication about research, process and try-outs is essential. - Fitting on models, working on samples, toilles, discussion of drawings, moodboards, collages, collection book. Assessment schedule for the course of fashion design: - T.b.a.: you present the content and visual aspects of your theme, ideas, project in a clear manner; you present 1 complete silhouette in toile; you give a report of your internship (substantive and visual!)
- T.b.a.:you present 1 definitive silhouette + 2 full silhouettes in toile; drawings and all the research, submit and explain thesis text
- T.b.a.:you present 3 definitive silhouettes + 3 full silhouettes in toile, drawings and all the research, scale models of installation Assessment method (including, - T.b.a.: GREEN LIGHT 1: you present 6 full, definitive for example, silhouettes + 4 full silhouettes in toile, drawings and all minimum the research, scale models of installation (models, attendance and make-up / styling / accessories / various(!) suggestions other requirements). for music)
- T.b.a.: GREEN LIGHT 2: you present 10 full, definitive silhouettes, definitive scale model of installation (final ideas for models / make-up / styling / accessories /definitive music)
Content, research, quality of modern design, execution, awareness and professional attitude are having a major impact on the result of an assessment. An insufficient result can always be compensated when students give proof to be able to correct earlier mistakes.
80% attendance is required
Required and Be aware and know what is going on in the international recommended fashion scene. sources Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study,
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divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of the total cluster of 27 EC (graduation project) Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation x Organisational ability Communicative ability External awareness x Capacity for collaboration
Course Title Model Drawing
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Teacher(s) Eric Hirdes Class(es) Textile & Fashion Year 4 Teaching period Semester 7 & 8 In the 4th year students are working to develop and deepen their own drawing skills. A process that has started in the years 1, 2 and 3 will now manifest itself into a very personal and authentic way of drawing. Students deepen their own form of expression; the ultimate ʻgoalʼ is to realize a visible connection between their personal and unique drawing style and what it is they want to communicate with the image of the Brief description drawing. The drawing process will be a creative search, in connection and relation to their own collection. Besides practice and production, the process of reflection and analysis will be very important to come towards a growing development of the whole drawing process: How do I analyze my observations, how do I reflect on my own drawings and on those of my fellow students? How do I use the data for my work? How do I present my work? Semester 1&2
Block 1: Student on internship
Block 2, 3, 4: 1. Weekly model drawing, alternating male/female. Model drawing in ʻthe spirit of their collection’. Realizing a visual coherence between the model drawing and the ideas coming from the starting point/concept of the collection. Figure drawing in various capacities, with emphasis on further development and deepening one’s own point of view, where it is expected that the attention will focus to create a link with the formal and substantive principles of its own collection. Like the drawing method in the former years, student Learning objectives starts to orientate to find a visible connection. What does the student wants to communicate with the drawings; visualizing their ideas, in shape, material, structure, color and atmosphere, all in relation to the body of the model. Their personal approach and vision towards what it is that they observe, what it is that fascinates or triggers them, particularly about the human body. How do they see it, how do they visualize this, and how does the student make use of the materials to give the drawing the desired expression, will be the main questions. 2. Working in the dummy: making drawings and collages, concerning the chosen theme, to support their work and to gain insight into their own individual interests and artistic possibilities. 3. Drawing a total overview of the collection (front, side,
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back). On all the drawing experiments, a proper reflection will be necessary, to bring the work into a desired process; a process to get the drawings towards a more personal, unique and higher artistic level. Deepening their method of working and drawing, to come towards a strong and outspoken vision. To create a very personal and authentic way in drawing. Practice lessons for the entire group, with individual tutorials.
Students will be trained to draw in relation to observation. Lessons are focused on visual and technical training. Teaching activities Observation in relation to material experiments and different and working drawing/painting techniques. The way the students make their methods decisions in the drawings will be questioned and discussed every lesson. It is a process where students learn to deepen their own method of approach for further personal development. Herewith the tutor acts as stimulator but also as a critic. Evaluation of the drawings will go along with data for fittings and planning. Students show, in work and attitude, sufficient awareness of Assessment their own artistic development. method (including, for example, • Is the student able to determine on its own strength the minimum next steps for their own method of creative and artistic attendance and development in their personal way of drawing? other requirements). Over all the competencies will structure the assessment criteria. Required class attendance is 80% in order to be able to pass.
Required and Recommended sources, catalogues, internet searches to recommended collect information about artists, designers, works and sources opinions that are important for their own development.
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of the total cluster of 27 EC (graduation project) Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability External awareness Capacity for collaboration
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Course Title Photography Teacher(s) Nico Laan Class(es) Fashion & Textile Year 4 Teaching period Semester 7 & 8 Technical support studio photography, teaser, portfolio and Brief description collection book. The photography course of the of Textile and Fashion design department aims: 5. Students examine and gain a general understanding of the possibilities the photographic technique. 6. Students learn to apply the possibilities of photography Learning objectives as part of the design courses, the photography used as a method of research, inspiration and presentation.
In the fourth year the theme and the way of working of the final exam candidates determines how to use photographic options. The final results are shown in websites, collection books and portfolios. Lessons concentrate on the last semester when the collection Teaching activities starts to get shape, concentrating on preparation and and working collaboration for the final shoot. methods
For the individual review the student must meet the criteria Assessment specified in the assignment. These results are part of the method (including, collective assessment and, a negative individual assessment for example, will influence the collective mark. minimum 80% attendance is required
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attendance and other requirements).
Required and • Licence Adobe Creative Cloud recommended • SLR camera sources • Laptop
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of the total cluster of 27 EC (graduation project) Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability External awareness Capacity for collaboration
Course Title Technical Design Fashion Teacher(s) Roy Verschuren Class(es) Fashion Year 4 Teaching period Semester 7 & 8 - In learning to be a fashion designer it is necessary to acquire a large number of technical skills that allow Brief description yourself to work professionally and to develop a creative idea into a product. - Study of patterns and finishings. - Technical execution of the design project. - To convert two-dimensional designs into three- dimensional form. - To gain insight in the study of the human body by Learning means of patterns, moulding, draping and modelling. objectives - To gain knowledge of machines necessary to execute ideas. - To use and combine this acquired knowledge in developing the collection.
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- To reflect on work by yourself and others to use for the benefit of the collection.
- The acquired knowledge and experience in former years and internship are vital in the progress towards the graduation collection. - Research and experiment in shape in a most extensive way and with the human body in mind. - Research and experiment with materials and its Teaching possibilities in executing ideas. activities and - Research and experiment with techniques and working methods finishings in executing ideas. - A large portion of the time will be spent discussing the work done in progress and development towards the collection. - Class will be a combination of pattern development, research in shape and materials and discussing progress.
Assessment method All research and experiment should lead to the regular fitting of (including, for toiles and the creation of technical samples, all for the use of the example, collection. The collection should show a high level of quality in minimum shape and execution and look professional. attendance and Minimum attendance is 80%. other requirements). The workshop and the library have an extensive range of books on patterns and techniques. Required and The fashion industry makes use of highly standardized working recommended methods of which awareness is important. Therefore it is sources important to keep an open eye at what is being done in the field of fashion. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Year 4: part of the total cluster of 27 EC (graduation project) Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation x Organisational ability Communicative ability
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External awareness x Capacity for collaboration
Course Title Concept and Perception Teacher(s) Laut Rosenbaum Class(es) Textile Year 4 Teaching period Semester 7 & 8
Concept and Perception is geared towards providing clarity. The aim is to help students translate abstract concepts and emotions into clear images and maquettes. This way the meaning or essence of the subject is more effectively conveyed. Visualisation is used to share ideas and develop concepts. The students create several visual representations, either through drawing, digital manipulation and 3D mock ups, the last of which is intended to stimulate spatial insight. Design thinking and creative concept development tools help students to optimize their output. This is spread out through Brief description the 4-year program the student follows.
Fourth year students are familiar with many creative thinking methods and Techniques. They know how to define boundaries and frame a concept, aswell as work from a narrative. Developing an idea to a concept. Creating and presenting a well articulated artististic experience that stands by itself.
Concrete learning objectives:
Analysing, (re)defining, ideation, visualisation and sharing. 19. The students develop methods that help grow ideas into concepts. 20. Critical thinking techniques. Learning objectives 21. Documentation of ideas, insights and concept process 22. Various 2D techniques (analogue and digital) 23. Various 3D techniques (maquettes, installation, presentations) 24. Presentation techniques (verbally, visually and textual)
Lessons focus around various iVisualisation Techniques and Teaching activities Design – and Critical Thinking methods. Each lesson starts and working with a group discussion about that weeks progress, after that methods a more individual approach is taken. Coaching and giving
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feedback in a 1-on-1 style. Students visualize new insights through various mixed media techniques. Half way each block the focus will turn to the presentation. Exploring the possibilities and developing spacial insight. Students make drawings and maquettes. They do this in the classroom or/and in one of the several workshops. The results of the course will be determined during the individual and collective assessments. Deliverables include: - at least dummy’s with process - multiple visualisation concerning the concept Assessment - a 3D exploration of the presentation possibilities method (including, for example, Any student’s performance, that is not on an accepted level or minimum standard, runs the risk of a negative assessment. It goes attendance and beyond saying that a student that does not dig deep, or fully other requirements). engages in the course process will also not receive a positive assessment.
80% attendance is required.
Required and recommended sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of the total cluster of 27 EC (graduation project) Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
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Final thesis (theoretical part of the graduation project) Course Title Textile & Fashion Teacher(s) Peter de Potter & Danielle Bruggeman Class(es) Textile & Fashion Year 4 Teaching period Semester 7 & 8 In the 4th year, all Textile & Fashion students have to write their thesis, which is the theoretical part of their graduation project and final examination. While designing their final fashion collection or textile objects, students will simultaneously work on their thesis. It is important that students choose a subject for their thesis which is closely related to the theme/topic that they are also researching for their design projects. Doing research for the thesis will help to Brief description substantiate, to better understand and to further develop the subject, concept or theme of their final graduation project. The thesis will also contribute to the ways in which the students communicate (both visually and textually) the concept or statement of their final design project. Moreover, doing research and writing the thesis will play an important role in developing and deepening the students’ personal vision on their own work, also in relation to broader developments in culture and society. Students are stimulated to critically reflect
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on their own graduation project in their thesis in order to contextualise and position their work in the fields of textile and fashion design.
• The thesis will show that students are able to theoretically and critically reflect on the concept and design of their own work, and that they are able to relate their work to important developments in contemporary culture and society. • Students are expected to start from a specific research question, and to use different methods in order to find an answer - their personal answer - to their research question(s). • Students should demonstrate that they are able to use Learning objectives a combination of research methods (for example, theoretical and literature study, field research, doing interviews, visiting exhibitions/lectures/symposia, etc.) in order to develop their answer to their research question. • Students should write a well-researched and well- structured thesis, which also offers deeper insight into their own views on fashion and/or textile design. • Students should demonstrate their ability to use photos and illustrations that visually support their central argument.
Individual coaching: • Regular individual meetings to discuss the progress of Teaching activities the research and writing process. and working • Students will receive individual feedback on their methods research plan, on the concept-versions of chapters, and on the presentation of their thesis subject during collective assessments.
All theses will be graded by both teachers (i.e., both the direct supervisor and the independent teacher). The final grade is primarily based on the final thesis, but the research process, the relation to the final design project, and the presentations Assessment of students during collective assessments will also be taken method (including, into account. for example, minimum Important criteria for the assessment: attendance and • Critical research (using multiple methods) should be other requirements). the basis of the thesis • Relevance of the thesis for the students’ design projects and concepts • Originality in subject and personal approach • The use of a variety of (theoretical) sources
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• Relevance of the subject in the field of textile and fashion, and in relation to important developments in contemporary culture and society • The extent to which students demonstrate their ability to use theories in order to critically reflect and contextualise their work • A visual style and graphic design that supports the content • The thesis should be a minimum of 12 pages text (A4) • Correct use of language and style • Correct referencing system and bibliography
In case of an insufficient result, students will have to rewrite their thesis based on the feedback of the teachers.
Required and recommended Depends on the students’ choice of subject. sources
Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load 6 EC Please check the most important competencies involved in this course (max. three!) Creative ability Capacity for critical reflection x Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
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Course Title Visual Development Textile & Fashion Teacher(s) Peter De Potter Class(es) Textile & Fashion Year 4 Teaching period Semester 7 & 8 The Visual Development education program for the textile and fashion students has two stages, each stage becoming the theme of the overall course year. For the students in the graduate year, the overall theme is: establishing and creating a personal visual identity. Brief description All assignments are focused on establishing a convincing and powerful visual identity. Even though the work (collection/textile pieces) remains the focal point, the visual and conceptual components that surround it should be as carefully considered. Together they should form a deeply personal and individual universe. - the student to establish his/her own identity within the international work field, through design and visual material. -the student to perfectly link his vision and personality to his/her design and visual communication. Learning objectives -the student to be able to produce the visual identity on his/her own terms. -the student to have the skills to find collaborators to achieve this visual identity.
While the teaching is mainly done individually, at regular times there are collective talks and sessions in order to let ideas and opinions feed off each other.
Teaching activities Since image development is different for each student and and working each student has a personal style to develop, the weekly methods meetings/talks are very important: the student is required to give the most complete overview of his/her work, including work for other courses, as well as sharing motivations, personal interests and other skills that could benefit the development of the visual style.
Assignments:
Assessment - creating a teaser image for the collection. method (including, - portfolio for example, - collection book including collection shoot. minimum - press kit including collection shoot. attendance and - collaboration on creative direction and content of the other requirements). magazine ‘4 Magazine. - ‘one minute film’.
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Assessments depend on the level and quality of the finished works, as well as on the fact in what way and in what spirit they were produced. The students are required to hand in completed, fully finished works that have been reviewed regularly during the courses. The main criteria for assessment are: development of personal creativity, professionalism and a forward-thinking approach.
All students are encouraged to use as many sources as Required and possible (internet, books, magazines, artworks, movies, music recommended etc) in order to find examples as well as inspiration to find an sources appropriate working method. Study load (NB: 1 EC = 28 working hours. Number of EC’s must equal the total number of contact hours and the number of hours for independent study, divided by 28. Study load must correspond with the study load mentioned in the ECTS tables and Osiris. Study load Part of the total cluster of 27 EC (graduation project) Please check the most important competencies involved in this course (max. three!) Creative ability x Capacity for critical reflection Capacity for growth and innovation Organisational ability Communicative ability x External awareness x Capacity for collaboration
Staff
Head of Textiles and Fashion Jurgi Persoons [email protected]
Coordinators Gerrit Uittenbogaard Sanne Jansen
Coordinator Internships Gerrit Uittenbogaard
Teaching Staff Els de Baan
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Anoek van Beek Hil Driessen Jan Jan van Essche Chris Fransen Hilde Frunt Desiree Hammen Eric Hirdes Mirjam Ingram Danielle Bruggeman Nico Laan Natasja Martens Jurgi Persoons Joost Post Peter de Potter Laut Rosenbaum Wim Ros Neeltje Schoenmaker Gerrit Uittenbogaard Bob Verhelst Roy Verschuren Robert Volmer Ellen Vos Marina Yee
Workshop Beleke den Hartog [email protected] Tardia Page [email protected]
Contact Coordinators Gerrit Uittenbogaard [email protected] Sanne Jansen [email protected]
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2.3 Master programmes
2.3.1 Master Type and Media
Facts
Educational variant Full-time Duration full-time 1 year Degree Master of Arts Credits (ECTS) 60 ECTS Head of department Erik van Blokland
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
The Type and Media Master is a full-time one year course that gives participants the possibility of delving deeper in type design for different media: not only type for print, but also for film, television, video and interactive media. Although we live in an increasingly pictorial culture, type design and typography have lost none of their value.
Structure Type and Media is a full-time one year Master program. Its schedule can therefore incorporate every day of the week. At the beginning of the course, each student establishes an individual study-plan in consultation with the permanent faculty. Because of the international character of the course, it is taught primarily in English. The academic year is divided into two semesters, with the second semester divided in turn into two parts. At the end of the first semester and in the first part of the second, all assignments that have been undertaken are evaluated. In addition to the assignments specific to this course, students can follow the calligraphy and the lettering and type divisions of the regular course in Graphic Design. Those subjects distinguish this regular course at the Royal Academy from other academies, both in the Netherlands and abroad.
See also: Master programme Type and Media (full text) General Study Information: 1.4 Study Information
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Courses and ECTS Credit Points Overview
Course descriptions Type and Media 2017
Form studies, 4 ECs
Erik van Blokland Pointed pen contrast studies. This is one of the first assignments in the first semester, a foundational course. See also the contrast research assignments of Peter Verheul. The contrast of the pointed nib forms the foundation of many typefaces of the Eighteenth and Nineteenth Century. Writing and drawing with the pointed nib requires a bit of practice. The pen can produce razor sharp contrast, but it a tricky thing to control. The students explore weight and width variations, as well as different constructions in capitals, lowercase, cursives, italics and different proportions. Materials: Pointed nibs, goache paint, various inks, paper. Learning goal: student is familiar with the characteristics of this type of contrast and can draw basic forms. The experience in this course connects with the broad nib studies by Peter Verheul: together they form the foundation of the contrast model by Gerrit Noordzij. Evaluation criteria: • we’re not training calligraphers, but the work can demonstrate a understanding of the characteristics of this pen. • Also a visible curiosity towards the possibilities in proportion is good. • If the practicing shows some progress that is a good thing too.
