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Annual Review 2008/9 ‘The objects of the College are to advance learning, knowledge and professional competence particularly in the field of fine ar...
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Annual Review 2008/9

‘The objects of the College are to advance learning, knowledge and professional competence particularly in the field of fine arts, in the principles and practice of art and design in their relation to industrial and commercial processes and social developments and other subjects relating thereto through teaching, research and collaboration with industry and commerce.’ Charter of Incorporation of the Royal College of Art, 28 July 1967

Visitor: His Royal Highness The Prince Philip Duke of Edinburgh Provost: Sir Terence Conran Pro-Provost and Chairman of the Council: Sir Neil Cossons Rector and Vice-Provost: Dr Paul Thompson

Editor: Octavia Reeve Design: Happily Ever After www.happily-ever-after.co.uk Photography: Marta Casellas, Anja Schaffner, Dominic Tschudin Printed by: Calverts Paper: Cocoon Silk 50% recycled, FSC mixed sources

Website: www.rca.ac.uk

Contents

Rector’s Review Student Statistics 2008/9 Features SHOW 2009 Battersea Campus The Dyson Gift Funded Research Case Studies: EPSRC/AHRC Exhibitions Annual Fundraising The RCA Experience Research Helen Hamlyn Centre InnovationRCA Olympic & Paralympic Games 2012 Design London ReachOutRCA Ceramics & Glass Goldsmithing, Silversmithing, Metalwork & Jewellery Architecture

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Design Interactions Design Products Innovation Design Engineering Vehicle Design Animation Communication Art & Design Fashion  Textiles Painting Photography Printmaking Sculpture Drawing Studio Conservation Critical & Historical Studies Curating Contemporary Art History of Design Post Experience Programmes Financial Report & Summary Accounts College Honours & Appointments Donors & Sponsors

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Rector’s Review The three pillars of the Royal College of Art are: postgraduate teaching; research; and innovation and knowledge transfer. I am delighted to report significant success in each of these principal activities. Firstly, teaching: In summer 2009, 405 students presented their work in our graduate Shows, with over 40,000 visitors flocking to the exhibitions. These are attendance records that any museum or gallery would truly be proud of, and it is a real testament to the public’s sense of excitement and fascination with our MA work that so many industry leaders, talent recruiters and members of the general public chose to visit the College that fortnight. I’d like to thank especially the Conran Foundation for its continued support of the graduate Shows. As important, when the SHOW is dismantled and life returns back to normal, we can report that RCA graduates continue to fare well in the workplace, with approximately 93% of our graduates gaining employment at an appropriate professional level, within a year of graduating. This is particularly gratifying at a time of economic recession. Secondly, research: The College’s impressive results in the 2008 Research Assessment Exercise, undertaken by the Higher Education Funding Council of England, confirmed our worldclass pre-eminence: 40% of the RCA’s research output was rated ‘5’, or ‘world leading’, with a further 25% scoring a ‘4’, as ‘internationally excellent’. This is an extraordinary record and a solid endorsement of our staff’s academic distinction. This year also witnessed the creation of a new chair, the Helen Hamlyn Professor of Design, thanks to the generosity of the Helen Hamlyn Trust. Jeremy Myerson has been appointed as the first Helen Hamlyn Professor of Design and will continue to lead a world-class research and advocacy programme in design for an ageing population, universal design and design in healthcare. This year saw the Helen Hamlyn Centre celebrate its 2

tenth anniversary at the heart of the RCA with a major exhibition supported by the European Commission. Thirdly, innovation and knowledge transfer: InnovationRCA, the College’s innovation network for business, has continued its vital role of assisting recent or current graduates to take ingenious design concepts to marketplace. Similarly, Design London, our partnership with Imperial College, nurtured six new business ventures through incubation, with two projects, ‘Plumis’ and ‘Artica’, now poised for market commercialisation. In partnership with the best minds in business and engineering at Imperial College London, we present a formidable team: committed to a high-tech industrial future and exploiting creative design capital in pursuit of job and wealth creation. The ethos of the Royal College places a high value on people and intellectual capital. 2009 marked the retirement of Rector Professor Sir Christopher Frayling. For thirty-five years, Christopher has served the College, as Head of the Humanities School, as Pro-Rector, and since 1997, as Rector. Under his tenure, the Helen Hamlyn Centre was born; it was his vision that shaped Design London and InnovationRCA; and of course the Battersea campus will stand as his legacy. He has driven academic excellence and brought international prominence to the RCA. All of the Royal College of Art join me in wishing Sir Christopher and Lady Frayling a happy retirement. One of the most stimulating tasks I was asked to undertake before formally assuming the reins as Rector in September 2009, was to assist in the selection of three new Heads of Department: Innovation Design Engineering, Design Products and