TypeCooker form studies. The TypeCooker method was developed for TypeMedia and has been used in workshops and type design classes in many other schools. TypeCooker practices drawing, design and reasoning skills, without too much emphasis. A student obtains a TypeCooker recipe from the website. This is a list of parameters that are relevant to type. The challenge is to sketch letters that fit as many of the parameters as possible. The assignment is done in different forms: initially all students work with the same recipe, to see how different the work can be despite starting with the same rules. Later on each student draws their own recipes, and critique each others work. • The assignment has a quick pace, not to get too invested in a particular design. • Quick sketching skills • Making sense of unreasonable requirements, finding sensible solutions for difficult problems • Giving and receiving criticism • Practices a shared vocabulary Materials: markers, pencils, scissors, tape, white and black paper, tracing paper, whiteout. Evaluation criteria:
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• Are all the criteria met? • Can the student analyse the questions and provide good answers? • Can the student analyse the drawings of others? • Quantity, quality
Prepared presentations first and second semester: • Introduction to some relevant scientific texts, Charles Bigelow. • Introduction to optics, distance and size • A collection of assorted old type technology • Introduction to contracts, agreements and licenses • RoboFont scripting • Variable font designspaces • Building designspaces with MutatorMath
Revival Research, 4ECs
Paul van der Laan For the revival project – which runs weekly through the first semester – students work on the digitisation of an already existing typeface. The original typeface needs to be taken from a book of choice under the condition that the book has been printed before 1940, and the type size is in the range 8 – 12 pt. This means that they have to deal with source material that has been printed with metal type – a technology with many aspects (randomness, optical sizes) that are different from the cool perfection of digital type today.
Students need to capture the essence of the original through the use of scanners, USB microscopes, magnifying glasses, etc. The character set of the revival needs to contain at least a basic set of uppercase, lowercase letters, numerals and punctuation marks. Often shapes in the spirit of the original design have to be invented by the student. The revival process needs to be documented.
In tandem with the process of digitisation, students need to fulfil a research on the origins of the typeface. They need to uncover the background of the typeface and gather as much information as possible about its different aspects: designer(s), foundry, nationality, pedigree, stylistic period, similar designs from the same age, other revivals based on the same source, etc.
Since most of the background information is usually not available online, students are stimulated to visit archives, museums and dedicated libraries (University Library of Amsterdam, Museum Meermanno, Royal Library, Plantin Museum Antwerp, Klingspor Archiv Offenbach, etc.). Or to get in contact with experts and historians worldwide (Mathieu Lommen, Indra Kupferschmid, Sébastien Morlighem, James Mosley, etc.).
At the end of the project the finished typeface needs to be presented in a specimen, and simultaneously students need to submit a written essay of at least 2,000 words. The essay has to describe the background research together with the design process, all richly illustrated and with a complete list of sources used.
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The revival process is evaluated on the following criteria: • Process: how has the student come to the resulting typeface? • Execution: how has the student been able to convert his/her ideas about the typeface into a digital font file.
The essay is evaluated on the following criteria: • Content • Execution: layout, typography, use of paper, etc. • Spelling and grammar.
Contrast research, 4ECs
Peter Verheul The contrast assignment in the first semester is covering fundamental ground for the definition of shaping letterforms of all sorts. The main theory behind it is defined by Gerrit Noordzij (The stroke) and is based on more or less contradicting stroke types defined by two writing tools. Translation contrast: broad nib. Expansion contrast: pointed nib.
The focus in my lessons will be mainly on translation contrast and different amounts of contrast. High-, low- and regular contrast. • (The expansion contrast will be studied in Erik van Blokland his lessons in the first semester.) • Exercising different construction principles: roman and cursive. • Construction of Roman caps. Understanding this theory goes together with exercises using different writing tools like writing brush, broad nib pens with media as ink, watercolour, gouache. Also the notion of spacing and proportions will be studied since the first writing exercises. Drawing on paper using black ink and white-out. This starts roughly three weeks after the first lesson. Writing and drawing happen simultaneously from that moment on. Weekly there will be a group presentation and discussion about the results of each student. Digitizing using Robofont or other font applications. Create different weights using interpolation between the defined contrast extremes. Finally at least one of the weights has to be produced as a completed font.
Evaluation of the end result: - Presentation of the work - Completeness and thoroughness of the study - Level of ability and understanding of writing, drawing, digitizing exercises - Individual approach to the given assignments
The outcome is: Understanding and analysis of contrast, rhythm, form and proportion in type. Improved drawing skills in different media. Understanding behavior of letter shapes at different sizes.
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Ability to express the analyzed specific characterizations of letter shapes using shared vocabulary.
Students who enter the t]m course have their different individual qualities. After having made the assignments the different students altogether will have a more shared uniform level of skills.
Prepared presentations first and second semester: - Introduction contrast, introduction cursive - Gerrit Noordzij and his work. An introduction to the originator of type design theory at the KABK - Custom fonts for different clients - Some daily practice type design projects - Lettering - Oswald Cooper, Frederic Goudy, William Addison Dwiggins - Eugen Nerdinger, Lisa Beck and the Augsburg school
Type and Language, 3 ECs
Peter Bilak In my classes, I look less at technical know-how (which is covered well in other classes), but instead focus on three components that make type design into what it is — design, technology and the language. We start by understanding what written form of language is, how relationship between letters and sounds are completely arbitrary and can be expressed in many different ways. We look at different writing scripts, and more in depth analysing Greek, which is the closest script to Latin, looking for a methodology how to approach a design of unfamiliar glyphs, and foreign scripts in general.
In the second part of the semester, we start looking at relationships between forms, and what makes a typeface family. We start scrutinising motivations for designing typefaces today, seeing the relationship between the design brief and the outcome. We conclude series of classes by defining objectives for design of a typeface and how to judge the results.
Lettercarving, 3ECs
Françoise Berserik The aim of the letter carving lessons is to look at lettering in a new way. The students always emphasize the practical knowledge: learning about stone, tools and paper. My lessons start half October. By than I have collected quite a number of small bits of limestone. The first lesson includes some explanation of the different stones available: mostly marble and Belgian blue. Then instruction on pencils for sketching on paper and pencils for drawing on stone. Then we draw the first exercise on our stone: a combination of a serifed and a sans serifed ending. Then: learning how to hold the chisel and the hammer or dummy. We carve a v-shape and we carve ‘flat’. I am running around where the students are struggling, sharpening their chisels, correcting the way they hold their chisel, showing how important the light is. After 2,5 - 3 hours we are all quite tired.
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During the next lesson a week later, we start on the next exercise: a capital R with classic proportions. This is an opportunity for much discussion. I have to approve of their sketches before they can draw them onto their stone (with canon paper). Each year there are several students who have not drawn anything, but have just printed out an enlarged printing type capital R. I make sure that they understand that it has to be adapted for V-shape carving, especially the serif endings. I always encourage sketching, and try to show them how to keep the best elements in a sketch and use them for a next (better) one. After the R-exercise they are free to do what they like (but always show me a sketch first), keeping in mind that the final project is a word of at least 5 letters, to be finished by the beginning of February. This word can be in any script, and does not have to mean anything. They now know how to sharpen their chisels and are beginning to get more confidence. They also know that the shape inside the character, the counter, is very important and I am very critical of proportions and letter spacing. Some of them like to try raised carving; much more work but very exciting; so many new possibilities in combination with the v-shape. Now it is time to have one or two guests coming to our lessons; either a student from another department, or one of my graphic designers colleagues who is keen to learn something on carving. This is nice for the students; a fresh person coming. (The guests are requested to bring a (homemade) cake for tea.) The lessons are very informal anyway: everyone who is attracted by our hammering can enter the classroom, look around and ask questions.
Coding, 3 ECs
Just van Rossum In this class I teach the students to program in Python at a basic level. They are mostly using the DrawBot programming environment, which offers them instantaneous visual feedback and encourages experimentation. The class takes place during the first semester of the TM year. We go through the basics of the Python programming language, covering the syntax and essential data types. During the lessons, many examples are made and discussed. The DrawBot environment is used and explained thoroughly, and the students learn to program all kinds of visualizations with it. As the students’ skills develop, more challenging exercises are given, culminating in the main assignment: to program a set of parametric letters. This means designing and programming letters that are changeable through parameters.
The aims of this class are multifold: - Programming is a good exercise in logical thinking, which is essential when developing a typeface family - Programming is a good exercise in working neatly and precisely. The Python language is quite strict and forces students to get all the syntactic details right. - Programming is a good exercise in formulating thoughts and processes. To get an idea across as a computer program, that idea needs to be extremely well formulated, as the computer will not try to second guess what the programmer may mean. - Within the profession of type design, programming has an increasingly important role, both on the production level (for example to be able to automate repetitive tasks) as well as on the design level (for example to be able to quickly generate many variants of a solution, or to build solutions that are too laborious to construct by hand).
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Workshops
FDK Workshop
Frank Grießhammer
The Adobe FDK workshop introduces font production concepts through the tools of Adobe Font Development Kit for OpenType (AFDKO). It is intended to give type design students an insight into how typefaces actually work, and to have more confidence when it comes to solving technical challenges. The one-week program typically includes: • brief introduction to using the command line • overview of tools provided in the Adobe FDK • introduction to building fonts using the Adobe FDK • introduction to GREP (regular expressions) • introduction of PS and TT hinting with examples • overview and application of OpenType features • a number of exercises to apply and understand typical FDK workflows
Depending on the available time and progress, the workshop can be enhanced with one or several of the following topics: • building and implementing webfonts • building and using color fonts • authoring variable fonts
Arabic Type Design /Workshop
Krystian Sarkis Workshop The Arabic script is a complex and elaborate system. It is rather impossible to delve deep in the classical traditions of writing within the scope of this course. This is why it is planned as a general intensive introduction to the script, its formal and aesthetic characteristics from a typographic perspective, through a series of theoretical and practical talks, short exercises and a main project. The students are guided through a hands-on approach, similar to TypeCooker (adapted to Arabic) to conceive a project, consciously experiment with one or more characteristics and draw a solid start for an Arabic typeface.
Cyrillic Type Design / Workshop
Ilya Ruderman Workshop This short workshop combines both theory and practice. To provide an understanding of the script everything starts with some basics: a short lecture explains three fundamental logics of skeletons: uppercases, lowercases and handwritten forms. Another lecture introduces the Brief History of Cyrillic with almost hundred references of the historical materials organised by the type of the script. This way students began to understand the roots of some shapes, Cyrillic traditions and the periods of evolution. The main part of the workshop is an actual production of
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Basic Cyrillic codepage. Step by step guide of how to create each glyph, where to look, what to take care of.
Excursions in NL, 3 ECs
Jan Willem Stas All of the TypeMedia students come from different countries and continents. Because they spent almost all of their time in the t]m classroom during the year, its my mission to show them around in our Dutch landscape and get them in touch with the main collections and institutions in different cities in the field of design, art and architecture. The yearly program is based on the existing and upcoming exhibitions, lectures and conferences and topics are rooted in our history of design. The excursions are accompanied by introductory lectures.
Staff Erik van Blokland (professor of type design) Paul van der Laan (professor of type design) Peter Verheul (professor of type design)
Coordinator Marja van der Burgh
Guest lecturers Françoise Berserik Peter Bil’ak Frank Blokland Petr van Blokland Just van Rossum Fred Smeijers Jan Willem Stas
Additional information For more information please visit: new.typemedia.org
Contact Coordinator Marja van der Burgh [email protected]
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2.3.2 Master Interior Architecture (INSIDE)
Facts
Educational variant Full-time Duration full-time 2 years Degree Master of Arts Credits (ECTS) 120 ECTS Head of department Hans Venhuizen
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
INSIDE is a master’s course for interior architects who start every assignment by conducting a wide-ranging exploration of a spatial context undergoing change. Wide- ranging here means that through observation, research and theoretical study, students chart and analyse a whole array of issues that are relevant to the spatial change that the context is undergoing. That wide range consists not only of spatial aspects but also of social, historical and ecological issues at play in the wider surroundings. After setting up and carrying out their investigation, the INSIDE students hone their skills in using the acquired knowledge to determine essential qualities that are of decisive importance for the spatial changes taking place. They then learn to incorporate those qualities in a spatial proposal grounded in a realistic perspective and in their social implications.
The INSIDE course is structured in a similar way to a research and design office. The main features of the course are the Studios in which students complete the entire process of a research and design project: orientation, research (through design), analysis, concept development, design (through research), presentation and evaluation. In the first year students are allotted four to eight weeks (comparable to a competition submission) or eighteen weeks (comparable to a regular commission) for the main projects in the Studios. Within the research and design process, various aspects are explored in depth in four parallel programmes: Theory, Flows, Skills and Travel. These programmes form an integral part of the design process in practice, but they are given added emphasis during the INSIDE course in relation to the Studio projects, and are supervised by specialist tutors. In this way, the analysis of the dynamic nature of a spatial context undergoing change is scrutinized closely in Flows, while the various theoretical aspects of a project are explored in Theory. An introduction to specific skills required in a project and to the approach of a particular tutor is offered in Skills, and relevant projects are visited in Travel.
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In the second year a Graduation Studio is organised to assist students in drawing up individual graduation projects. Students work independently and cover the entire process of orientation, research (through design), analysis, concept development, design (through research) and presentation by themselves, under the individual supervision of the tutors.
See also: Master programme Interior Architecture (INSIDE) (full text) General Study Information: 1.4 Study Information
Courses and ECTS
The total study load for the programme is 120 EC, distributed equally across two years, each of which is divided into two 20-week semesters.
Course Description Master Interior Architecture – INSIDE 2017-2018
Course STUDIO Tutor STUDIO Tutor Class(es) Year 1 Scheduled Semester 1 and 2 COURSE The Studios form the backbone of the course, where students DESCRIPTION cover the entire process of orientation on the research and (What is it about?) design of a selected spatial context undergoing change, research (through design), analysis, concept development, design (through research), presentation and evaluation. In the studios the students work on a concrete project under the supervision of a renowned designer, or under the supervision of a team assembled by this designer. The project assignment is determined by the studio tutor in consultation with the head of the course. The project can be purely academic in character or it may relate directly to current projects within the tutor’s private practice.
The program comprises five parts. The heart of INSIDE is formed by the three studios – INTER, URBAN and SPACE – which together account for about 40% of the entire study load of the program. INSIDE’s programme is based on three types of STUDIOS that each from its own perspective has a different approach to the changing spatial context: STUDIO INTER: concentrates on the human view and his/her immediate surroundings
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STUDIO SPACE: works on the design of the architectural space STUDIO URBAN: starts from the urban context and zooms out to the ‘interior space’. A variety of Studio’s will be offered during the first year. In the second year students can choose their own topic and find their matching studio tutor. They use the second year to work on their Graduation project. COURSE THE INSIDE INTERIOR ARCHITECT OBJECTIVES In its profile, INSIDE emphasises the cultural and social (What can you challenges in interior architecture and places its thematic achieve?) focus on socially relevant spatial assignments. This focus leads to the profile of the INSIDE interior architect whose core is made up of the following characteristics, which are an addition to and deepening of the skills that have already been acquired by a Master’s student after completing a Bachelor’s course. The characteristics form a complete array of attributes that define the mentality and working methods of the interior architect educated at INSIDE. These characteristics have been incorporated into the outcomes and criteria of the INSIDE Review Form and thus form part of the final assessment of the course. A mastery of a well- balanced number of these characteristics is taken as the point of departure in the final assessment.
EXPLORATION INSIDE expects its students to possess a distinctively exploratory and curious mentality. Research forms the core of the Master’s phase of education in interior architecture. With some exceptions, this research is not principally academic in character and is certainly not an end in itself. At INSIDE, research is primarily conducted to serve spatial design. Students are prepared to undertake a journey of discovery to learn about many aspects of the context, be they anthropological, cultural, social, political, economic or historical in nature. By acquiring this wide spectrum of information about a context through source research, field research, interviews and observation, students also acquire a reliable, workable and also personal picture of their own design assignment in relation to the changing spatial situation.
ANALYSIS The INSIDE student is capable of establishing a hierarchy in and connections within the complexity of the acquired information in a personal manner, and thus interpreting a situation and explaining it in terms of factors and phenomena that are decisive for the design of spatial change.
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SPATIAL DESIGN Each studio project at INSIDE results in a spatial design. This can be elaborated as a feasible physical design. The notion of design can be interpreted here as 'spatial programme' that follows from the preceding exploration, and which includes not only a proposal for physical change but also explicit strategies for spatial change consisting of interventions and programming. The resulting design centres on the use of interior space and the user’s perspective 'across all scales'.
ORGANIC INTELLIGENCE The INSIDE architect is an autonomous individual operating in an applied context who deploys the built environment as material for the imagination. He is somebody who acts with the intention of changing the built environment spatially and who succeeds in filtering and deploying the ingredients for change by researching the context.
COMMUNICATION In exploring and elaborating the design, INSIDE students are capable of communicating effectively with interested parties and stakeholders in and around the changing spatial context. Communication here means not only the gathering and conveying of information but also the skill in reading and narrating stories in and around the context in various ways.
ANALOGUE Study assignments at INSIDE focus by definition on the user in his immediate environment. Working at this scale 'that relates most directly with people' calls for the elaboration of elements in spatial models and mock-ups. Accordingly, a design must never be elaborated in digital form alone but must also be worked out and presented in an analogue manner.
ENTREPRENEUR At INSIDE, entrepreneurship means both successfully running a design practice and launching vital processes of spatial change at one’s own initiative. Entrepreneurship refers more to the spirit of taking initiatives than to actually being an entrepreneur.
META-DISCIPLINARY The INSIDE interior architect is capable of presenting a strong profile in a complex field filled with professionals engaged in spatial change. He can claim a position among clients, architects, contractors, users, manufacturers and suppliers of interior products, and legislators and regulators. In addition, the INSIDE interior architect is capable of
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functioning in multi-disciplinary teams and, when the context demands, adopting a meta-disciplinary position with a team.
AUTHORSHIP The INSIDE architect possesses a personal and artistic ambition, passion and ability to formulate his own agenda of ideals for the interior space of the future, and from there, to arrive at exceptional and innovative spatial interventions that reflect a personal artistic cultural profile in their ultimate form.
SOCIAL RESPONSIBILITY The INSIDE student is very aware of his spatial responsibility in relation to the context of spatial change in which he operates and can identify cultural urgencies within this context.
LEARNING Through the STUDIOS, the FLOWS, the TRAVEL, the ACTIVITIES THEORY and (What will you do?) SKILLS programmes, students become familiar with all phases of researching and designing for the real world: knowledge gathering, planning, research, design, presentation and evaluation. The other courses run throughout the year, changing their focus to connect to the STUDIOS for each semester or block. GUIDELINES ON How we assess students GRADING AND INSIDE tutors provide verbal and written feedback to students STANDARDS OF at various moments throughout the course. At the end of each ASSESSMENT semester the various pieces of feedback are combined into a (How will you be single review, and the tutors formulate a general assessment graded?) based on criteria specified on the Review Form. Review Form The Review Form developed by INSIDE is used for all general assessments. The form consists of a translation of the competences according to assessment criteria linked directly to the work of students. The form’s table of contents provides a structure for the assessment meeting and can also act as a 'calculation form' to arrive at a general assessment of the student. In the review form, set by INSIDE, the following 5 criteria are specified. - research: the quality of the project research - design: the quality of the project spatial design - development: the ability to organize, learn and grow during the project - presentation: the quality of graphic, verbal and spatial presentation - position: the ability to adopt a position in the real world and world of spatial design.
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First Year Semester 1 - At the end of the first semester, all tutors involved in the semester combine their individual assessments into one general semester assessment using the INSIDE review form, which is expressed in an overview of study credits obtained and a general mark for overall performance. This report is sent to the students. - A student who finishes the first semester with an unsatisfactory mark for the general assessment, or an insufficient number of study credits (fewer than 30), is still eligible to start the second semester. The consequences of such a report for the second semester, and any additional requirements set for the assessment at the end of the second semester, are also specified in the report.
Semester 2 - The assessment of the Studio project is the focus at the end of the second semester. All tutors involved in the semester combine their individual assessments in one general assessment using the INSIDE review form. - The general assessment gives marks for each of five main categories, which are motivated in writing with references to the appended individual assessments for each category. - The general assessment ends with an overview of the study credits obtained and a general mark for overall performance. The report is sent to the students. - The report also includes the opinion of the assessment committee concerning progress and, importantly, the opinion of the tutors about whether the student is capable of commencing their graduation project in the second year. - If a student is not admitted to the second year of the course, they are eligible to repeat the first year. In such an eventuality, any study credits obtained cannot be carried forward and are no longer valid at INSIDE.
ESSENTIAL READINGS: (Journals, textbooks, website addresses, films etc.) Learning hours Note: 1 EC = 28 hours. The total of EC’s must equal [the number of contact hours plus the hours of self-study] divided by 28. Nr of Credits (EC’s) First semester: 7+7 if there are two STUDIO's organised in the first semester. If the number of STUDIO's is different the Credits will be equally devided over these. Second semester: 14
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Teaching hours Students work for approximately 49 days per semester on a (according to real assignment schedule) under the guidance of a renowned designer. Students are allotted eight weeks (comparable to a competition submission) or eighteen weeks (comparable to a regular commission) for the main projects in the Studios. Hours of self-study Students work for approximately 49 days per semester on a real assignment under the guidance of a renowned designer. Students are allotted eight weeks (comparable to a competition submission) or eighteen weeks (comparable to a regular commission) for the main projects in the Studios. Name the three most important competencies your course strives to improve. (Max 3!) RESEARCH DESIGN DEVELOPMENT
Creativity Critical reflection x Growth and Innovation x Organizing Communication Awareness of the (social, economic, x political)Collaboration environment
Course Graduation STUDIO Tutor Graduation STUDIO teacher Class(es) Year 2 Scheduled Semester 3 and 4 COURSE SEMESTER 3 – first half DESCRIPTION In the first half of the third semester a Graduation Studio is (What is it about?) organized to assist students in drawing up individual graduation projects. During presentations as well as in individual and group sessions with tutors, students can refine their ideas and formulate a study structure in which to explore options for their graduation projects in depth. They eventually define a solid graduation project through research, workshops (at their own instigation) and study trips (as individuals and groups).
SEMESTER 3 – second half After presenting and receiving approval for their Graduation Projects, the students work independently and cover the entire process of orientation, research (through design), analysis, concept development, design (through research) and presentation. In February, at the end of the second half of
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the first semester, the students present their progress during Review#2.
SEMESTER 4 In the fourth semester the students continue to work on their graduation projects under the individual supervision of the tutors. After Review#3 all attention focuses on elaborating the spatial design and presentation of the project. With the Green Light Review (five weeks after Review#3) and the Final Graduation (five weeks later), students finally complete the course. After the Final Graduation, students have another two weeks to prepare a public presentation of their projects during the Inside Graduation Exhibition.
COURSE THE INSIDE INTERIOR ARCHITECT OBJECTIVES In its profile, INSIDE emphasises the cultural and social (What can you challenges in interior architecture and places its thematic achieve?) focus on socially relevant spatial assignments. This focus leads to the profile of the INSIDE interior architect whose core is made up of the following characteristics, which are an addition to and deepening of the skills that have already been acquired by a Master’s student after completing a Bachelor’s course. The characteristics form a complete array of attributes that define the mentality and working methods of the interior architect educated at INSIDE. These characteristics have been incorporated into the outcomes and criteria of the INSIDE Review Form and thus form part of the final assessment of the course. A mastery of a well-balanced number of these characteristics is taken as the point of departure in the final assessment.
EXPLORATION INSIDE expects its students to possess a distinctively exploratory and curious mentality. Research forms the core of the Master’s phase of education in interior architecture. With some exceptions, this research is not principally academic in character and is certainly not an end in itself. At INSIDE, research is primarily conducted to serve spatial design. Students are prepared to undertake a journey of discovery to learn about many aspects of the context, be they anthropological, cultural, social, political, economic or historical in nature. By acquiring this wide spectrum of information about a context through source research, field research, interviews and observation, students also acquire a reliable, workable and also personal picture of their own design assignment in relation to the changing spatial situation.
ANALYSIS The INSIDE student is capable of establishing a hierarchy in and connections within the complexity of the acquired information in a personal manner, and thus interpreting a
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situation and explaining it in terms of factors and phenomena that are decisive for the design of spatial change.
SPATIAL DESIGN Each studio project at INSIDE results in a spatial design. This can be elaborated as a feasible physical design. The notion of design can be interpreted here as 'spatial programme' that follows from the preceding exploration, and which includes not only a proposal for physical change but also explicit strategies for spatial change consisting of interventions and programming. The resulting design centres on the use of interior space and the user’s perspective 'across all scales'.
ORGANIC INTELLIGENCE The INSIDE architect is an autonomous individual operating in an applied context who deploys the built environment as material for the imagination. He is somebody who acts with the intention of changing the built environment spatially and who succeeds in filtering and deploying the ingredients for change by researching the context.
COMMUNICATION In exploring and elaborating the design, INSIDE students are capable of communicating effectively with interested parties and stakeholders in and around the changing spatial context. Communication here means not only the gathering and conveying of information but also the skill in reading and narrating stories in and around the context in various ways.
ANALOGUE Study assignments at INSIDE focus by definition on the user in his immediate environment. Working at this scale 'that relates most directly with people' calls for the elaboration of elements in spatial models and mock-ups. Accordingly, a design must never be elaborated in digital form alone but must also be worked out and presented in an analogue manner.
ENTREPRENEUR At INSIDE, entrepreneurship means both successfully running a design practice and launching vital processes of spatial change at one’s own initiative. Entrepreneurship refers more to the spirit of taking initiatives than to actually being an entrepreneur.
META-DISCIPLINARY The INSIDE interior architect is capable of presenting a strong profile in a complex field filled with professionals engaged in spatial change. He can claim a position among clients, architects, contractors, users, manufacturers and suppliers of interior products, and legislators and regulators. In addition,
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the INSIDE interior architect is capable of functioning in multi- disciplinary teams and, when the context demands, adopting a meta-disciplinary position with a team.
AUTHORSHIP The INSIDE architect possesses a personal and artistic ambition, passion and ability to formulate his own agenda of ideals for the interior space of the future, and from there, to arrive at exceptional and innovative spatial interventions that reflect a personal artistic cultural profile in their ultimate form.
SOCIAL RESPONSIBILITY The INSIDE student is very aware of his spatial responsibility in relation to the context of spatial change in which he operates and can identify cultural urgencies within this context.
LEARNING Graduation Phases ACTIVITIES (What will you do?) Graduation Studio Graduation starts in the third semester. In personal talks with the Theory, Flows and Studio tutors, and with the head of INSIDE, students specify their approach to the world of interior architecture that they plan to focus on in their graduation project. In the Flows, Theory, Skills and Travel programmes the students define their mentality as designers, develop their skills in analysis, research and design, and look at the world in an open and curious way. Midway through the third semester the students report on their progress by drawing up a graduation proposal.
First Review of Graduation Proposal Midway through the third semester the students present their graduation proposal, which forms the base document for their graduation project. The graduation proposal outlines the context for and contents of the graduation project and thus functions as a contract between the student and INSIDE.
Second Review: Information, Research, Reflection At the end of the third semester the students present the progress of their Flows research and Thesis preparation, encompassing the organization of their thoughts, credibility of their statements, personal positioning, graphic and verbal presentation of the thesis, and use of English. This review mainly is about assessing the students’ ability to: • observe, research and analyze spatial situations from the perspective of users • establish and interpret spatial situations that can be improved through interventions by a spatial designer • include relevant knowledge in the analysis in a structured way • translate research results into a spatial design.
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Third Review: From Research to Design Concept The third review is planned midway through the fourth semester. That moment marks the finalization of the transition from research to design. At this review the students demonstrate their ability to translate research results into spatial design (research by design).
Green Light Review: Graduation Project Presentation The Green Light Review is a Go/No-Go moment during the graduation year. At this review the students present a complete overview of their projects, and their Thesis and Flows research.
Graduation: Final Project Presentation At the final review the students demonstrate their ability to: • create valid and original designs that address urgencies in today’s world and express a personal position on the subject • convincingly present the graduation project graphically, verbally and spatially • understand what is happening in a changing world, from an urban scale to urban interiors • adopt a clear and personal position in relation to the situation analyzed and in relation to the world of spatial design • present a vision of the role and position of their discipline in society • understand their social environment • reflect on and relate their work and opinions to that of others and to developments within a cultural and societal context • operate in the world of spatial design as an initiator and entrepreneur.
The committee reviews the project according to the required standards set by INSIDE. For this review the committee refers to the criteria specified by the Review Form (see page XX): - research: the quality of the project research - design: the quality of the project spatial design - development: the ability to organize, learn and grow during the project - presentation: the quality of graphic, verbal and spatial presentation - position: the ability to adopt a position in the real world and world of spatial design.
Graduation Exhibition The graduation exhibition held at the INSIDE space at KABK marks the start of the professional careers of the master’s students. For the exhibition, students can seek advice from an invited curator. The exhibition is open to the public. Students can meet visitors and present their graduation work on display and in the INSIDE publication that they compile with first-year students.
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GUIDELINES ON Second Year: Graduation GRADING AND STANDARDS OF Review#1: Midway through third semester ASSESSMENT - Midway through the third semester the students present their (How will you be graduation proposals to the graduation committee, which is graded?) composed as follows: the department head and committee chairman, the Studio tutor that will supervise the student, and the Theory and Flows tutors. - The committee discusses the proposals with the students and then internally, and assesses the feasibility of the proposals - On the basis of the discussion among the committee members, which is structured by the review form, a report with recommendations is drawn up and sent to the students. - Irrespective of the recommendations contained in the report, the students can continue with their graduation project.
Review#2: End of third semester - As per Review#1 - Since this review also marks the end of the third semester, the study credits for the semester are awarded on the basis of this review.
Review#3: Midway through fourth semester - As per Review#1
Green Light Review (five weeks before final Graduation Review) - At the Green Light Review the students present a total overview of their graduation projects, and their Thesis and Flows research. The graduation committee consists of: the department head and committee chairman, the student’s Studio tutor, the Theory and Flows tutors, an external examiner, and possibly also other tutors from INSIDE. - The Green Light Review serves as a final preview of the Final Graduation Review. After the review the committee decides if it is confident that the student will complete the graduation project satisfactorily. - The committee discusses the graduation projects with the student and then internally, and assesses the projects according to specified criteria). - If the committee has sufficient confidence, the student will get a Green Light for graduation. That means that if the student responds adequately to the recommendations made by the committee, he/she will complete the project satisfactorily.
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- If the committee has serious reservations, it may set extra conditions and give the student an Orange Light. - If the committee does not think the student will reach a satisfactory level for graduation, the student will receive a Red Light. - The committee’s assessment is compiled into a report and is sent to the student. - Students who receive an Orange or Red Light are allowed to take part in the Final Graduation Review in the knowledge that they may fail that review. - Only in cases of a 'No Show' will a student receive a report marked 'fail'. Such a student is disqualified from participating in the final examination.
Final Graduation Review: End of fourth semester - At the final review in the graduation year, the committee assesses the work of the student in relation to the required standards set by INSIDE. - The graduation committee consists of: the department head and committee chairman, the student’s Studio tutor, the Theory and Flows tutors, an external examiner, and possibly other tutors from INSIDE. - At this review the students present a complete overview of their graduation projects. - The committee discusses the projects with the student and then internally, and assesses the projects according to specified criteria in the Review Form - Each of the five main criteria (research, design, development, presentation and position) is given a mark from 4 to 10. A mark of 6-10 counts as a 'pass', and a mark of 4-5 as a 'fail'. The Studio, Theory and Flows tutors give their comments and marks to open the discussion with the other tutors and guests present at the review. After the discussion the final mark is decided. - With the marks awarded for each of the five criteria, the committee reviews the student’s graduation project in relation to the required standards set by INSIDE. - The marks are added up and then divided by five. In making this calculation the committee determines a final mark for the graduation project and thus whether the student receives a pass or fail. - As marks can consist of whole numbers only, the final mark is rounded off. A 6 or higher counts as a pass, a 5 or less as a fail. - The head has no voting right on the committee, except where the committee is split on its decision, in which case the head casts the decisive vote. - After passing this review successfully, the student is granted the title of Master of Interior Architecture from the Royal Academy of Art. - Within a week of the Final Graduation Review, the student receives the committee’s comments in the report.
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- If a student does not pass the review, he or she can consult with the head of INSIDE about making a second attempt to graduate.
Review Form The Review Form developed by INSIDE is used for all general assessments. The form consists of a translation of the competences according to assessment criteria linked directly to the work of students. The form’s table of contents provides a structure for the assessment meeting and can also act as a 'calculation form' to arrive at a general assessment of the student.
Final examination INSIDE students start the process of graduating at the start of the second year (i.e. at the start of the third semester) of the two- year course, after having successfully completed the first year.
People involved in Graduation Assessment • The core Graduation Committee consists of: the Studio tutor, external examiner, and Theory and Flows tutors, and is chaired by the head of INSIDE. During reviews, the Graduation Committee consists of all tutors and external critics present. • The chairman of the Graduation Committee is the head of INSIDE. He is responsible for planning the graduation reviews and ensuring they take place in an orderly manner. In consultation with the tutors, he invites external critics to join the committee. He presides over the reviews, moderates the discussions, sums up the results, and writes/edits the review reports. In this capacity the head has no voting right on the committee, except where the committee is split on its decision, in which case he casts the decisive vote. The head ensures that both the committee and students are aware of the required standards of the Master of Interior Architecture course and of the process of examination and graduation. The head also advises graduating students on all other matters apart from research, design and presentation. As chairman of the Graduation Committee, the head communicates the review results to the students and compiles the reports and descriptions of the graduation projects. • Studio tutors supervise students throughout the graduation year. They meet with students at least every two weeks to discuss progress. They can invite external critics for reviews in consultation with the head of INSIDE. And they specify the criteria for successfully graduating from the Studio. • Theory tutors supervise students in researching and expressing the theoretical background to the project. Theory tutors meet regularly with the students to discuss progress, and they specify the criteria for successfully graduating from the Theory programme.
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• The Flows tutor supervises students in researching and visualizing the Flows aspect of the graduation project. The Flows tutor specifies the criteria for successfully graduating from the Flows programme and regularly meets with the students to discuss progress. • External critics invited to the reviews represent the world of interior architecture. They also have a formal role in the graduation process and have a vote in the deciding whether a student passes or fails. • The INSIDE Coordinator is responsible for coordinating the graduation publication and presenting the graduation projects on the INSIDE website. • The INSIDE Studio Practice Tutor supervises students in their project development and presentation as well as in their Graduation Exhibition.