Sculpture. I am delighted to announce that Professors Miles Pennington, Tord Boontje, and Richard Wentworth join the College for the 2009/10 academic year to lead these respective departments. Also in 2009, the RCA was honoured to welcome John Studzinski CBE, financier and philanthropist, as a member of Council, chaired by Sir Neil Cossons. In order to attract the best artists and designers in the world to study, research and teach at the Royal College, we need to improve and enhance our workshops, equipment, seminar rooms and studios. This academic year witnessed the opening of the new Sculpture building in Battersea, and the continuing development of the new Battersea campus, with the Painting Department moving into the new Sackler Building in Autumn 2009, thanks to the generosity of the Dr Mortimer and Theresa Sackler Foundation. Looking ahead to the future, Phase 2 of the Battersea development will commence in January 2010, resulting in new incubator units, a lecture theatre and gallery, and new facilities for the Photography and Printmaking Departments. We thank Council member and RCA alumnus Sir James Dyson and the James Dyson Foundation for their extraordinary gift, which has enabled us to realise this vision. With this tremendous commitment, Phase 2 advances onwards, ready for occupancy in 2012. Please join me in bidding farewell and ‘Thank you’ to departing staff, including Professors Ron Arad (Head of Design Products), Tom Barker (Head of IDE), Sandra Kemp (Director of Research), Glynn Williams (Head of Sculpture) and William Lindsay (Head of Conservation). We also note with sadness the loss of H T Cadbury-Brown, Robert Heritage and David Mellor. I wish to thank all of the RCA community for the terrifically warm welcome you’ve given me, and I look forward to working with you over the years ahead.

Dr Paul Thompson, Rector of the Royal College of Art

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STUDENT STATISTICS A major survey of graduates who studied at the RCA from 2002 to 2007 revealed that prospects for RCA graduates are exceptionally strong. The percentages below indicate the proportion of graduates in directly related employment/activity. School of Applied Art Ceramics & Glass  Goldsmithing, Silversmithing, Metalwork & Jewellery 

99%

School of Architecture & Design Architecture  Design Interactions  Design Products 

95% 89% 93%

School of Communications Animation  Communication Art & Design 

95% 90%

School of Design for Production Innovation Design Engineering  Vehicle Design 

95% 95%

School of Fashion & Textiles

95%

School of Fine Art Painting  Photography  Printmaking  Sculpture 

93% 98% 91% 95%

School of Humanities Conservation  Curating Contemporary Art  History of Design 

86% 95% 80%

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98%

Student Numbers 2008/9 Applied Art Ceramics & Glass Goldsmithing Silversmithing, Metalwork & Jewellery School Total

48 40 88

Architecture & Design Architecture Design Interactions Design Products School Total

47 35 76 158

Communications Animation Communication Art & Design School Total

30 105 135

Design for Production Innovation Design Engineering Vehicle Design School Total

62 40 102

Fashion & Textiles Fashion Menswear Fashion Womenswear Textiles School Total

26 46 70 142

Fine Art Painting Photography Printmaking Sculpture School Total

41 48 45 41 175

Humanities Conservation Critical & Historical Studies Curating Contemporary Art History of Design School Total

12 6 37 46 101

Grand Totals

901

Applications  

Student Nationalities Applicants  2008/9

Admissions 2008/9

Applied Art Ceramics & Glass Goldsmithing, Silversmithing, Metalwork & Jewellery School Total

52

21

63 115

19 40

Architecture & Design Architecture Design Interactions Design Products School Total

185 65 155 405

21 16 41 78

Communications Animation Communication Art & Design School Total

65 297 362

16 47 63

Design for Production Innovation Design Engineering Vehicle Design School Total

74 50 124

31 21 52

Fashion & Textiles Fashion Menswear Fashion Womenswear Textiles School Total

37 133 95 265

12 23 31 66

Fine Art Painting Photography Printmaking Sculpture School Total

393 159 105 212 869

19 22 20 21 82

Humanities Critical & Historical Studies Curating Contemporary Art History of Design School Total

3 78 50 131

2 15 21 38

2,271

419

Grand Totals

Argentine  Australian  Austrian  Belgian  Brazilian  British  Bulgarian  Canadian  Chilean  Chinese  Colombian  Croatian  Cypriot  Czech  Danish  Dutch  English  Finnish  French  German  Greek  Hungarian  Indian  Iranian  Irish  Israeli  Italian  Japanese  Lithuanian  Luxembourger  Mexican  New Zealander  Norwegian  Polish  Portuguese  Romanian  Russian  Singaporean  Slovenian  South Korean  Spanish  Swedish  Swiss  Taiwanese  Thai  Turkish  Ukrainian  US American  Venezuelan  Yugoslavian  Total  Number of Nationalities

2 5 3 4 5 486 3 9 1 8 3 1 5 2 22 17 1 8 40 42 17 1 9 1 19 5 16 15 4 1 1 1 1 9 8 2 1 3 1 40 9 19 5 9 4 2 1 28 1 1 901 50

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2008/9 Features 1: September 2008: Sponsored by Deutsche Bank, ReachOutRCA designed and delivered the education programme for the Frieze Art Fair 2008, presenting work by school students alongside high end contemporary art. 2: October 2008: The National Trust Shop at Waddesdon Manor, Buckinghamshire, commissioned Royal College of Art Ceramics & Glass students to create a range of limited-edition products. 3: November 2008: Inside Outside Inside, a solo exhibition of new works by Head of Painting Professor David Rayson opened at Marlborough Gallery, London.