ESSENTIAL READINGS: (Journals, textbooks, website addresses, films etc.) Learning hours Note: 1 EC = 28 hours. The total of EC’s must equal [the number of contact hours plus the hours of self-study] divided by 28. Nr of Credits (EC’s) Semester 3: 18 Semester 4: 30 Teaching hours In the first half of the third semester a programme with talks (according to with teachers, meetings with external experts, self initiated schedule) Skills workshops and self organised Travels will be organised that will be spread over the week. Students will work full time in the IBSIDE studio space. In the rest of the graduation year students will make individual appointments with their guiding teachers. Hours of self-study Students will work full time in the IBSIDE studio space. Name the three most important competencies your course strives to improve. (Max 3!) RESEARCH DESIGN DEVELOPMENT
Creativity X Critical reflection X Growth and Innovation X Organizing X Communication X Awareness of the (social, economic, X political)Collaboration environment X
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Course FLOWS Tutor FLOWS Tutor Class(es) Year 1 and 2 Scheduled Semester 1, 2, 3 and 4 (in the fourth semester the Flows programme will be integrated in the Graduation studio and no longer seperately assessed and graded.) COURSE In addition to the studios, students participate in a longer research DESCRIPTION track – FLOWS – involving flows in contemporary interior architecture. (What is it For designers it is common to design as if things last forever, about?) resources are unlimited and society is stable. However, in our world nothing is permanent or static, and designs that on paper are perfect become unusable or even counterproductive when faced with an evolving reality. In the Flows module we teach students to look at the world as a collection of flows: of materials, energy, people, resources and even value. While things in other professional fields might be seen as isolated from one another and for single use, flows are interconnected and have the capacity to transform. One flow can easily be both a residue of one system and a resource for another one at the same time. Demolition materials become building materials, waste heat is a source of energy, vacant buildings become community centres and elderly become educators. That’s how we design: we look at where we are in time and space and we understand this context as a network of flows, interconnected and in transformation. Energy and materials are transported and processed; they can upgrade or downgrade, but never disappear. People are users but they can turn into communities, consumers into a repository of knowledge. Because our designs sprout from the knowledge of this web of interconnecting flows, they are more flexible in their functions and adaptive to a changing environment. They are rooted in a local context, with its challenges and opportunities. They make redundant resources first visible and then useful, using the principles of natural ecosystems.
In our wealthy but challenged world, environmental and social constraints become more tangible in all professional fields. Ever since Papanek’s manifesto, a growing group of designers has started to design ecologically sound and socially responsible living environments. However, the methods to do this are still many and undefined. Flows-based design positions itself as a holistic design approach that embraces many ecological and social design methods. Without imposing preconceptions on how we should live, the flows approach gives designers a framework to understand our complex society and economy, leaving plenty of space to explore and find one’s own intervention points for impact.
COURSE Contemporary interiors increasingly depend on a complex of OBJECTIVES (inter)connecting flows. At the same time the growing awareness of (What can you the limits to our resources forces designers to reinvent the achieve?) performance of spaces we inhabit. This has led to interior designers rapidly becoming dependent on external specialists and losing one of
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their primary capacities: to integrate. In interiors, this becomes visible in dysfunctional space, waste and pollution, undesired systems interfering with each other and with the quality of space. Also the process of design and construction is frustrated. As the designer pulls back to become an aesthetic consultant, the role to structure the integration of different flows in the development of the design remains vacant. At best, designs are hiding the conflicts and omissions from the users of spaces. FLOWS aims to support interior designers retaking an active integrating role in the execution of their profession.
LEARNING During the FLOWS program at INSIDE students learn to study the ACTIVITIES specifications and behaviour of flows, in order to develop smart and (What will you sustainable design solutions. We have currently identified 14 different do?) flows that constitute the ecosystem of our environments, varying from energy, water and food to knowledge, money and users. Each of them behaving differently and offering a different potential for design. Practical knowledge for application in design and research as well as the means to represent flow systems are the subject of research in the 1st and 2nd year of the Master. The FLOWS program additionally supports the flow of knowledge within the Masters course, by connecting the different student’s projects to a knowledge base/ encyclopedia that accumulates and shares knowledge about flows. The software and research tools provided by the FLOWS program guide the students in documenting their design and research process in a systematic way. The latter will be especially useful during graduation, when the FLOWS program will support the student in his or her project of choice. During graduation students will perform a thorough system analysis and underline the flows that are important. They will finalize the FLOWS module with a graphical representation of the system change they have brought about.
GUIDELINES The FLOWS program trains students to be able to work in a complex ON GRADING global society, and feel comfortable with this task. Problems that AND modern time is facing emerge as a set of challenges for new inspiring STANDARDS design approaches. OF • Students learn to identify resources that are wasted or ASSESSMENT underused. This can be material, energy, spatial, knowledge or even (How will you human resources. be graded?) • Students learn to visualise and communicate their research in harvest maps, material flow analysis maps, infographics, stakeholder maps and/or mock-ups. • Students learn to analyse the flows in existing designs and describe them verbally and graphically on a dedicated learning environment insideflows.org. • Students learn to identify leverage points in a spatial environment to make interventions that improve the system. • Students become capable of zooming in and out, to look at their design projects from an object level to a systems level and back.
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• Students learn to organise and evolve their own design process with the help of a flow diagram. • Flow-based design is derived from and linked to a broad range of disciplines that focus on local context and integral sustainability: (industrial) ecology, life cycle analysis, systemic design and social design. During the course of the program students will become familiar with the most important concepts of these disciplines. • Students are able to explain their spatial design from the perspective of flows passing through them and are able to elaborate on the effects of the flows on this space.
Assessment criteria - Distinguishing and identifying the different flows passing through the system (building, space) where the project will take place. - Being able to draw a material flow diagram and/or a sankey diagram of exisitng flows in the system. - Being able to draw diagram of your project featuring the systemic change it would create in the future. - Being able to generate graphical clear and communicative schemes preferably using the colour coding and symbols that are provided during the FLOWS program. - Being able to explain your analysis with word and text and support your choices for interventions in the system with arguments that you learned during the FLOWS program. - Being able to integrate the knowledge on flows in your design and explain your design decisions based on the knowledge of flows. For the second year - Choosing a graduation project that has social and/or ecological relevance. ESSENTIAL READINGS: - Hawken, P., Lovins, A. and Hunter Lovins, L., Natural Capitalism: (Journals, Creating the Next textbooks, Industrial Revolution, Little, Brown and Company, Snowmass, website Colorado, US, 1999. addresses, - Hawken, P., The Ecology of Commerce: How Business can Save the films etc.) Planet, Harper Collins, New York, 1993. - Van Hinte, Ed, and Conny Bakker. Trespassers. Netherlands Design Institute; 010, 1999. - Van Hinte, E. V., Neelen, M., Vink, J., & Vollaard, P. (2003). Smart architecture. 010 publishers, Rotterdam. Available online: http://www.stealth.ultd.net/stealth/projects/05_smart.architecture/down- load/smartarch_ebook.pdf - Van Hinte, E., Peeren, C., & Jongert, J. (2007). Superuse: Constructing New Architecture by Shortcutting Material Flows. 010 Publishers. - J. Jongert Ed., INSIDE Flows – Reinventing the performance of space. INSIDE Master Interior architecture, 2013. Available online: http://issuu.com/enterinside/docs/insideflows
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- Jongert, J., Nelson, N., Cyclifier. Unpublished. - McDonough, W., & Braungart, M. (2005). Cradle to cradle. Remaking the way we make things, 188. - Natural Energy and Vernacular Architecture: Principles and Examples with Reference to Hot Arid Climates (UNU, 1986, 172 pages) Available online. - Pauli, G. A. . The Blue Economy-10 Years, 100 Innovations, 100 Million Jobs. Paradigm Publications, 2010. Website: http://www.theblueeconomy.org/blue/Home.html - Slade, G., Made to Break: Technology and Obsolescence in America, Harvard University Press, US, 2007. - 2012Architecten, Recyclicity: industrial ecology applied in the urban environment. Self published, 2009. Available online: http://issuu.com/2012architecten/docs/recyclicity_research - Benyus, J. M., Biomimicry: Innovation Inspired by Nature, William Morrow, New York, US, 1997. - Burnie, D., Get A Grip On Ecology, The Ivy Press, Lewes, 1999. - Graedel, Thomas E., and Braden R. Allenby. Industrial ecology and sustainable engineering. Upper Saddle River, NJ, USA: Prentice Hall, 2010. - Pawlyn, M., Biomimicry in architecture. Riba Publishing, 2011. - Luigi Bistagnino, Systemic Design, Slow Food Editore. - O’Connor, J. and McDermott I., The Art of Systems Thinking: Essential Skills for Creativity and Problem-solving, Thorsons, UK, 1997. - Donella H. Meadows, Thinking in Systems, Chelsea Green Publishing, 2008. - Relph, Edward. Place and placelessness. Vol. 67. London: Pion, 1976. - Ahrensbach, T., et al. "Compendium for the Civic Economy: What the Big Society should Learn from 25 Trailblazers." London: 00:/in association with NESTA & Design Council CABE, 2011. - Brand, Stewart. How buildings learn: What happens after they're built. Penguin, 1995. - van der Zwaag, Anne. Looks good feels good is good, how social design can change the world. Lecturis, 2014.
Bronnen (algemeen) www.insideflows.org www.cyclifier.org www.superuse.org www.oogstkaart.nl www.woodguide.org http://www.sankey-diagrams.com/ http://mfadiagrams.blogspot.nl/ http://flowingdata.com/ http://www.visualisingdata.com/
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Learning hours Note: 1 EC = 28 hours. The total of EC’s must equal [the number of contact hours plus the hours of self-study] divided by 28. Nr of Credits 4 EC per semester (EC’s) Teaching Total study time per semester: 14 days (supervised + independent) hours (according to schedule) Hours of self- Total study time per semester: 14 days (supervised + independent) study Name the three most important competencies your course strives to improve. (Max 3!)
All competences are trained during the FLOWS course. Most important are: orientation, investigation, critical reflection and innovation.
Creativity X Critical reflection X Growth and Innovation Organizing Communication Awareness of the (social, economic, X political)Collaboration environment
Course THEORY and Writing Tutor Anne Hoogewoning (Year 1 and 2) and Louise Schouwenberg (Year 2) Class(es) Year 1 and 2 Scheduled Semester 1, 2, 3 and 4 (in the fourth semester the Theory programme will be integrated in the Graduation studio and no longer seperately assessed and graded.) COURSE Numerous theorists and designers, from interior architects to DESCRIPTION anthropologists and philosophers, reflect in depth on the field (What is it about?) covered by INSIDE. After all, interventions by designers have a profound effect on the personal living environment of people and also have major implications for the functioning of society as a whole. Future designers must possess an understanding of the most relevant theories related to their profession. Moreover, they must be capable of investigating the complexity of design commissions from various angles. Only then can substantive considerations contribute productively to the design process, and vice versa, can the design process positively influence reflection on the profession. Therefore the Theory programme at INSIDE combines theory and research skills, providing a theoretical framework for student assignments in the studios, which all deal with specific contexts and requirements. Research and critical reflection are key words. During the two-year course the students
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acquire tools to link theory, critical reflection and analysis to their design process. To this end, various forms of learning are employed: reading and analyzing key texts that encourage discussion and debate, actively participating in discussions about the profession with fellow students and professionals, writing texts about specific subjects, presenting research and personal insights, observing the environment around us and expressing what those observations can lead to, conducting interviews, visiting museums, exhibitions and lectures, studying and discussing important films and videos, exploring developments in other professional fields that might offer fresh insight on their own profession.
COURSE At INSIDE, research means deepening understanding, OBJECTIVES strengthening basic and essential research skills, and (What can you developing an individual approach to research themes. That is achieve?) done by enabling students to conduct as much independent theoretical research as possible. Theoretical research here is taken to mean: systematic, critical reflection on the basis of a concrete question and definition of problem by consulting literature and other sources, with the aim of acquiring knowledge that offers answers to the question and problem posed. In general, the research encompasses the history and current state of the profession, as well as the social and cultural context and accompanying discourse. The aim is to stimulate students to develop their observations, reflections and analyses into a well-reasoned personal attitude and position that they can then apply to their ‘own choices and actions’ when designing. After all, that is the moment when theory is tested in practice. In this way the theory programme creates an intellectual climate in which students can prepare in the best possible way for their role as designers, where they will have to draw on their expertise and power of conviction in the public domain in order to convince others that their design offers the right response to a particular problem, for both the client and the users.
LEARNING Students work around 14 days per semester on the ACTIVITIES theoretical approach of the (What will you do?) changing spatial context. After an introduction programme on the year theme the program continues in the First and Second Semester with a reading and writing programme on specific STUDIO topics. Students work in groups and are guided individually.
The final report of the research always results in a thesis: a text (or a film) in combination with visual material. Presenting thoughts and writing is, in a way, similar to designing: to establish a structure, taking into account all competing factors, applies as much to design decisions as it does to
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writing decisions. And critical reflection is also about finding out how things work, about what is right and what is wrong for a certain time and for a certain place. And even more important: a thesis is also a place to try out ideas before students implement them in a studio project.
The thesis is a written (or filmed) report of the research the student conduct on the theme he has chosen. It consists usually of a book, in which texts, images, graphs and sketches reveal the various phases of the research and the final conclusions. Students who are talented thinkers, but lack the capacities of writing for some reason (for instance because they are dyslectic) can opt for making a film. Nowadays everybody is experimenting with making films, especially the younger generation. For them making a film with their smartphone is a daily routine and presenting their work with new media has become part of their interdisciplinary practice. Therefore we stimulate those who have difficulties with writing, to gain experience with filming and integrate this in their research process for the theory program. Depending on the specific questions the chosen theme poses, the various phases of the research consists of: 1) formulating a personal theme, which offers valid research questions, is linked to contemporary developments in the field of expertise, and offers good options for interventions by an interior architect; 2) a systematic and intuitive research, in which the student takes into account the questions that are raised by the theme, and the answers that others have provided on the same questions. In the course of the research the student will gradually build up a personal take on the theme, a final conclusion, and an argumentation to back up his position; 3) the report of the research in a thesis (film) that represents the personal position the student takes in both the choice of the theme, the research and the conclusions he draws and the design challenges which are erased by the exploration of the theme. Furthermore the thesis (film) should contain neutral descriptions of facts and insights by others on the theme, as gained by reading texts, interviews, observations, collecting data, etcetera. The thesis (film) should also contain answers to the questions and all arguments for the student’s own specific take on the theme, in which his intuitive insights and the design process play an important role.
GUIDELINES ON Criteria for evaluating the thesis or film GRADING AND The thesis mentor(s) review the final theses according to STANDARDS OF criteria which are clustered into two main topics: 1) content ASSESSMENT and 2) organisation and presentation of the content. (How will you be 1) content, on the basis of the following criteria: graded?) - research and analyses of the theme
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- strength of the argumentation - originality of concept and approach, originality of conclusions that are drawn - critical reflection on and awareness of own position - valid use and differentiation of various sources The content of the thesis counts for 2/3rd of the overall mark.
2) organisation and presentation of the content, on the basis of the following criteria: - consistency and logic of structuring and organising the content, such as paragraphs, subparagraphs, titles, etcetera - imagination and originality in the use of graphic design and the mix of visuals and text - originality and communicative power of the cover - language: correctness and elegance of the English language The organisation and presentation of the content counts for 1/3rd of the overall mark.