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4: December 2008: Fashion designer, artist, illustrator and RCA Fashion tutor Julie Verhoeven designed the 2008 RCA Christmas card. 5: January 2009: The official re-opening of the Royal College of Art’s Sculpture building marked the first step in the College’s Battersea expansion programme. 6: February 2009: The James Dyson Foundation generously donated £5 million to fund a major new building in the expanding Battersea Campus.

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7: March 2009: Design London incubatee company Artica won first prize in the nationwide Carbon Connections Low Carbon Innovation Competition, targetting ways to save greenhouse gas emissions. Artica’s natural cooling, ventilation and heat recovery system uses 90% less energy than conventional air conditioning systems. 8: April 2009: ‘Smart Pods’, a joint Royal College of Art and Loughborough University-led research project to facilitate the delivery of urgent healthcare, featured in Healthcare on the Move – a unique exhibition focusing on mobile treatment systems.

9: May 2009: A team of Research associates from the Helen Hamlyn Research Centre redesigned six everyday items of hospital equipment, as part of a national challenge set by the Design Council under their ‘Design Bugs Out’ initiative.

11: July 2009: The RCA launched its first College wide online exhibition. Sustain, designed by alumni Jannuzzi Smith, showcased environmentally aware practice from nine disciplines across Design, Fashion, Textiles and the Applied Arts.

10: June 2009: Outset Contemporary Art Fund made a three-year commitment to an annual purchase fund of £10,000 to be spent on works by graduating students for the Royal College of Art Collection Painter Lucy Moore was awarded the first Outset Prize, worth £3,500.

12: August 2009: Dr Paul Thompson replaced Sir Christopher Frayling as Rector and Vice-Provost of the Royal College of Art.

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Show 2009 In May 2009 Richard Cork opened his Financial Times degree show commentary, ‘Has there ever been a worse time to leave art school?’ The RCA graduate exhibition – SHOW 2009 – came out dressed for the recession, with a lean, monochrome identity and a strong environmental message, as the College opened its doors to the first generation of students to walk out into the post-credit crunch world.

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SHOW 2009 was generously supported by The Conran Foundation, for the fourth consecutive year. The Foundation also sponsor the Conran Foundation Awards – a prize fund of £12,000 shared equally between six winners – which aim to reward good design that will have a positive impact on the way people feel, think and live, as well as on the national and international economic situation; the overall message being that commercial success and cultural impact are intertwined. RCA graduates are thoughtfully innovative – the kind of thinking that looks at a new laptop and sees the whole user picture: a super-light, elegant computer that travels with the clunky BS 1363, three-pin plug (first introduced in the UK in the 1940s). Inspired by the Mac Book Air, the world’s thinnest laptop at 10mm, Min-Kyu Choi designed a slim, foldable plug that, at the same width, eliminates the problems caused by the standard UK plug when travelling.

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A variation of that vision prompted jeweller and maker Jonathan Boyd to use sprue structures created in CAD drawings (structures so complex that they have never been used in jewellery) to cast intricate conglomerations of type.

three-dimensional model of an unborn foetus using rapid-form modelling technology.

The economic and environmental impacts of the traditional toaster were laid bare as Design Interactions graduate Thomas Thwaites attempted to recreate one from scratch, mining iron ore by hand and smelting it in his back garden.

The College fosters a culture of professionalism: Curating Contemporary Art’s Friends of the Divided Mind attracted highprofile artists, including Lawrence Weiner, to its commentary on the contemporary art gallery. Painting graduates organised two degree shows: Through the Wall at the Rochelle School, Shoreditch followed the exhibition in the College galleries.

Innovation Design Engineering’s Bibiana Nelson developed a thermoplastic degradable material containing plant nutrients. Plant roots actively destroy the plastic to extract the nutrients, serving to help the plastic degrade more quickly, while at the same time benefiting the plant, the soil and the environment.

The atmosphere at SHOW 2009 was buoyant. The industry-renowned Fashion Show attracted its usual luminaries, printmaker Hector de Gregorio sold his entire show to a single private collector, visitor numbers rose and overall sales increased significantly, with some departments reporting record figures.

And product designer Jorge Lopes saw the medical potential for producing a

The Royal College of Art stakes its reputation on fostering a rare combination

of innovation and excellence. The graduate work in SHOW 2009 provides ample evidence for that claim.

This page: 1: Thomas Thwaites, Toaster Project (Photography Nick Ballon) 2: Jorge Lopes, Rapid Prototyping Model of a Foetus from Ultrasound 3D Scan 3: Bibiana Nelson, Plant Attacking Plastic Opposite page: 1: RCA SHOW 2009 identity 2: Min-Kyu Choi, Folding Plug 3: Jonathan Boyd: Untitled 1 & 2

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Battersea Campus In January 2009 the long-awaited refurbishment of the Sculpture Building, designed by architects Wright & Wright, was finished. The 2,500sqm building on Howie Street was officially opened by sculptor Antony Gormley in January 2009, at a special event involving key figures from the art world as well as staff and students from the department.

The Sculpture Department moved to a disused factory in Battersea in 1991 and the space remains factory-like – perfect for the wide range of sculpture produced, from large-scale installed work to mixedmedia installations. The building, which can now accommodate 50 students, offers unrivalled studio accommodation in what is arguably the best sculpture teaching facility in the country. Across the road, work continued on the new Painting Building, to transform a 1950’s warehouse into flexible studio space for up to 60 painters. This will be named the Sackler Building in recognition of a major gift from the Dr Mortimer and Theresa Sackler Foundation. Behind the building’s innovative design are award-winning architects Haworth

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Tompkins, who worked in close conjunction with Head of Painting Professor David Rayson and his team. This collaborative approach has ensured that the building will house some of the finest new artists’ studios available in the UK today. Plans for the next phase of development – a building to house the departments of Printmaking and Photography as well as a large Gallery, state-of-the-art Lecture Theatre and incubator units for young designers and creative start-up businesses – have also progressed over the last twelve months. A donation of £5 million from the James Dyson Foundation, the largest single donation the College has ever received, will enable this phase of the development to go ahead as planned. Construction

of what will become the Dyson Building begins in January 2010. By 2012 all the Fine Art departments will be together in Battersea, located next to each other for the first time in the College’s history.

In August 2008, the Department of Innovation, Universities and Skills (DIUS) launched a matched-funding scheme. The scheme, to be implemented by HEFCE, aims to increase voluntary giving to higher education providers. Donations received by the RCA over the past year will unlock almost £2 million of additional funding for the College.

This page: 1: Sculpture Building at night 2: Sculpture studio 3: Steve Bishop (MA, 2008) exhibition, Sculpture galleries Opposite page: 1–5: Sackler Building, Painting Department (Photography Philip Vile, Helene Binet and Katsuhisa Kida/Fototeca)

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The Dyson Gift In February 2008, the James Dyson Foundation – Sir James Dyson’s educational charity – made a donation of £5 million to the Royal College of Art to help fund the College’s exciting new expansion in Battersea. The gift – its largest ever – will be used towards providing a lecture theatre, gallery space, studios and 40 business incubator units. The James Dyson Foundation has been inspiring young people about design and engineering since it was first set up in 2002. In addition to a global design award, the James Dyson Foundation provides students and teachers with exciting and relevant resources, and organises interactive workshops with Dyson engineers.

When announcing the donation, Sir James said: “It’s vital that we give young people the confidence to be inventive and the support to take risks. It’s through experimentation and failure that new ideas are born. As a nation we’ve become too scared to take risks, but for me, risk and problem-solving go hand in hand.” Sir James, recently tasked by the Conservative Party with examining ways in which the UK can be turned into Europe’s capital for new technology, has long been a supporter of the College. This year, his Foundation gave its fifth donation of £12,000 worth of bursaries to the Innovation Design Engineering Department.

Sir James Dyson and Professor Sir Christopher Frayling

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Funded Research Case Studies: EPSRC/AHRC The Royal College of Art signalled its ambitions in the field of funded research with the completion of two major studies during the year. ‘Welcoming Workplace’ was led by Helen Hamlyn Professor of Design, Jeremy Myerson, and the ‘Smart Pods’ project was a joint initiative by the RCA’s Helen Hamlyn Centre and the Department of Vehicle Design with other academic partners in the UK. The ‘Welcoming Workplace’ study explored the future of the office environment in a knowledge economy increasingly reliant on an ageing workforce. It was jointly funded by two research councils, the EPSRC (Engineering and Physical Sciences Research Council) and the AHRC (Arts & Humanities Research Council). The Helen Hamlyn Centre collaborated with universities in Japan and Australia to give the study an international dimension.