ESSENTIAL - Reyner Banham, Theory and Design in the First Machine READINGS: Age, Architectural Press, London, 1960 (Journals, - Jean Louis Cohen, The Future of Architecture since 1889, textbooks, website Phaidon, London, 2012 addresses, films - William Curtis, Modern Architecture since 1900, Phaidon, etc.) London, 1996 [1982] - Kenneth Frampton, Modern Architecture. A Critical History, Thames & Hudson, London, 1980 - Siegfried Giedion, Space, Time & Architecture, Harvard University Press, Cambridge MA, 1941 - John Habraken, Supports: An Alternative to Mass Housing, Architectural Press, London, 1972 [1961]. - Maarten Hajer en Arnold Reijndorp, In Search of the Public Domain, NAi Publishers, Rotterdam, 2001 - Herman Hertzberger, Space and the Architect. Lessons for Students in Architecture, nai010 publishers, Rotterdam, 2010 [1991] - Hilde Heynen, Architecture and Modernity, MIT Press, Cambridge MA, 1999 - Hilde Heynen, André Loecks (eds.), Dat is Architectuur. Sleutelteksten uit de twintigste eeuw, 010 Publishers, Rotterdam, 2001 - Charles Jencks, Modern Movements in Architecture, Anchor Press, New York, 1973. - Neil Leach, Rethinking Architecture. A Reader in Cultural Theory, Routledge, London/New York, 1997 - Nikolaus Pevsner, A History of Building Types, Thames and Hudson, London, 1976 - Manfredo Tafuri and Francesco Dal Co, Modern Architecture/1, Rizzoli, New York, 1986 - Vincent Scully, Modern Architecture and Other Essays, Princeton University Press, Oxford, 2003
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- Anthony Vidler, The Architectural Uncanny. Essays in the Modern Unhomely, MIT Press, Cambridge MA, 1994
Selection of relevant literature about specific subjects on (interior) architecture from 1960 onwards - Emilio Ambasz (ed.), The New Domestic Landscape. Achievements and Problems of Italian Design, MOMA Exhibition, New York, 1972 - Tom Avermaete, Klaske Havik, Hans Teerds, Architectural Positions: Architecture, Modernity and the Public Sphere, SUN Publishers, Amsterdam, 2009 - BAVO, Too Active to Act, Valiz, Amsterdam, 2011 - Alfredo Brillembourg and Hubert Klumpner, Torre David: Informal Vertical Communities, Lars Müller, Baden, 2013 - Susan Buck-Morss, The Dialectic of Seeing: Walter Benjamin and the Arcades Project, MIT Press, Cambridge, 1989 - Binna Choi and Maiko Tanaka, Grand Domestic Revolution Handbook, Valiz, Amsterdam, 2014 - Irene Cieraad, At Home; an Anthropology of Domestic Space, Syracuse University Press, New York, 2006 - Nigel Coates, Narrative Architecture, John Wiley, New York, 2012 - Beatriz Colomina, Sexuality and Space, Princeton Architectural Press, New York, 1992 - Beatriz Colomina, Privacy and Publicity. Modern Architecture as Mass Media, MIT Press, Cambridge MA, 1996 - Beatriz Colomina, Domesticity at War, MIT Press, Cambridge MA, 2007 - Joseph Grima, Andreas Bagnato and Tamar Shafrir, SQM. The Quantified Home, Lars Müller, Zurich, 2014 - Klaske Havik, Urban Literacy. Reading and Writing Architecture, nai010publishers, Rotterdam, 2014 - Ed van Hinte, Marc Neelen, Jacques Vink and Piet Vollaard, Smart Architecture, 010 Publishers, Rotterdam, 2003 - Jane Jacobs, The Death and Life of Great American Cities, Vintage Books/Random House, New York, 1961 - Steven Jacobs, The Wrong House. The Architecture of Alfred Hitchcock, nai010 Publishers, Rotterdam, 2013 - Susanne Komossa, Kees Rouw and Joost Hillen, Colour in Contemporary Architecture, SUN, Amsterdam, 2009 - Rem Koolhaas, Delirious New York. A Retroactive Manifesto for Manhattan, The Monacelli Press, New York, 1994 [1978] - Peter Lang and William Menking, Superstudio, Life Without Objects, Skira Editore, Milano, 2003 - Francesca Miazzo and Mark Minkjan, Farming the City: Food as a tool for today’s urbanization, Valiz/Trancity, Amsterdam, 2013 - Francesca Miazzo and Tris Kee, We Own the City. Enabling Community Practice in Architecture and Urban Planning in
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Amsterdam, Hong Kong, New York, Moscow and Taipei, Valiz, Amsterdam, 2014 - Daniel Miller, The Comfort of Things, Wiley Academy, London 2008 - Edwin van Onna, Material World. Innovative Structures and Finishes for Interiors, Frame Publisher, Amsterdam, 2003 - Michiel Riedijk (ed), Architecture as a Craft, SUN, Amsterdam, 2011 - Charles Rice, The Emergence of the Interior. Architecture, Modernity, Domesticity, Routledge, New York, 2007 - Max Risselada and Beatriz Colomina, Raumplan versus Plan Libre. Adolf Loos and Le Corbusier, 1919 – 1930, Delft University Press, Delft, 1987 - Max Risselada and Dirk van den Heuvel, Team 10, 1953 – 1981. In Search of a Utopia of the Present, NAi Publishers, Rotterdam, 2005 Brigitte van der Sande, Food for the City. A Future for the Metropolis, nai010 Publishers, Rotterdam, 2012 - Lara Schrijver, Radical Games. Popping the Bubble of 1960’s Architecture, NAi Publishers, Rotterdam, 2009 - Carolyn Steel, Hungry City. How Food Shapes Our Lives, Random House, New York, 2009 - Georges Teyssot, A Topology of Everyday Constellations, MIT Press, Cambridge,2013
Selection of relevant literature about Dutch (interior) architecture in general - Aaron Betsky and others, New Commitment. In Architecture, Art and Design. NAi Publishers, Rotterdam, 2003 - Aaron Betsky, False Flat: Why Dutch Design is so Good, Phaidon, New York, 2004 - Aaron Betsky, Mariet Schoenmakers, Lara Schrijver, and Lucas Verweij (eds), Bare Facts. The Best Buildings by Young Architects in the Netherlands, NAi Publisheres, 2006 - Ole Bouman, Anneke Ebhelakh, Mieke Dings and Martine Zoeterman (eds), Architecture of Consequence. Dutch Designs on the Future, NAi Publishers, 2009 - Max Bruinsma and others, Design for the Good Society, Utrecht Manifest 2005 – 2015, nai010 Publishers, Rotterdam, 2015 - Bernard Hulsman, Double Dutch. Architecture in the Netherlands since 1985, nai010 Publishers, Rotterdam, 2014 - Jeroen Junte, Hands on: Dutch Design in the 21st century, WBooks, Zwolle, 2011 - Indira van ‘t Klooster, Reactivate ! Innovators of Dutch Architecture, Trancity, Amsterdam, 2013 - Renny Rademakers and Gijs Bakker (eds), Droog Design. Spirit of the Nineties, 010publishers , Rotterdam, 1998 - Ronald Rietveld and Erik Rietveld, Vacancy Studies. Experiments and Strategic Interventions in Architecture, nai010 Publishers, Rotterdam, 2014
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- Linda Vlassenrood (ed), Tangible Traces. Dutch Architecture and the Design Making, NAi Publishers, 2009 - Mark Wigley (ed)., Constant’s New Babylon. The Hyperarchitecture of Desire, 010 Publishers, Rotterdam, 1999 - Yearbook Architecture of the Netherlands, nai010 Publishers, Rotterdam, 1989 - 2015
Selection of influential philosophers, scholars, writers and historians about space related issues - Hannah Arendt, The Human Condition, University of Chicago Press, Chicago, 1958 - Gaston Bachelard, The Poetics of Space. The Classic Look at How We Experience Intimate Places, Beacon Press, Boston, 1994. - Jean Baudrillard, The System of Objects, Verso, London, 2005 [1968] - Walter Benjamin, The Arcades Project (Rolf Tiedemann, ed). Belknap Press, New York, 2002 - Walter Benjamin, Reflections: Essays, Aforisms, Autobiographical Writings, Schocken Books, New York, 1986 - Christian Borch, Gernot Böhme and Olafur Eliasson, Architectural Atmospheres: On the Experience and Politics of Architecture, Birkhauser, Basel, 2014 - Italo Calvino, Invisible Cities, Ann Arbor, University of Michigan, 1974 - Lieven de Cauter, The Capsular Civilization - On the City in the Age of Fear, NAi Publishers, Rotterdam, 2004. - Michel de Certeau, The Practice of Everyday Life, University of California Press, Berkeley, 1988 - Guy Debord, Theory of the Derive, ACTAR D, New York, 1997 [1956] - Johan Huizinga, Homo Ludens: A Study of the Play-Element in Culture, London, Routledge, 2003 [1938] - Henri Lefebvre, The Production of Space, Blackwell Publishing, London, 1991 - Mario Praz, The House of Life, Oxford University Press, London, 1964 - George Perec, Species of Spaces and Other Pieces, Penguin, London, 1997 [1974] - Ayn Rand, The Fountainhead, Signet, New York, 1993 [1943] - Gottfried Semper, The Four Elements of Architecture and other Writings, Cambridge University Press, Cambridge MA, 1989, - Richard Sennett, The Craftsman, Yale University Press, New Haven, 2008 - Richard Sennett, Together: The Rituals, Pleasures, and Politics of Cooperation, Yale University Press, New Haven, 2012
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Selection of books from/about influential architects and designers in relation to (interior) space - Cecil Balmond and Gaston Bekkers, Petra Blaisse. Inside Outside Reveiling, NAi Publishers, Rotterdam, 2007 - Lina Bo Bardi and Olivia de Oliveira, Built Work – Obra Construida, GG Publisher, Barcelona, 2014 - Le Corbusier, Towards a New Architecture, Dover, New York, 1986 - Francesco Dal Co and Giuseppe Mazzariol, Carlo Scarpa. The Complete Works, Rizzoli, New York, 2002 - Peter Eisenman, Inside Out. Selected Writing 1963 – 1988, Yale University Press, New Haven/London, 2004 - Michel Foucault, The order of Things: An Archeology of the Human Sciences, Routledge, London 2002 - Konstantin Grcic, Panorama, Vitra Design Museum, Basel, 2014 - Louis Kahn and Alessandra Latour (ed), Writings, Lectures, Interviews, Rizzoli International Publications, New York, 1991 - Joachim Krausse, R. Buckminster Fuller, The Art of Design Science, Lars Muller, Baden, 1999 - Vincent Ligtelijn and Francis Strauven, Aldo van Eyck Writings 1 & 2, SUN, Amsterdam, 2008 - Adolf Loos, Ornament and Crime: selected essays, Ariadne Press, Riverside CA, 1998 [1913] - Adolf Loos, Creating your Home with Style, Metroverlag, Vienna, 2013 - William McDonough and Michael Braungart, Cradle to Cradle. Remaking the Way We Make Things, North Point Press, 2002 - Ernst Neufert, Architect’s Data, Wiley Blakcwell, New York, 2002 [1970] - Nicholas Olsberg (ed), Between Earth and Heaven. The Architecture of John Lautner, Rizzoli, New York, 2008 - Juhani Pallasmaa, The Eyes of the Skin. Architecture of the Senses, Polemics Series, Academy Editions, London, 1996 - Juhani Pallasmaa, The Embodied Image. Imagination and Imagery in Architecture, AD Primers, Chichester, Wiley, 2011 - Mark Pimlott, Without and Within: Essays on Territory and the Interior, Episode Publishers, Rotterdam, 2007 - Victor Papanek, Design for the Real World: Human Ecology and Social Change, Pantheon Books, New York, 1971 - Cedric Price, The Square Book, Wiley Academy, London, 2003 [1984] - Aldo Rossi, A Scientific Autobiography, MIT Press, Cambridge MA, 1981 - Göran Schildt, Alvar Aalto. The Complete Catalogue of Architecture, Design and Art, Rizzoli, New York, 1994 - Alison and Peter Smithson, Without Rhetoric; An Architectural Aesthetic, Latimer New Dimensions, London, 1973
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- William Allin Storrer, The Architecture of Frank Lloyd Wright, The University Chicago Press, Chicago, 2007 [1974] - Bernard Tschumi, Architecture and Disjunction, MIT Press, Cambridge MA, 1996 - Robert Venturi, Denise Scott-Brown and Steven Izenour, Learning from Las Vegas: The Forgotten Symbolism of Architectural Form, MIT Press, Cambridge MA, 1977 - Peter Zumthor, Atmospheres. Architectural Environments, Surrounding Objects, Birkhauser, Basel, 2006
Selection of literature and websites about (former) INSIDE tutors/offices of tutors - see: www.doepelstrijkers.com, www.oma.com, www.mvrdv.nl, www.superuse-studios.com, www.zus.cc - Aaron Betsky and others, What is OMA. Considering Rem Koolhaas and the Office of Metropolitan Architecture, NAi Publishers, Rotterdam, 2004 - Ed van Hinte, Jan Jongert and Césare Peeren, Superuse. Constructing new architecture by shortcutting material flows, 010 Publishers, Rotterdam, 2007 - Andreas and Ilka Ruby, MVRDV Buildings, nai010 Publishers, Rotterdam, 2013 - ZUS (Zones Urbaines Sensibles), Republic. Towards a new spatial politics, NAi Publishers, Rotterdam, 2007 - ZUS (Zones Urbaines Sensibles), City of Permanent Temporality. The Making of Luchtsingel, Schieblock, Test Site Rotterdam, nai010 Publishers, Rotterdam, 2015
Selection of relevant magazines and websites from Dutch architecture foundations and publishers OASE: www.oasejournal.nl/en VOLUME: www.volumeproject.org DASH, Delft Architectural Studies on Housing: www.dash- journal.com ARCHINED: www.archined.nl OPEN: www.onlineopen.org MARK and FRAME: www.frameweb.com MONU, www.monu-magazine.com De Architect, www.dearchitect.nl
Learning hours Note: 1 EC = 28 hours. The total of EC’s must equal [the number of contact hours plus the hours of self-study] divided by 28. Nr of Credits (EC’s) Semester 1: 4 EC Semester 2: 4 EC Semester 3: 4 EC (in the fourth semester the Theory programme will be integrated in the Graduation studio and no longer seperately assessed and graded.)
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Teaching hours Total study time per semester: 14 days (supervised + (according to independent) schedule) Hours of self-study Total study time per semester: 14 days (supervised + independent) Name the three most important competencies your course strives to improve. (Max 3!) Creativity Critical reflection X Growth and Innovation Organizing Communication X Awareness of the (social, economic, X political)Collaboration environment
Course SKILLS Tutor Various SKILLS tutors Class(es) Year 1 and 2 Scheduled Semester 1, 2 and 3 (only first half) COURSE Skills are advanced competences and techniques that enable DESCRIPTION students to carry out projects within the Studios more (What is it about?) proficiently. INSIDE does not educate interior architects to cover a strictly defined field but, instead, focuses on the position. COURSE Skills are advanced competences and techniques that enable OBJECTIVES students to carry out projects within the Studios more (What can you proficiently. INSIDE does not educate interior architects to achieve?) cover a strictly defined field but, instead, focuses on the position that architects, responsible for the space that people relate to most directly as users of space, adopt in a process of spatial change. Through this focus, the specific knowledge of materials, techniques, skills, rules and regulations and organizational forms that the student will later encounter in professional practice are considerably more comprehensive than can be captured in a two-year master’s course. Within the Skills programme, we seek instead to impart skills on the basis of insight than on the basis of knowledge and ultimate mastery. With the Skills programme we make students aware of the necessary skills and of recognizing ways to perfect them. Students learn to distinguish which skills are required or possible in a given design context, what the most important conditions are for the development and application of these skills within this context, and how these skills can be mobilized and managed with this context. The skills are offered in such a way that students learn to practice them to such an extent that they can refine them on their own.
Skills in the third semester
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As part of a 'learning by teaching' process, graduating students are given the task of defining and organizing their own Skills workshop during the Graduation Studio. The students formulate a research question based on their own graduation project, and other students can become involved in the workshop to explore and develop a skill connected to that question.
LEARNING In the SKILLS programme, also approximately 14 days in ACTIVITIES total, various guest (What will you do?) lecturers give workshops on different skills. The programme comprises an intensive introduction enabling students to familiarize themselves with INSIDE and then focuses on skills important for the STUDIOS. GUIDELINES ON Requires at least 3 points per semester. PROPAGANDA can GRADING AND be used for compensating missed studypoints for THEORY- STANDARDS OF SKILLS-FLOWS or TRAVEL. ASSESSMENT (How will you be The Skills workshops will not be reviewed. Students keep a graded?) Skills-log in that they make a report of their experiences with the workshops. At the end of the semester the students hand in their logs that contain of all workshops: • a short description of your interpretation of the task • a description of what you did in the workshop • an interpretation of what you have learned from the workshop • possible comments for changing or improving the workshop • Images of your work in the workshop Process all the results in a pdf on A4 size (not bigger than 8MB in total) and send it to [email protected] and cc [email protected].
With four out of five workshops the student receives 3 study points. The necessary last study point for successfully finishing the semester can be compensated. For this compensation the student offers proposals to the Head of INSIDE for every missed SKILLS workshop, containing: • the kind of SKILL the student will investigate individually • the way the student will investigate the SKILL • the sources of information on the SKILL • the final results of the investigation • the moment of completion of the program. After receiving the proposal the Head of INSIDE, in consultation with at least one other INSIDE teacher, will decide within a two week period if the proposal(s)
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are accepted.
ESSENTIAL READINGS: not available (Journals, textbooks, website addresses, films etc.) Learning hours Note: 1 EC = 28 hours. The total of EC’s must equal [the number of contact hours plus the hours of self-study] divided by 28. Nr of Credits (EC’s) Semester 1: 4 EC Semester 2: 4 EC Semester 3: 2 EC Teaching hours Total study time in Semester 1 and 2: 14 days (supervised + (according to independent) schedule) Total study time in Semester 3: 7 days (independent)
Hours of self-study Total study time in Semester 1 and 2: 14 days (supervised + independent) Total study time in Semester 3: 7 days (independent)
Name the three most important competencies your course strives to improve. (Max 3!) Creativity X Critical reflection Growth and Innovation X Organizing Communication Awareness of the (social, economic, X political)Collaboration environment
Course TRAVEL Tutor TRAVEL Tutor Class(es) Year 1 and 2 Scheduled Semester 1, 2 and 3 (only first half) COURSE At INSIDE the basis of every design lies in observing, DESCRIPTION researching and analyzing a situation. (What is it about?) The best attitude for doing that is to travel to places and thus experience 'a tremendous sense of liberation and, at the same time, to be very aware of all the dangers and limitations that surround you'. (Lebbeus Woods, as quoted in an interview with Jan Jongert). At INSIDE we aim to foster this state of mind through experiencing the real world in the Travel programme.
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COURSE We are tempted to think that we know places once we have OBJECTIVES seen appealing presentations in publications or on the (What can you internet. That’s until we really go there. Only by travelling achieve?) somewhere you can see and feel the real spaces, smell the real odours, and meet the real people. And there is a lot to see and feel everywhere. Newly designed spaces that you only know from renderings in magazines, and places that are on the brink of change. Famous monuments and meaningful places you didn't know yet. Well designed as well as poorly designed spaces. Special and ordinary ones. And spaces that make you reflect on social issues, history, politics, religion and economic situations, or that are simply fascinating in their own right. Hans Venhuizen takes the students to cities, squares, polders, industrial ruins, architectural highlights, museums and lots of other fascinating places. Students gather impressions, and from that they allow particular phenomena to emerge. Phenomena are more than mere descriptions of a situation. A phenomenon can be anything that reveals the 'essence' of a situation, or at least your personal perspective on the situation, or just a small but meaningful detail. Phenomena are a tool to frame a situation and accompany you during the process of designing a spatial change.