The ‘Welcoming Workplace’ report was launched in the UK at the British Library, in the USA at Build Boston and in Asia at the Reinventing Retirement conference in Singapore. The study attracted widespread interest. Design guidance was produced for RIBA and the BCO (British Council for Offices) and evidence was submitted to the Department of Work and Pensions. An exhibition toured the regions. A book based on the project and co-authored by the research team will be published in spring 2010, entitled New Demographics New Workplace. The ‘Smart Pods’ project, funded by the EPSRC, involved a fundamental rethink of urgent and emergency healthcare. It brought together research by designers, clinicians, social scientists, ergonomists and operation management analysts, and resulted in a range of innovative

propositions to take healthcare to the community and reduce patient journeys and hospital admissions. Academic partners joined from Loughborough University, the University of Bath, the University of West of England and the University of Plymouth. RCA Vehicle Design students participated with creative concepts for future ambulances. The ‘Smart Pods’ project completed its work with a publication and an exhibition called Healthcare on the Move that toured to several venues. The Royal College of Art is now taking the project into a development phase to redesign the current A&E ambulance.

1–2: Concepts from the ‘Welcoming Workplace’ study including the use of natural inventions to create the effect of falling rainwater. 3: Concept from the ‘Smart Pods’ project.

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Exhibitions 2008/9 was notable for the range of UK exhibitions involving RCA staff-practitioners and students. Many of these are represented under individual department profiles; presented here is a small selection that demonstrates the remarkable breadth of activities that staff and students from the College community engage in, as well as the opportunities to develop individual practice that these displays offer to developing creatives.

Sunny Memories explored the potential of a recently invented technology: dye solar cells. Inspired by photosynthesis in plants, the technology harnesses solar energy with flexible, coloured and even see-through surfaces. Alongside three other design schools, students from the RCA’s Design Products Department were asked to develop their vision of the future of solar energy. Projects considered the relationship between the sun and memory, and reflected on the fact that energy is not simply necessary for our comfort: we need it to record our history, heritage and knowledge. The exhibition was shown in the ECAL + EPFL laboratories, Lausanne, at ENSCI and at the RCA for the London Design Festival. Future Fashion Now at the Victoria and Albert Museum featured highlights from RCA Fashion MAs’ 2008 graduate collections, and marked the 60th anniversary of the inauguration of the RCA Fashion programme.

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The display featured 55 outfits as well as accessories and sketchbooks from 27 young designers. Divided into four sections – Concept, Form, Technique and Detail – each explored the design stages students go through to create their final collection, from their inspiration to the finished garment, and included preparatory drawings, design boards and photographs. Reflection brought together ten students from the Royal College of Art’s acclaimed Ceramics & Glass course, and offered a rare opportunity to see the site-specific responses of an emerging generation of applied artists. For the exhibitors, it was an amazing opportunity to engage with the high-profile, public galleries of the Sir John Soane’s Museum as both subject-matter and display space. Super Contemporary at the Design Museum celebrated the diverse approaches to design of London’s greatest creative minds, past and present, across the disciplines of architecture, industrial design, graphics, fashion and communications

At the heart of the exhibition were fifteen commissions from some of London’s most dynamic creatives, variously answering the question: ‘What is it about the capital that brings so many designers to it – and what can they give back?’

included Jurgen Bey’s Pixelated Chairs (modelled on an over-enlarged digital photograph of an elegant eighteenthcentury chair) and Tord Boontje’s Fig Leaf Wardrobe (elegant, coppery doors enfolded around a bronze clothes rack). Goldsmith alumni Kelly McCallum’s Do You Hear What I Hear – a taxidermied fox embellished with gold-plated maggots – drew attention simultaneously to life and death. Anthony Dunne, Fiona Raby and Michael Anastassiades produced mushroom cloud ‘huggable cushions’, for those who prefer to embrace their fears.

A remarkable number of the fifteen were RCA staff and alumni, among them David Adjaye, Ron Arad, Nigel Coates, Paul Cocksedge, Thomas Heatherwick, Industrial Facility (Sam Hecht), El Ultimo Grito (Roberto Feo and Rosario Hurtado). Others joined peripheral events: Wendy Dagworthy mapped the 1970s fashion scene, and Bronwen Marshall (MA, Fashion, 2009) redesigned London’s Beefeater uniforms. The exhibition was curated by Daniel Charny.

This page: 1: Super Contemporary: Nigel Coates, Battersea Gods Home 2: Reflection: Louis Thompson (MA, 1st Year) 3: Sunny Memories: Min-Kyu Choi, Insect Killer © Ambrosetti & Droz

Telling Tales: Fear and Fantasy in Contemporary Design at the Victoria and Albert Museum brought a fairytale theme to a “design art” exhibition of products that blurred the boundaries between function and art. Curated by RCA Design Products’ Gareth Williams, the show

Opposite page: 1: Telling Tales: Installation view including Jurgen Bey, Pixelated Chairs and Julian Mayor (MA, 2000) Clone Chair © Victoria and Albert Museum 2: Super Contemporary: Bronwen Marshall, London Beefeaters’ uniforms (Photography Naomi James) 3: Future Fashion Now, Victoria and Albert Museum, London

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Annual Fundraising The RCA engages its students in the practice of art and design through mutually beneficial collaborations with industry. As such, our commercial partners sit at the core of the College’s life, and we work to meet and exceed their expectations through creative, bespoke partnerships. In 2008/9, the RCA continued to generate huge interest across all industry sectors, resulting in collaborations that allowed its students to respond creatively to the constant demand for innovative designs and ideas. Highlights of 2008/9 include: 16

Creative Collaboration: Toyota iQ Design Challenge 2008 Launched during the London Design Festival, this college-wide competition coincided with the launch of the new iQ car in the UK. RCA students and alumni were asked to design a product that would reflect the concept of ‘intelligent urban living’, using Toyota’s new premium city car as a template for excellence. Twelve finalists presented their cutting-edge designs to a panel of judges, with three winners sharing £12,000 in prizes. Lance Scott, chief designer at Toyota’s ED2 base and designer of the iQ, praised the level of entries received, adding: “For me, the RCA is the place to come for cutting-edge design.” Prize-winner Dominic Hargreaves had three bicycles stolen in quick succession. His design solution to

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prevent bike theft locks bicycles out of reach, eight feet above the ground. The collaboration, ending in an exhibition at the RCA, received outstanding international press and online media coverage. Sustained Partnership: Man Group and the RCA 2009 marked the tenth anniversary of the Man Drawing Prize, the competition that brings everyone in the College together once a year to showcase their drawing skills. Since the first Man Group Scholarship was introduced to the College in 1996, the partnership has grown to include the Man Drawing Prize, the Man Photography Prize and Man’s sponsorship of ReachOutRCA, the College’s schools outreach programme. “As a longstanding supporter of the RCA, we are delighted to continue our

investment in the creative future of young people. This association with a global centre of artistic excellence and innovation aligns with Man’s core business values of excellence and performance.” Lesley King-Lewis, Director of the Man Group plc Charitable Trust Art in the Corporate Environment: Tenth RCA Students’ Exhibition at Bank of America’s European Headquarters The RCA’s multidisciplinary collaboration with Bank of America sets a model for long-term, reciprocally beneficial partnerships. This longstanding relationship culminated in an exhibition of works from Sculpture students at the bank’s European Headquarters in Canary Wharf, London in 2009. In a five-year collaboration, between 2004 and 2009, the bank hosted two exhibitions of RCA students’ works each year, ten in total.

The exhibitors received an overwhelmingly positive response from Bank of America staff and visitors, who were given access to inspiring art on their office doorstep. Comments included: “I don’t get to go to many art exhibitions so this made a refreshing change from my normal lunch!”, and “The finance environment needs the free end enriching spirit of the artists.”

This page: 1: RCA Sculpture exhibition in the atrium at Bank of America’s European Headquarters. (Photography Lucy May) 2: Man Drawing Prize exhibition: ReachOutRCA workshop Opposite page: Dominic Hargreaves, Out of Reach, Out of Harm, winner IQ Design Challenge

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The Rca Experience The reputation of the RCA is, rightly, based on the quality of the focused, specialised postgraduate learning and teaching that happens in every academic discipline and department of the College, but this is not the whole story. Our responsibility does not start on enrolment day, any more than it finishes as a student crosses the stage of the Albert Hall at Convocation. We support and encourage our students from the day they make their first enquiry, to the day they feel comfortably independent in their lives beyond the RCA.

This commitment is encapsulated in the simple expression ‘1 + 2 + 3 +…’. The College is here to help: in the year before students arrive; in the two years they are here to study for their MAs (as most of our students do); in the three years after graduation (when many alumni are finding their professional feet); and for as long thereafter as they wish to stay involved. The realisation of this undertaking has come in a variety of forms. New students join the online RCA community months before they physically arrive at the College, through networked pre-student services that give them access to a wide range of learning resources, relocation support and social-networking opportunities. Providing a high-quality educational experience means offering effective

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support to everyone, regardless of their chosen discipline. It also means attending to aspects of that experience that affect one student, or a particular group of students. Some 25–30% of RCA students are dyslexic or dyspraxic. For a similar proportion of our students, English is not their first language. Providing effective support is arguably as important as providing an effective discipline-specific curriculum: we offer dedicated staff, screening procedures, clear language requirements, pre-sessional courses, orientation days and specialist support. FuelRCA helps students navigate the sometimes difficult transition from studying to professional life. Managed by InnovationRCA, the College’s innovation network for business, this very successful initiative provides opportunities for all

students and recent graduates to access seminars, lectures, discussions, events, online resources and face-to-face advice; covering everything from the ‘soft’ end of the spectrum (how to develop confidence) to the traditionally ‘hard’ end (accounts, VAT and intellectual property). ReachOutRCA, our high-flying educational outreach programme, gives students and alumni the opportunity to extend their practice through hands-on participation. And through AlumniRCA – with its 5,000 graduate members, and counting – alumni are offered a range of benefits and ways of engaging with the College and each other. But the real point is that the College is enriching and enhancing life outside – as well as inside – our academic departments, sustaining connections with graduates and creating an ever-expanding extended family.