LEARNING The Travel programme is not about accumulating knowledge ACTIVITIES about history, architecture, cities and architects from the (What will you do?) places visited. Students can find that information on Wikipedia any time they wish. Rather, the purpose of Travel is to focus on what you see that, in one way or another, arouses your curiosity, makes you wonder how it came about, gives you a gut feeling of importance although you don't know why yet. Travel is about looking for things that trigger the intuition of designers. So there is not one right way to do it, because it’s a personal thing. Everybody finds different things because it is about an individual’s way of looking at the world as a designer. The Travel programme trains the ability of students to intuitively see, isolate and get a grip on the things that matter as a designer. It is not research in itself but an intuitive way of looking at situations that helps them to steer, colour and sift through research findings in their own specific and personal way.
The next step after gathering observations and taking them along long enough to reveal their quality, is to convince others of these special qualities. In showing (through images) and describing (through text) other people can start believe in them too. But this describing should not be done in a too poetic way, students should try to show and name the qualities they have discovered as precise as possible. To communicate observations turned into phenomena in a convincing way is a (mostly graphic) design task in itself. Also the presentation of the phenomena need attention. Students
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should care for the organization and presentation to use the presentation to strengthen the communicative quality of their phenomena.
With the presentation of the phenomena the students are also asked to present a 'report' of the travels, where did you go to when, to give an overview on how they discovered the world around them. Even if they did not find any phenomena on those locations it is important to show the route they took.
TRAVEL in the third semester In the third semester the students are asked to organize one Travel day for their fellow students. This day encompasses a chain of experiences unlocked by a trip. This chain of experiences represents, illustrates or questions the individual fascinations and points of departure for the graduation project.
1 Consumer perspective - Gather observations in an open and curious way • Join the TRAVELS organized by INSIDE in an open and curious way • Check the information and links that you can find or that are sent to you, or not, it is up to you how you prefer to travel • And organize your own TRAVELS to locations that interest you • Make it an effort to put yourself in TRAVEL-mode every time you leave your house and your comfort zone • Take the information you meet and that was given to you in, associate it with things you know or that makes it think you of, combine it, document it • Gather impressions without filtering too much, take pictures, make drawings, find brochures and texts.
2 Researcher perspective - 'Open up' your observations by catching the essence and putting that into words • After traveling look back at what you have found. • Make a wide selection of impressions in images and other information you have gathered • Print them out and put them all on a table or floor so you can look at the whole picture from a distance • Try to distinguish what you think you saw, what you think you should have seen from what turned out that you actually saw. • Let your intuition guide you through your documentation and see combinations, things that are fascinating, things you did not notice before, things that are out of the ordinary, or just especially common • Through observing, associating, reflecting start analysing, understanding, filtering and selecting • Establish observations that seem essential, critical, funny, absurd or otherwise special • Catch the essence of these observations in as many words as necessary.
3 Producer perspective - Turn your observations into phenomena by making them applicable to other situations
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• Find out more about the observations that seem to matter • From observing and gathering more information try to establish how these things came about • Try to establish the dynamics behind these observations, for instance what could have been the chain of decissions that caused the observed situation, what makes this situation like this, what are the qualities of it, how can you pull it apart and name the different influences • Name the elements that caused the situations you observed, distinguish the decisions, coincidences, accidents, designs, cultural habits, political decisions, social preferences, etc. etc. • Analyse and name why do you think the observed situation is like this and what can you learn from that by making the observation in the situation as generic as possible • Turn the observation into a 'rule' that makes it applicable in other situations • By doing that you finally turn observations into phenomena.
GUIDELINES ON Requires at least 3 points per semester. PROPAGANDA can GRADING AND be used for compensating missed studypoints for THEORY- STANDARDS OF SKILLS-FLOWS or TRAVEL. ASSESSMENT (How will you be At the end of the semester the students present a travellog graded?) with: • descriptions of at least 14 days of travel you made alone and at least 5 of the travels made together with INSIDE. Show it on a map, divided in time, as a list or in any form you prefer. As long as your (character of) traveling is clearly readable. • at least 12 PHENOMENA you filtered out from your travels. That means clear and compact observations showing curiosity, understanding and insight in (aspects) of the situations you observed. The observations should be reduced to one or two images, photos or drawings and should be combined with a short text on what you have seen, how did it come about and how you can use it for yourself. Process all the results in a pdf on A4 size (not bigger than 8MB in total) and send it to [email protected] and cc [email protected].
If the student has not successfully finished the First Semester, INSIDE allows the student to continue his/her studies in the Second Semester by giving him/ her one or more extra tasks. The evaluation of these tasks will be decisive for
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the result of the First Semester. If an extra task is not relevant or not necessary, for example if the student’s work shows a clear progress, or when the result of the extra task is not satisfactory, the student can compensate the missing points at the end of the Second Semester. If the student finishes the First Year with success, he/she will be automatically admitted to the Second Year, regardless his/her results of the First Semester. If however, the student’s result at the end of the year is not satisfactory, he/she can be given an extra task that will be evaluated before the start of the Second Year. The INSIDE teachers can also collectively advise the student to stop his/her studies at INSIDE or to redo the entire First Year. If the extra task does not lead to a positive evaluation, the students cannot start the Second Year studies at INSIDE, although he/she can still decide to redo the First Year. ESSENTIAL READINGS: not available (Journals, textbooks, website addresses, films etc.) Learning hours Note: 1 EC = 28 hours. The total of EC’s must equal [the number of contact hours plus the hours of self-study] divided by 28. Nr of Credits (EC’s) Semester 1: 4 EC Semester 2: 4 EC Semester 3: 2 EC Teaching hours Total study time in Semester 1 and 2: 14 days (supervised + (according to independent) schedule) Total study time in Semester 3: 7 days
Hours of self-study Total study time in Semester 1 and 2: 14 days (supervised + independent) Total study time in Semester 3: 7 days
Name the three most important competencies your course strives to improve. (Max 3!) Creativity Critical reflection X Growth and Innovation X Organizing
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Communication Awareness of the (social, economic, X political)Collaboration environment
Course PROPAGANDA Tutor Lotte van den Berg Class(es) Year 1, for compensating SKILLS, THEORY, FLOWS and TRAVEL Scheduled Semester 1 and 2 COURSE The PROPAGANDA programme of 7 days per semester DESCRIPTION consists of active (What is it about?) participation to INSIDE’s communication activities: contributing to the website, Facebook and working on publications. Participation is voluntary. Students receive WILDPOINTS to compensate missed programme. COURSE Experience in marketing and PR, making INSIDE visible to OBJECTIVES the outside world in an attractive way. (What can you achieve?) LEARNING Five teams will be compiled for working with • the INSIDE ACTIVITIES website • Social Media • Lecture program • Open Day • (What will you do?) INSIDE magazine. At the end of the semester the students present the results of his/her participation to the PROPAGANDA activities in a pdf on A4 size (not bigger than 8MB in total). Participation is voluntary and will be appreciated with two studypoints that can be used for compensating missed studypoints for THEORY-SKILLS- FLOWS or TRAVEL. GUIDELINES ON Wild points for Propaganda can be obtained by active GRADING AND participation to INSIDE’s PR STANDARDS OF activities. At the beginning of the semester students sign up ASSESSMENT for one of the INSIDE (How will you be propaganda tasks. graded?) ESSENTIAL READINGS: not available (Journals, textbooks, website addresses, films etc.) Learning hours Note: 1 EC = 28 hours. The total of EC’s must equal [the number of contact hours plus the hours of self-study] divided by 28. Nr of Credits (EC’s) Participation is voluntary and will be appreciated with maximum two studypoints per semester that can be used for compensating missed studypoints for THEORY-SKILLS- FLOWS or TRAVEL.
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Teaching hours approximately maximum 7 days in total of voluntary (according to participating the programme by writing, organizing, posting. schedule) Hours of self-study approximately maximum 7 days in total of voluntary participating the programme by writing, organizing, posting. Name the three most important competencies your course strives to improve. (Max 3!) Creativity Critical reflection X Growth and Innovation Organizing X Communication X Awareness of the (social, economic, political)Collaboration environment
For more information please visit: www.enterinside.nl
Staff (INSIDERS)
Head of department Hans Venhuizen: [email protected]
Coordinator Lotte van den Berg: [email protected]
Tutors 2016-2017 Studio Makkink & Bey Raumlaborberlin Superuse Studios OMA MVRDV TAAT Anne Hoogewoning Louise Schouwenberg Hans Venhuizen
Other people involved in the 2016-2017 programme Lucas Verweij Mauricio Freyre Gert Dumbar Erik Jutten Vincent de Rijk Leeke Reinders Frans Bevers Jan van Grunsven OBSERVATORIUM Cloud Collective REFUNC
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Contact Lotte van den Berg: [email protected]
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2.3.3 Master ArtScience
Facts
Educational variant Full-time Duration full-time 2 years Degree Master of Music Credits (ECTS) 120 ECTS Head of department Taco Stolk
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
The master's programme ArtScience, like the bachelor's programme, is based on the concept of the open curriculum. Because the master students are admitted on the basis of a specific research plan and because two years is too short to familiarize themselves with the Interfaculty before making choices, this research plan is translated into a study plan together with the coaches. This study plan maps out the individual path of the student through the teaching modules on offer within the Interfaculty and related departments and institutions.
The ArtScience Interfaculty offers five forms of instruction: research projects, labs, individual coaching, theoretical courses and workshop-style courses. These activities are open to Master as well as Bachelor students. There are seven different ArtScience labs, each of which is a combination of a laboratory, a production facility and a working ensemble of teachers, students, alumni and guests. Each lab is also a platform to offer coaching and space for projects by individual students, and a channel for the accumulation, documentation and dissemination of their research results and artworks. The aim is to gradually integrate the research proposals of the Master students with this new lab structure. Part of the study trajectory can consist of courses outside of the Interfaculty. Likely choices are courses offered elswhere at the Conservatoire, the Academy and the MediaTechnology Master of Leiden University, but other choices in Leiden or at other universities are also possible. In the past, students have followed courses in Sonology, Singing, Percussion, Photography, Print Making, Art History, Philosophy, Electronics, Sociology, Bio-informatics, Art and Genomics and Medical Anatomy. We would like to encourage students to explore other possibilities and surprise us.
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Self-study and coaching Every Master student has two teachers who coach the individual work, reflect on it together with the student, offer a context for it, suggest literature and other sources and often assist in solving practical problems. A considerable amount of time within the Master’s programme is reserved for individual work and selfstudy.
Master Meetings Master Meetings are held approximately twice a month. They are gatherings of all Master students under the guidance of Arthur Elsenaar and Eric Kluitenberg. These meetings focus on students presenting their research results in spoken and written form and on discussing matters of methodology. Students will be helped to develop a critical context for their projects and to structure their research process.
Presentations and evaluations Collective presentations of individual projects are organised at the end of eich semester. The mid-term presentations in December/January concentrate more on the research process. In June, students are expected to show a finished artistic work that will be evaluated in the context of the research, with the general competences for the Master’s programme in mind. At the end of May the graduates of the Bachelor’s and the Master’s organise a public preview of the final exam projects. The remaining month from the preview to the exam can be used for rehearsals, fine-tuning and other enhancements on the basis of experiences from the public preview.
Courses and ECTS Credit Points (ECTS points) are assigned two times a year, at the end of each semester and before the presentations. Each credit point represents 28 hours of ‘study load’. Students should earn a total of 60 credit points per year. Part of the courses are obligatory, other courses can be chosen regarding certain rules and besides that there are a number of credit points for elective courses or alternative study related activities (this is called the individual study track (IST) or portfolio).
Credit Points Overview WILL BE PUBLISHED SHORTLY
See also: For detailed information about the Master ArtScience please check the interfaculty website General Study Information: 1.4 Study Information
Staff
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Head of department Taconis Stolk
Coordinator: Marisa Manck
Lecturers: Cocky Eek Arthur Elsenaar Edwin van der Heide Kasper van der Horst Michiel Pijpe Robert Pravda Taconis Stolk
Guest lecturers: Pieter van Boheemen Lex van den Broek Evelina Domnitch Lucas Evers Bernard Foing Dmitri Gelfand Marcus Graf Roel Heremans Gideon Kiers Eric Kluitenberg Katinka Marac Ine Poppe Frank Theys Lucas van der Velden Caro Verbeek
Additional information For more information please visit: www.interfaculty.nl
Contact [email protected]
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2.3.4 Master of Arts in Fine Art and Design – Artistic Research
Facts
Educational variant Full-time Duration full-time 2 years Degree Master of Music Credits (ECTS) 120 ECTS Head of department Janice McNab
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content & structure
The Master Artistic Research (MAR) is an intensive two-year study program aimed at an international group of students working in the field of visual art, who also have an interest in research processes and critical reflection within their art practice. The MAR is a collaboration between the Royal Academy of Art and the Royal Conservatory, both in The Hague, who together make up the University of the Arts The Hague.
The MAR seeks to educate artists to become autonomous, critically aware artistic researchers, and the constantly developing program places at its center the exploration of each student’s personal creative trajectory, the production that defines this, and critical reflection on the processes, inspirations, and material results of this. Creativity is defined as a researching process where results are necessarily unpredictable, but where critical reflection can open up the complexity of this within the aesthetic, social, political, and historical field. Emphasis is also placed on extending classical research skills in all areas, such as the ability to gather relevant material; to undertake close reading, listening, and looking; to locate and understand connections within a matrix of research or archival materials; and on understanding how the materials of art practice might transmit their meanings. At the MAR, we are open to a wide interpretation of what it means to be an artist, and welcome practices that touch on other disciplines, and those that are collaborative. Our link with the Royal Conservatory also often attracts visual artists for whom sound or music are important aspects of their practice.
The core teaching team is made up of artists and theorists, and supported by an extensive and international guest program of artists, curators, poets, musicians, and
Study Guide Royal Academy of Art, The Hague 2017/2018 378 theorists. Specialist teaching clusters around the Research Days, delivered as a mix of lectures, seminars, workshops, and site visits, with both individual and group teaching. The program also includes excursions, projects with other academies, and department exhibitions, which are important for professional development and for sharing and testing research results with a wider public.
The MAR has its own dedicated studio spaces, where much of the core teaching takes place. Emphasis is placed on the studios as both independent workplaces and a stable community environment for our international group of students, a place to foster a strong peer-group and a secure environment for artistic experimentation. Students also have access to the extensive workshop facilities of the Royal Academy and as well as the practice rooms, electronics workshop, and library of the Royal Conservatory.
Courses and ECTS
COURSE DESCRIPTION YEAR 1
Semesters 1 + 2
Title: 1. CORE PRACTICE + RESEARCH: STUDIO PRACTICE YEAR 1 (1.1, 1.2, 1.3, 1.4) Content: Students define the topical direction their artistic work and research activities will take through the research proposal they submit on application to the program. The work they do within Core Research will grow out of this, and be the central practice of their studies. Curiosity lies at the heart of a creative practice, and deepening and creatively exploring the independent thinking of each individual student’s trajectory is closely supported by regular meetings with core tutors for each year. Their role is primarily to facilitate the self-directed development of the student’s creative work and the interests that underlie it. Discussions with tutors may range over many areas, but emphasis is placed on curiosity and experiment on the one hand, and on the other, the development of a heightened self-reflexivity in relation to all aspects of this practice. The development of their theoretical/ critical research, and how their creativity and criticality support and enrich each other is supported by both the studio and the theory tutor. Through their close and supportive relationship with their tutors, students develop the ability to more precisely formulate the questions or dilemmas their work addresses. This should then be reflected in the work they produce - as ongoing studio practice, and in written and verbal presentation forms.
Objectives: Core Artistic Research: Studio Practice forms the central pillar of the student’s work over two years. This aspect of the curriculum is understood to be woven together with a theory and writing practice through the student’s daily activities or making, researching, reading, writing, and discussion. The learning objectives feed into each other, and so are assessed as a whole, as well as separately.
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Each student should develop the conceptual and experiential tools needed to: gather and critically reflect upon their individual research material; creatively embed these source materials and reflections into their creative work; critically reflect upon this creative work; develop the technical skills required to realize their ideas and experiment within this practice; and develop their understanding of what research means in relation to their individual artistic interests.
Through reviews and assessments of this work, students develop the ability to share their thinking and making processes, and test their ideas and the reception of their creative work within a supportive peer group atmosphere.
The high level of creative freedom within this part of the program, and at the heart of the Masters in Artistic Research, requires a very responsible attitude of each student, which is in itself a solid preparation for a future career as an independent creative practitioner. This is an active mode of learning, not a passive one. In order to support this creative freedom however, the MAR offers each student an involved and dedicated teaching team in each year. These tutors together support the student’s learning process through regular tutorials and group discussions, by suggesting cultural or theoretical material relevant to the student’s individual concerns, and by occasional site visits. Contact with tutors is mostly through a mix of one-to-one discussions, occasional group discussions and critiques, and site visits.
Assessment: The students’creative work is reviewed by their core teaching team mid- way through each semester and at the end of each semester. Study points are awarded only at end of semester assessments. Tutors give points in relation to their areas of responsibility, and in relation to the learning objectives stated in the assessment section of this guide. Tutor: Babak Afrassiabi and Yael Davids Literature: Examples of artistic practice, written texts, and other materials attuned to the interests of each individual student are selected as appropriate during the semester.