This page: 1: AlumniRCA poster 2: Student support 3: Alumni event Opposite page: 1: DiverseRCA, Diversity Week, opening address 2–3: AlumniRCA summer drawing classes

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Research During 2008/9, the Research Office continued to support staff and student applications to a range of external funding bodies, including the Arts and Humanities Research Council (AHRC), the Economic and Social Research Council (ESRC), the Engineering and Physical Sciences Research Council (EPSRC), the Medical Research Council (MRC) and the Leverhulme Trust.

Stuart Croft (School of Fine Art) was awarded a grant from the AHRC Research Grant (Practice-led and Applied) scheme for ‘The Stag without a Heart’ and JoAnne Bichard (Helen Hamlyn Centre) was co-investigator for a successful bid with partners at Brunel University to the ESRC New Dynamics of Ageing programme. The College was also awarded four research studentships in the AHRC Doctoral Award scheme in 2009. The graduation rate of our research students remains strong, with over one tenth of those registered receiving degrees at Convocation in July 2009. Two important AHRC-funded research initiatives came to successful completion at the end of the year: The Centre for Jewellery Research, led by Professor David Watkins, investigated the

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behaviour of materials and technologies in the production of artefacts. The Centre has been the largest focal point in the UK for research into how digital technologies are having an impact on jewellery’s existing contexts and forms. A five-strong team of researchers explored metal-enhanced textile structures, drawing on the methodologies of mathematical folding patterns, computer simulation and animation, biomimetics and batch production. ‘The Viennese Café and Fin-de-siècle Culture’, a project led by Professor Jeremy Aynsley and run jointly by the History of Design Department (RCA) and the School of History of Art, Film and Visual Media, Birkbeck College University of London, investigated the continuing legacy of the city’s coffee culture in Europe and beyond. In October 2008, an international conference was held to coincide with the exhibition Vienna Café 1900, including

a café run by the renowned Viennese patisserie Demel. Another significant research project now moves into its final year. ‘The Future of Landscape and the Moving Image’ sets out to address the production of landscape and images of landscape in terms of mobility, belonging/displacement and current and anticipated future economic change. It is a collaboration between Patrick Keiller, filmmaker and research fellow at the Royal College of Art, Professor Doreen Massey of the Open University and Professor Patrick Wright of Nottingham Trent University, and is supported by a grant from the Landscape and Environment programme of the UK’s Arts and Humanities Research Council.

This page: 1: Dominic Sedgwick, Square Plateau Pattern 2–4: Stuart Croft, The Stag without a Heart (2009), Production still from a film in 35mm (Stills photographer William Martin; Courtesy the artist © 2009) Opposite page: 1: Site of meteorite fall at Wold Newton, North Yorkshire: Patrick Keiller’s research addresses the production of landscape and images in terms of mobility, belonging/displacement and current and anticipated future economic change. 2: ‘The Viennese Café and Fin-de-siècle Culture’ project led by Professor Jeremy Aynsley investigated the continuing legacy of the city’s coffee culture in Europe and beyond. In October 2008, an international conference was held to coincide with the exhibition Vienna Café 1900 and a café run by the renowned Viennese patisserie Demel.

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Helen Hamlyn Centre This was a special year for the Helen Hamlyn Centre, which reached a ten-year milestone at the Royal College of Art in its mission to design for social change and inclusion through practical research and projects with industry (1999–2009).

The centre organised and hosted the fifth international Include conference on inclusive design, welcoming more than 150 participants from 29 different countries to the RCA for three days of workshops, talks, papers and networking. It also played a leading role in ‘Design Bugs Out’, a Government initiative to make Britain’s hospitals safer and cleaner, redesigning six vital pieces of everyday equipment for doctors and nurses. The centre’s Challenge Workshops for young design professionals extended from the flagship DBA Inclusive Design Challenge in the UK, which this year focused on design to combat sedentary living, to run landmark events in Hong Kong, Jerusalem, Sarajevo and Tokyo.

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The Helen Hamlyn Research Associates programme, which links new RCA design graduates with business, reached its own milestone – chalking up 100 collaborative projects. This year’s crop of ten industry projects was presented as part of the CLOSEUP exhibition, sponsored by the European Commission, during the London Design Festival. The centre revamped its College student engagement programme with a popular new workshop initiative called The Methods Lab and a new-look award scheme. And its research team presented the results of ‘Welcoming Workplace’ – a global study of an ageing workforce, established a Forum on the Future of Surgery and began a major investigation into medical error on hospital wards in partnership with Imperial College London.