Credit Points: Per semester 1.1 Ongoing studio production: 6 ECT (semester 1) 5 ECT (semester 2) 1.2 Research development through production 5 ECT per semester 1.3 tutorials +feedback sessions/preparation, attendance, participation: 2 ECT per semester 1.4 Reviews and assessments/preparation and presentation: 1 ECT per semester
Title: 1. CORE PRACTICE + RESEARCH: THEORY AND WRITING, YEAR 1 (1.5, 1.6)
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Content: As new students entering the MAR, you may all have widely varying experiences of working with theoretical texts. Reading group will open up how concepts and theoretical positions can help you become more consciously aware of your relationship with the world, and with artistic practice. This will help you develop a framework of ideas that makes sense for your individual interests, and which you can personally explore in a written thesis. The thesis is a two year project of between 12,000 – 18,000 words, related to your studio research enquiry, its conceptual framework and relation to practice, and how these research interests are situated in the wider cultural field.
1.5 Reading Group
You will be asked to read and discuss a carefully selected and constantly developing ‘contemporary canon’ of texts. In the first instance, these will be chosen by the theory tutor in order to reflect on key concepts and histories relevant to both the group and the moment. As the year progresses, students may also suggest texts for discussion. Reading Group texts will be digitally shared at least one week before each reading group session.
1.6 Thesis
You will be supported in your individual written exploration of the theories and materials most relevant to your work. This is a two-year project, but clear writing deadlines will be issued over the course of each year. You will also be given a summer writing task, to further develop your writing over the long break.
Objectives: Specific objectives of the thesis are the development of your ability to clearly organize and articulate ideas and materials, to show the ability to analyze and contextualize this material within a wider field of knowledge, and to generate a coherent body of writing in a style and form relevant to your artistic enquiry. Your writing should also reveal external awareness of relevant artists and ideas. The Reading Group is there to support these goals by: offering an insight into some of the overarching ideas of our time; generate individual and group development of an historical frame of reference, and of analytic ‘thinking tools’. This builds a framework of ideas and language shared by the group, so you more ably discuss together, and functions as a training place for the development of the academic skills of close reading, textual analysis, and argumentation. The success of these learning objectives should become transparent through group discussion, but importantly also in the written work of the year.
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Assessment: 1.5 Reading Group: homework reading and active participation 3 ECT per semester
1.6 Thesis: 5 ECT (semester 1) 4 ECT (semester 2)
Title: 2. PUBLIC PRESENTATION OF WORK, Year 1 (2.1, 2.2) Content: At the end of year 1 students organise an exhibition/presentation of research outside the academy, in the city of The Hague. In 2017/18 this project will be supported by the curator team at 1646. Through a series of studio visits and planning meetings, students will work with 1646 to develop their works into a group presentation moment. Over and above the successful presentation of their own research, students each share the responsibilities of group installation and supervision of the show, creating publicity for their project, and programming their event.
Year 1 students also help with the installation of the year 2 end-exam exhibition, working as support-buddies to year 2 students. This practical experience is invaluable for your own end-exam presentation.
Objectives: To uncover new ways of bringing your ongoing artistic research to a formal moment of realization. This is an important way to clarify processes, and reveal aspects of work that may not be apparent in the studio. Exhibiting/performing demands a specific sort of attention, and focusses reflection on reception. Working in a group develops your understanding of your own artistic practice in relation to other works, how to deal with physical installation issues, group event organization. And your ability to function as a professional in a team. Critical reflection on these moments is important for professional development. Assessment: Active participation in all aspects of the activity Tutor: Core tutors and guests Literature: Appropriate literature on exhibition history may be offered by tutors or visiting curator Credit points: 2.1 preparation and completion of exhibition: 3.5 ECT 2.2 Assistance with year 2 end exam installations: 0.5 ECT Schedule: semester 2 Location: external venue in The Hague
Title: 3. INTRODUCTION: 3.1 Introduction week, Year 1
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Content: Students are introduced to each other and to the dept. They are given a tour of the technical departments and workshops of academy, led through matriculation procedures and they receive their student card. A social event and group activity introduces new students of all master programs to each other. On the first teaching day students from both years make a short presentation of their current work and research interests and there is discussion. All teaching staff are present. Objectives: Immediate orientation in the geography, administration, and research life of the dept. The focus is on participation, sharing and immersion in their new context: by doing, by example, and by discussion. Credit points: 1 ECT including 7 hours preparing a presentation
Title: 3. INTRODUCTION: 3.2 Introduction to Artistic Research Content: A mix of lectures, seminars, and group workshop activities organized to stimulate an exchange of perspectives on the broad subject of artistic research. A short theoretical reader will be prepared and mailed out to students before the start of semester. This will be a point of reference in class. Objectives: To develop awareness of some of the possibilities of artistic research as a means of engagement and production, and as a discursive field. Students are led to engage with a range of conceptual frameworks and artistic practices, and are invited to consider their own position in relation to these. Credit Points: 1 ECT including 10 hours preparatory reading
Title: 4. RESEARCH DAYS, YEAR 1
Content: As a counterpoint to Core Artistic Research, the Research Days offer a taught program of lectures, seminars, workshops, and projects, which focus attention on the methodologies of a researching artistic practice. The content of the Research Days is fluid and designed to be responsive to a constantly changing contemporary art and research environment, and to the changing interests of students. The Days will be delivered as a mix of lectures, seminars, practical workshops, and site visits, and taught by both core staff and invited guests. Research Days will be marked in the calendar as RD.
Key thematic areas in 2017-2018 are The Archive, The Exhibition, and The Publication. The days also include our visiting artist program.
Objectives: Research Days are set up to explore and question methodologies related to artistic practices - how experience and meaning are created, encountered, and re-presented. They develop the student’s researching ability, offer tools for innovative and expanding creative ability and new ways and means to reflect on the given. Presentations and seminars also inform your professional development through experience and example. Assessment: Active participation and completion of workshop activities
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Tutors: Core tutors and guests Literature: Literature will be supplied when appropriate Credit points: 5 ECT per semester, including preparation and completion of creative projects begun in the Research Days
Students may additionally attend selected course at the Royal Conservatory (KC) and the University of Leiden. These should be agreed with the head of dept at the beginning of each semester, before the start of the chosen course. Study points for these courses can be allocated as additional points, or, on agreement with the dept, replace Research Days points. They cannot be used to replace points in other parts of the curriculum.
Title: 5. EXCURSION Content: Each semester there will be a short excursion planned to a relevant city, event, or alternate working space. Objectives: Excursions are designed to broaden cultural horizons, bring in new contemporary material, and meet other artists. Assessment: Participation. Although the dept strives to keep the cost of excursions to a minimum, students are required to contribute towards the cost of travel and overnight accommodation. If any student chooses not to participate in the excursion, a compensatory activity will be agreed with the dept. Tutors: Core tutor or head of dept Literature: none Credit points: 1 ECT per semester Schedule: once per semester
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CURRICULUM OVERVIEW MASTER ARTISTIC RESEARCH YEAR 1
code SUBJECT SEM SEM 1 2 1. Core Practice + Research points allocated by core tutors MAR- 1.1 Ongoing studio production 6 5 CPR 1.2 Research development through 5 5 production 1.3 Attendance and active participation 2 2 meetings with tutors, planning meetings, feedback sessions
1.4 Reviews and assessments 1 1 preparation and presentation of work
1.5 Reading Group 3 3 preparation and participation 1.6 Thesis 5 4 (includes reading of theoretical/critical material, archival and other researching, and writing) MAR- 2. Public Presentation of Work PPW 2.1 preparation of work + space/ group working/ 0 3.5 tutorials with curator/ publicity development /attendance during presentations
2.2 Assistance with year 2 end exam installations 0 0.5 MAR- 3. Introduction IAR 3.1 Introduction week 1 0 participation + presentation of own work
3.2 Introduction to Artistic Research, incl. prep 1 0 reading MAR-RD 4. Research Days 5 5 Advance reading; other preparation sessions; attendance and active participation; production and presentation of projects, site visits, visiting artist tutorials MAR-E 5. Excursion 1 1
Total per semester 30 30
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COURSE DESCRIPTION YEAR 2 Semesters 3 + 4
Title: 1. CORE PRACTICE + RESEARCH: STUDIO PRACTICE YEAR 2 (1.1, 1.2, 1.3, 1.4) Content: Students are asked to critically revisit their research ideas at the start of year 2, and are supported in their further development by their core studio tutor. Emphasis is placed on a deepening understanding of your practice, and clear materializations of studio work.
Objectives: Studio Practice continues to be the central pillar of your studies, woven together with your theory and writing practice through daily activities or making, researching, reading, writing, and discussion. The learning objectives feed into each other, and so are assessed as a whole, as well as separately.
Each student should further develop the conceptual and experiential tools needed to: gather and critically reflect upon their individual research material; creatively embed these source materials and reflections into their creative work; critically reflect upon this creative work; develop the technical skills required to realize their ideas and experiment within this practice; and develop their understanding of what research means in relation to their individual artistic interests.
The high level of creative freedom within this part of the program, and at the heart of the Masters in Artistic Research, continues to require a responsible attitude, itself a solid preparation for a future career as an independent creative practitioner. This is an active mode of learning, not a passive one, and you are responsible for the development of your work. Tutors support your learning process through regular tutorials and group discussions, and by suggesting relevant cultural or theoretical material, and by occasional site visits. Contact with tutors is mostly through a mix of one-to-one discussions, occasional group discussions and critiques, and site visits.
Assessment: Twice per semester. Study points are awarded only at end of semester assessments. Tutors give points in relation to their areas of responsibility, and in relation to the learning objectives stated in the assessment section of this guide. Tutor: Katarina Zdjelar and Yael Davids Literature: Examples of artistic practice, written texts, and other materials attuned to the interests of each individual student are selected as appropriate during the semester.
Credit Points: 1.1 Ongoing studio production: 6 ECT in semester 3 1.2 Research development through production: 5 ECT in semester 3 1.3 tutorials+ feedback sessions/ Preparation and active attendance:
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2 ECT per semester 1.4 Reviews and assessments/ preparation and presentation of work: 1 ECT per semester
Points for ongoing Studio Production and Research Development through Production become part of the ‘Graduation Project and Assessment’in semester 4 (see below)
Title: 1. CORE PRACTICE + RESEARCH: THEORY AND WRITING, YEAR 2 (1.5, 1.6)
Content: In year 2 Reading Group is replaced by Collective Theory Days. Students decide with their tutor on texts for discussion, and a mode of shared presentation. You will continue to consider a variety of theoretical, contextual, and practical aspects of written material, but in a way that focusses more specifically on your interests in relation to your developing artistic practice. There is also an emphasis on the clear articulation and lay-out of your ideas and interests and completion of your 12,000 – 18,000 words thesis. There are fewer Collective Theory Days in the final semester as the focus is on your writing.
Objectives: Theory and Writing in the second year continues your theoretical development, but places more emphasis on your personal articulation of ideas. The objectives of the thesis are the same as in year 1: the development of your ability to clearly organize and articulate ideas and materials, to show the ability to analyze and contextualize this material within a wider field of knowledge, and to generate a coherent body of writing in a style and form relevant to your artistic enquiry. Your writing should also reveal external awareness of relevant artists and ideas. The success of these learning objectives should become transparent in your final thesis presentation.
Assessment: Attendance and participation in Collective Days, and successful completion of thesis. This is judged according to the learning outcomes listed later in this book.
Credit Points: 1. 5 Collective Theory Days, reading and participation:
2 ECT (semester 3)
1 ECT (semester 4)
1.6 Thesis:
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6 ECT (semester 3)
4 ECT (semester 4)
Title: 2. GRADUATION PROJECT AND ASSESSMENT (2.1, 2.2, 2.3, 2.4) Content: Much of semester 4 is taken up with the making and presentation of the student’s final graduation project. A plan for this is developed with core tutors at the beginning of semester 4. The student will work throughout the final semester to develop and realize this plan as fully and creatively as possible. This, together with the thesis, also completed in semester 4, are the culmination of two years of creative work and study. The Graduation Presentation is supported by a professional curator, who works with the year group, and through tutorials and group meetings, students and curator decide together on the most appropriate format for the presentation, and the nature of a supporting publication. This publication, or catalogue, may be further developed by the curator, or someone else may be chosen to direct this part of the project. Objectives: The creative resolution of an artistic research trajectory in a professional presentation of work that reveals creative ability, their innovative and artistic responses to their research materials, their organizational ability, and professional competence to share their creative work with a public. Formalizing a written plan for the exhibition is an important didactic tool, revealing problems and gaps the student may have been avoiding. In their longer writing project, they bring together the many strands of research that have informed this work, and reveal their ability to critically self-reflect upon, and culturally position this work. Assessment: Assessment of the research trajectory, and the final project, the ‘end-exam,’ happen in the context of the Graduation Project exhibition. This is assessed by the year two core teaching team, the head of dept, and an external examiner. The external examiner will visit each student, and read the theses, prior to exam day. Tutors: All year 2 tutors, external assessor, curator Credit points: 2.1 Ongoing studio production and research development through production: 11 ECT 2.2 Public presentation of work: 3 ECT 2.3 Publication: 3 ECT 2.4 Final exam, and preparation: 1 ECT
Title: 3. INTRODUCTION: 3.1 Introduction week, Year 2
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Content: Students are introduced to the new year 1 students and find their work spaces in the studios. They are again offered the tour of the technical departments and workshops of the academy. Over the following days, students and staff (years 1 and 2) present their practices to each other. Year 2 students are also asked to elaborate on their written research proposals. Each presentation is followed by group discussion. Objectives: Re-orientation in the research life of the dept for the new academic year, practice in organization and presentation of creative and research materials, and communicative ability. Students reveal what is important to them in relation to their personal artistic practice. The focus is on participation, sharing, and re-immersion in the life of the dept. Assessment: Active participation, clear presentation of artistic work, clear expression of area of research Tutors: All teaching staff Literature: NONE Credit Points: 1 ECT including 10 hours preparation of your presentation.
Title: 3. INTRODUCTION: 3.2 Introduction to Artistic Research Content: In semester three, second year students revisit the Introduction to Artistic Research seminar, with all the questions about the ontology of artistic research that they have developed over their first year of study. In addition, year 2 students are asked to present an artist of their choice whose work they see as a good example of a researching practice. Objectives: The goal of the three days of lectures, group discussions, seminars and workshops remains an exploration of the possibilities of ‘artistic research’ as a means of engagement and production, and as a discursive field. Assessment: Active participation Tutors: Core tutors and invited specialists from the field of artistic research. Literature: Artistic Research Reader (supplied) Credit Points: 1 ECT including 10 hours preparatory reading
Title: 4. RESEARCH DAYS YEAR 2
Content: Research Days continue in the second year Objectives: The objective is to lead students to explore and question methodologies related to artistic practices; how experience and meaning are created, encountered, and re-presented. They develop the student’s researching ability, offer tools for innovative analysis and expanding creative ability, and new ways and means to reflect on the given. Presentations and seminars will additionally develop communicative ability and professional competence. Assessment: Active participation Tutors: Core tutors and guests Literature: Appropriate literature will be supplied throughout the year. Credit Points: Semester 3: 5 ECT Semester 4: 5 ECT
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Title: 5. EXCURSION Content: Each semester there will be a short excursion planned to a relevant city, event, or alternate working space. Objectives: These events are designed to broaden cultural horizons, bring in new contemporary material, and meet other artists. Assessment: Participation. Although the dept strives to keep the cost of excursions to a minimum, students are required to contribute towards the cost of travel and overnight accommodation. If any student chooses not to participate in the excursion, a compensatory activity will be agreed with the dept. Tutors: Core tutor or head of dept Literature: none Credit Points: 1 ECT per semester Schedule: once per semester
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code SUBJECT SEM SEM 1 2 1. Core Practice + Research points allocated by core tutors MAR- 1.1 Ongoing studio production 6 0 CPR 1.2 Research development through 5 0 production 1.3 Preparation and active attendance 2 2 meetings with tutors, planning meetings, feedback sessions 1.4 Reviews and assessments 1 1 preparation and presentation of work
1.5 Collective Theory Days 2 1 reading and participation
1.6 Thesis 6 4 (includes reading of theoretical/critical material, archival and other researching, and writing)
MAR-GP 2. Graduation Project and Assessment 0 (18)
2.1 Ongoing studio production and research 11 development through production 2.2 Public presentation of work 3 planning, preparation of space, group working, publicity, installation
2.3 Publication 3
2.4 Final assessment exam 1 MAR- 3. Introduction IAR 3.1 Introduction week 1 0 participation + presentation of own work
3.2 Introduction to Artistic Research, incl. prep 1 0 reading MAR-RD 4. Research Days 5 3 Advance reading; other preparation sessions; attendance and active participation; production and presentation of projects, site visits, visiting artist tutorials MAR-E 5. Excursion 1 1
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Total per semester 30 30
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NOTE ON THE POINT SYSTEM
The MAR uses the European Credit Transfer (ECT) point system, recognized by all European and many global educational institutions. ECT credits are based on the workload students need in order to achieve expected learning outcomes. Learning outcomes describe what a learner is expected to know, understand and be able to do after successful completion of a process of learning. They relate to level descriptors in national and European qualifications frameworks. Workload indicates the time students typically need to complete all learning activities (such as lectures, seminars, projects, practical work, self-study and examinations) required to achieve the expected learning outcomes. 60 ECT credits are attached to the workload of a full- time year of formal learning (academic year) and the associated learning outcomes. In most cases, student workload ranges from 1,500 to 1,800 hours for an academic year, whereby one credit corresponds to 28 hours of work.
Staff Head of department: Janice McNab
Coordinator: Vacancy
Team of tutors: Babak Afrassiabi Jasper Coppes Yael Davids Vesna Madzoski Katarina Zdjelar
Recent guests include: 1646 (Nico Feragnoli, Johan Gustavsson, Floris Kruidenberg, Clara Pallí) Laura Ahmann Babak Afrassiabi Andrius Arutiunian Ruth Barker James Beckett Justin Bennett Francesco Bernardelli Jelle Bouwhuis Clare Butcher Audrey Cottin Kateryna Filyuk Nicoline van Harskamp Moosje Goosen Francesca Grilli Maria Hlavajova Angela Jerardi
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Suchan Kinoshita Prof. Frans-Willem Korsten Metahaven Benny Nemerovsky Pages Maria Pask Steven ten Thije Alessandra Troncone Thijs Witty Arnisa Zego
Contact Janice McNab [email protected]
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2.3.5 Master of Arts in Fine Art and Design – Industrial Design
The Master of Arts in Fine Art & Design - Industrial Design programme is a two-year full-time master for designers who want to use applied design to make a conscious contribution to the world of today and tomorrow. For designers who are keen to hone their creativity in order to work within a complex interplay of factors and find a ‘solution’ in the form of a distinctive and elegant design. For designers looking to operate as professionals on the industrial playing field; who want to investigate it, to question it critically and help to give it shape. The Master Industrial Design unites the technical and production aspects of industrial design with its substantive, cultural and social significance. This study programme has been taught since 1950 at the Royal Academy of Art, The Hague (KABK) and is the oldest recognised course in the field of Design and Industrial Design in the Netherlands. Prominent teachers and students include Gerrit Rietveld, Frans de La Haye and Renny Ramakers. The programme has been recently transformed from a Postgraduate Course into a two-year full-time master's programme. Both the schedule and the condensed curriculum leave time for a professional practice.
Facts
Educational variant Full-time Duration full-time 2 years Degree Master of Art in Fine Arts and Design Credits (ECTS) 120 ECTS Head of department Maaike Roozenburg
Tuition fee and applications Financial details Application procedure
Start date September 2017
Content and structure WILL BE PUBLISHED SHORTLY
Courses and ECTS WILL BE PUBLISHED SHORTLY
Staff Head: Maaike Roozenburg [email protected]
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Coordinator: Zara Roelse [email protected]
Lecturers: Erlynne Bakkers Alfred van Elk Romy Kuhne Maaike Roozenburg Roselien Steur
Guest lecturers a.o.: Joris Castermans Theo van Dusseldorp Jantje Fleischhut Maartje de Haan Sam van Haaster Siem Haffmans Frans de La Haye Ineke Heerkens Milou Ket Josée Koene Heather Leslie Wilfred Löwensteyn Hans Menkveld Bruno Ninaber Ingeborg de Roode Bas Sanders Erik Tempelman - IO Nicole Uniquole Loes Wagemans Mark de Weijer Jólan van der Wiel
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2.3.6 Master of Arts in Fine Art and Design – Non-Linear Narrative
Facts
Educational variant Full-time Duration full-time 2 years Degree Master of Art in Fine Arts and Design Credits (ECTS) 120 ECTS Head of department Roosje Klap & Niels Schrader
Tuition fee and applications Financial details Application procedure
Start date September 2017
Courses and ECTS WILL BE PUBLISHED SHORTLY
Content & structure
NON LINEAR NARRATIVE analyses the relations of complex socio-political issues, and how they can be communicated to a broad audience. The programme repositions the graphic design discipline in the changing professional landscape and extends it with new responsibilities towards society. Key objective is to educate critical thinkers, who master new technologies to tell meaningful narratives addressing the world’s social, economic and environmental challenges. Students will not only study parts of philosophy and media theory, but also learn practical skills in design, computer programming, film editing, 3D modelling and virtual reality.
The programme is based on strengthening engagement with the broad social, political and cultural context in which the designer works and with which she or he relates. This context also has consequences for the role and responsibilities as a designer.
The graduation profile pushes the boundaries of the discipline of graphic designer, not only towards other design disciplines (interactive designers, product designers, film-makers), but also towards traditional, more academic disciplines, such as sociology, political science, anthropology and economics. It seeks to engage with practitioners of these disciplines, as well as integrating the insights and methods of these disciplines in the non-linear narrative design process.
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The programme focuses fully on design as research and research as design. The programme involves an increasing degree of self-direction on the students' part, within a clear structure that provides stability and guidance. During the first year, students work on a joint research theme. In the second year, students' work is devoted fully to a personal project plan, which is supported by a substantive teaching programme.
Year 1 Design Technology Philosophy Media theory Clinics
Year 2 Design Technology Clinics Thesis and Exam
Staff Heads: Roosje Klap & Niels Schrader
Teachers: Lauren Alexander Ramon Amaro Nick Axel Linda van Deursen Harm van den Dorpel
Questions? Get in contact with the programme coordinator: Vanessa Lambrecht
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2.4 PhDarts (In cooperation with the University of Leiden)
The University of the Arts The Hague is one of the few art schools in the Netherlands that can offer a PhD route: PhDArts, international doctorate programme.
About PhDArts
PhDArts, a collaboration between Leiden University Academy of Creative and Performing Arts and the Royal Academy of Art, The Hague (KABK) in The Hague, is a high-level international doctorate programme in visual art and design. PhDArts functions as a platform for artists who regard theoretical reflection and artistic practice as intrinsically related and complementary. A unique programme in the Netherlands, PhDArts creates new possibilities for art and its practitioners through questioning and breaking down existing boundaries between art theory and art practice.
PhD candidates follow individual research trajectories, guided by a team of supervisors. Besides this, the PhD candidates participate in a doctoral study programme, which consists of lectures, seminars, trainings and workshops. Together with supervisors, staff members and guest teachers, the doctoral candidates form an inspiring and challenging research environment.
Certain conditions apply to the PhDArts doctorate. The first condition for acceptance into the programme is a high level of artistry. Secondly, each applicant should present a clear research theme, as well as a research plan. In addition, the discursive context of the research should be clearly described. The PhDArts doctorate is a long- term research commitment that generally encompasses four years.
Researchers are expected to be in the vanguard of their fields of research. The research should contribute to knowledge about art/design, as well as to the international discourse in the field of research.
Artistic research
Artistic research, or research in and through art, is an inseparable part of the art or design practice of the researcher. Therefore there is a unique relationship between the artist/designer, the research method and the outcome of the research. This research is made possible by the artistic practice of the researcher, and, conversely, the artist/designer develops his work through the research. The outcome of the research is an artistic product, combined with a discursive product (i.e. the dissertation), which does justice to the artistic product. The discursive text will provide insight into the departure points, methods and results of the research. The artistic work itself will be deliberative, containing reflection as an integral component. Research that fulfils these conditions will be innovative and relevant to contemporary developments in the world of art and design.
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Because of the intrinsic relationship between work and text in this type of research, the outcome of PhD trajectory cannot be restricted to any particular format. Therefore PhDArts does not specify a fixed ratio between the written dissertation and the artistic production.
Coordinator Judith Westerveld
Contact [email protected] For more information on PhDArts, please visit our website: www.phdarts.eu
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2.5. Research Domains
Facts
The lectorate Art Theory & Practice, headed by prof. dr. Janneke Wesseling, started in 2007 at the University of the Arts in The Hague. Its task is to stimulate and further research in visual art and design. The lectorate aims to advance the integration of theory and practice in art education.
Content and structure
The lectorate Art Theory & Practice organises the Art Research Programme for motivated and talented Bachelor students. The Art Research Programme consists of a series of courses, to which students can apply by submitting a letter of motivation. Generally, the courses are taught by PhDArts doctoral candidates and sometimes guest teachers are invited. Also, some courses organised by the Academy of Creative and Performing Arts (ACPA) of Leiden University are open to Bachelor students of the Royal Academy of Art through the Art Research Programme.
The courses vary widely in thematic focus, but they all share an emphasis on research in relation to art practice. Moreover, all courses in the Art Research Programme are interdisciplinary and not connected to one specific department of the academy. In each course, students from different departments work together, and in some cases they collaborate with students from the Royal Conservatoire and Leiden University.
Application deadlines and new courses are announced on the website of the lectorate and through additional communication channels of the Royal Academy of Art, the academy’s website, and mailings. The courses can be taken within the framework of the Individual Study Track (IST), in consultation with the IST coach.
Courses and ECTS
Semester I:
• Thesis Lab: 3 ECTS
For students who feel they need a more in-depth thesis trajectory. The workshop offers stimulating dialogues with teachers and fellow students from different departments and feedback by guest teachers.
• Writing Art: 6 ECTS
The course will familiarise students with diverse ways of writing about art. This is achieved through a series of lectures by experts and through workshops in which students will experiment with different approaches to ‘Writing Art’.
• Sound Objects: 2 ECTS
During the course, students will experiment with audio recording/mixing
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techniques and listen collectively to sound-based narrative pieces such as radio-documentaries, radio-dramas and audio-walks.
• Performative Research Practices: 2 ECTS
This course focuses on the interrelatedness of body and space. The perception of how spatial structures interact with and constitute the presence of the own body will be sensitized and the quality and meaning of different spaces will be explored.
Semester II: to be determined.
Staff
Professor: Janneke Wesseling Coordinator: Lotte Betting
Contact www.lectoraatktp.nl [email protected]
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2.6 Preparatory courses
2.6.1 Orientation course
Facts
Duration 14 Saturdays 10am-3pm Degree Proof of participation Coordinator Zanne Zwart
Application & fees Financial details Application procedure
Start date September 2017
Content & Structure The Orientation Course is primarily intended for those who are considering entering a study programme at the Academy. This course introduces students to the mentality, working methods and study attitudes required for a programme at the Academy. The course takes place over 14 Saturdays (including one day excursion).
More information
Staff
Contact [email protected]
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2.6.2 Preparatory year
Facts
Duration 1 year Degree Certificate
Application & fees Financial details Application procedure
Start date September 2017
Content & Structure
The Preparatory Year is aimed at motivated people who still lack sufficient preparation to be admitted to the regular study programme or feel a need for a broad orientation preparation before starting their regular studies at the Academy. The Preparatory Year prepares participants for all the study programmes offered by the KABK. The objectives of the Preparatory Year are orientation, selection and stimulation.
More information
Staff Coordinators Zanne Zwart Nieke Koek
Contact [email protected]
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2.6.3 Kid’s Club
Content & Structure The Kids Club is a group of children from primary school Classes 7 and 8 (ages ranging from 10 to 12 years) who would like to do more with art than they are offered at their own primary schools. The Kids Club includes children who are considering applying for admission to the School for Young Talent or one of the art plan schools. In a classroom situation, these students demonstrate what they can do and work on assignments in order to build their admissions portfolios.
More information
Staff Coordinator & tutor Zanne Zwart
Contact Coordinator Zanne Zwart [email protected] & [email protected]
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2.6.4 School for Young Talent
Facts
Educational variant Full-time Duration 4, 5 or 6 years Degree Dutch secondary school Coordinator Zanne Zwart
Application & fees Financial details Application procedure
Start date August 2017
Content & Structure The School for Young Talent (SYT) is a school established by the University of the Arts, The Hague, for pupils in primary education (Years 7 and 8) and secondary education. The school offers programmes at three levels of the Dutch school system: HAS, HAVO, and VWO. The school is open to pupils who would like to progress to the Royal Academy of Art, the Royal Conservatoire or the Conservatoire's Dance Department. The SYT is a small-scale programme in which individual attention for pupils plays a central role.
More information
Staff SYT Director Jan van Bilsen Head of the SYT Visual Arts Department Zanne Zwart
Contact [email protected]
2.6.5 Combined education
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Content & Structure
At the KABK, it is possible to combine art courses with secondary education. This is usually arranged on a case-by-case basis, given that the schedules do not always correspond to each other. In theory, it should be possible to follow at least a part of the same curriculum followed by students of the School for Young Talent. An admissions procedure is required for participation in this preparatory track. Where possible, the applicant’s own school will be consulted, in order to determine the extent to which participation in the preparatory track can be fit into the regular school curriculum. A fee is required for this form of participation, based on the number of classes/half-day periods taken. After completing HAVO, a student may apply for admission to the KABK. A separate admissions procedure is required for these programmes, in combination with the final examination for the visual work.
More information
Staff Coordinator Zanne Zwart
Contact [email protected]
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3. FACILITIES
3.1 WiFi and email
3.1.1 Wifi
Eduroam
Eduroam is a wireless network that enables students to connect to the internet with a laptop, smart phone or other mobile device. The Eduroam network includes more than 40 universities of applied sciences in the Netherlands and many more worldwide. You can access the internet with your KABK account at all educational institutions connected to eduroam.
On the Student Portal you can find information on how to connect to the Eduroam WiFi network.
KABK-student wifi network
While at the premises of the Academy, it is also possible to conect to the KABK- student wifi network. Related information (incl. the network’spassword) is sent to your KABK e-mail account by the IT department.
3.1.2 E-mail
The Royal Academy of Art, The Hague offers a personal e-mail address to all its students ([email protected]).
All administrative e-mail correspondence of the Academy will be sent to your KABK e-mail address. Therefore, we advise you to activate this e-mail address as soon as possible and to check it regularly. If you don’t, you run the risk of missing important announcements and information, such as last-minute changes in your schedule.
You can find information on how to set up your KABK e-mail account on the Student Portal.
3.2 Equipment and lend out desk
The Royal Academy of Art, The Hague offers its students a great variety of equipment to borrow for free or rent for a small fee. For an overview of all available equipment, their locations and daily fees please visit http://werkplaatsen.kabk.nl/rental. Make sure to read the terms and conditions that apply to each rental agreement you sign.
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WORKSHOPS STAFF OPENING HOURS CONTACT
3D Lab Hilario Nicolaas Mon 14:00- [email protected] Yvo van Os 21:30 Tue + Wed 9:00- 17:00 Thu 9:00- 21:30 Fri 9:45- 17:00 Rental Chris Mon - Thu 8:30- 070 3154 713 Piepelenbosch 19:30 [email protected] Frans de Grood Fri 8:30- Kees 17:00 Knijnenburg Abel Wolff Computer George Mon - Thu 8:30- 070 3154 790 Workshop Vincentie 21:30 070 3154 789 Fri 8:30- [email protected] 17:00
Fine Arts Thomas Ankum Wed - Thu 13:00- 070 3154 782 Printing Widodo Poedjio 17:00 [email protected]
Photography Frans de Grood Mon+Tue+Thu 09:00- 070 3154 786 Workshop Andrew 21:30 [email protected] Valkenburg Wed 09:00- 18:30 Fri 09:00- 17:00
Printmaking Niek Satijn Mon - Thu 9:00- 070 3154 781 Workshop Thomas Ankum 21:30 [email protected] Gerard Fri 9:00- Schoneveld 17:00 Widodo Poedjio
Wood Mascha van de Mon + Tue 9:00- 070 3154 785 Workshop Kuinder 18:45 [email protected] Ronald Wed 9:00- Scholtens 21:30 Thu + Fri 9:00- 17:00
Note: On Mon, Tue, Thu continued until 21:30 but without supervision or support Ceramics Arjen Bos Tue 9.00- 070 3154 794 Workshop 18.30 [email protected] Wed 10.30- 17.00
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Fri 10.30- 18.30
Typesetting Sanne Beeren Wed 9:30- [email protected] Workshop 17:00
Metal Richard van den Mon - Thu 9:00- 070 3154 785 Workshop Berg Sabin 21:30 [email protected] Garea Fri 9:00- Eduard Sjoukes 16:30
Multimedia Chris Mon 8:45- 070 3154 791 Workshop Piepelenbosch 20:00 [email protected] Kees Tue - Thu 8:45- Knijnenburg 21:30 Fri 8:45- 16:30
Textile & Gino Anthonisse Mon - Thu 9:00- 070 3154 780 Fashion Beleke den 21:00 [email protected] Hartog Fri 9:00- Tardia Page 17:00
Note: Mon 16:30-21:00 and Thu 17:00-21:00 working without supervision, only on appointment and after having had an instruction lesson
Library Marcel van Mon - Wed 08:30- 070 3154 798 Bommel 20.00 [email protected] Annemarie van Thu - Fri 08:30- den Berg 17:30 Jolanda van Os
3.3 Booking rooms
The Royal Academy of Art, The Hague uses the scheduling system ASIMUT, an online application, which offers you a personal schedule and the possibility to book rooms.
In order to check your timetable, you need to log in to ASIMUT using your student number and password. You can access ASIMUT via https://kabk.asimut.net. At the Academy, there are two timetable kiosks, where you can check your schedule or book a room using your student card.
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You will find more information about how to use Asimut, including tutorials and a short introduction video on the Student Portal.
3.4 Download software
SURFspot.nl is the IT shop where students from the Royal Academy of Art, The Hague can buy official software and other ICT products at very low prices. You can login to Surfspot in order to acquire computer software and hardware at a large discount. Choose ‘Login for MBO, HBO and WO’, search for ‘Royal Academy of Art’ and log in with your student number and password.
3.5 Workshops
At the Royal Academy of Art, The Hague students will find state of the art workshops in many fields. Below you can find an overview with contact details and opening hours per workshop. For more detailed information please visit http://werkplaatsen.kabk.nl/
3.6 Jobs and opportunities
The Royal Academy of Art, The Hague publishes opportunities, competitions, internships, jobs and more – especially selected for its students and alumni on the KABK bulletin board. The KABK Bulletin Board publishes information from third party owned content. In case of questions related to the content of an add published, please contact the person listed in the respective add or follow the link to the original source. Any references to external organisations or websites are provided as a matter of convenience only.
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