Centre director Jeremy Myerson completed a busy first year as the Helen Hamlyn Professor of Design – this is the first endowed academic Chair in the entire history of the RCA. The Helen Hamlyn Centre is generously endowed by the Helen Hamlyn Trust.

This page: 1–2: Two of the six items of hospital equipment that pose a hygiene risk redesigned by the Helen Hamlyn Centre: the Blood Pressure Cuff and Wipe Dispenser, part of the ‘Design Bugs Out’ government initiative. 3: ‘mo, a lightweight, portable seat, designed by Matter was the winning project in the DBA Inclusive Design Challenge 2009. 4: The CLOSEUP exhibition, featuring ten years of the Helen Hamlyn Research Associates programme, was held at the RCA in September. (Photography Matthew Harrison) 5: The 48-Hour Inclusive Design Hong Kong Challenge, 2008 Opposite page: 1: The cover of the design guidance report that was based on the ‘Welcoming Workplace’ research. 2: A design workshop held during the Include 2009 conference on inclusive design in April. 3: Arthur Schmitt; Hook-Light concept, Helen Hamlyn Research Associate 2009

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InnovationRCA InnovationRCA is the Royal College of Art’s innovation network for business: it acts as a portal for external organisations to work with the creative community of the College; it manages and develops the RCA’s portfolio of intellectual property; it provides professional support for students, graduates and alumni; and it leads on strategic College projects related to innovation and entrepreneurship.

The flagship project in innovation practice for 2008/9 was an interdisciplinary workshop for the Home Office to address the problem of ‘glassing’ in British pubs, bars and clubs. The project, ‘SWIG’ (Safe Ways in Glass), devised ways to make drinking vessels safer. In the area of intellectual property, the RCA’s Selected Works panel reviewed more than 40 students innovations, choosing its first ever fashion innovation, fold flat millinery, and a modular light bulb for commercial development. Two licenses were sold on the IP portfolio – a first aid device called Tongue Sucker to Wallace Cameron and the B3 Cutlery range to Lakeland Plastics. A new RCA spinout company – StickSafe, founded by Michael Korn – was created to address the problems of needlestick injury

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in hospitals. Other InnovationRCA spinout ventures made progress, including Future Acoustic, which launched its first products on the Apple i-Tunes platform. James Dyson Innovation Fellow Rombout Frieling attracted interest from European manufacturers for his Flupper innovation, which rethinks human-powered vertical movement in buildings. Textiles graduate Yemi Awosile became the first Innovation Fellow in Materials, funded by London Design Festival. Two keyhole surgery devices were developed by RCA graduate Lisa Stroux, working with surgeon Justin Cobb as part of the Triangle Projects with Imperial Innovations. Strategic projects this year ranged from working with materials scientists on the

MADE initiative and leading the Project Executive for Design London to piloting an RCA Innovation Forum for brand leaders in the London area. FuelRCA continued to offer a College-wide professional practice service and opened a permanent collection of business and careers reference books in the Library. The innovation year ended on a high note with Innovation Night 2009, featuring an evening with Jonathan Ive of Apple.

This page: 1: Yemi Awosile, Cork Textiles, Innovation Fellow in Materials 2: Sir Christopher Frayling in conversation with Jonathan Ive 3: Emil Rosen, Modular Light Bulb 4: Graeme Davis, Phillip Greer, Christopher Huntley and Lisa Stroux, Tongue Sucker Opposite page: 1: Michael Korn, StickSafe 2: Zara Gorman, Flat-pack Hats 3: Rombout Frieling, Flupper 4: ‘SWIG’ (Safe Ways in Glass) workshop

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Olympic & Paralympic Games 2012 InnovationRCA’s John Bound continued to build the College’s relationship with the London 2012 Olympic & Paralympic Games, through a Hackney Wick community workshop that generated ideas for the Olympic Park. The event was facilitated by Steve Bunn (Sculpture), Savina Torisi (Innovation Design Engineering) and Onkar Kular (Design Interactions), who worked with teams of local people to create sculptures, installations and wayfinding systems, which Olympic Delivery Authority (ODA) Head of Arts & Culture Sarah Weir described as, “bringing the Olympics alive”. Later in the year, Sir Christopher Frayling met senior members of the LOCOG Olympics design team to discuss the importance of a strong narrative for the Games and their legacy, drawing on 26

lessons from the 1951 Festival of Britain and the Millennium Dome. More recently, Sebastian Coe launched part of the Cultural Olympiad from the Senior Common Room, while students of Communication, Art & Design (CA&D) were challenged by the ODA to create images for a 100-metre structure in Stratford, East London, with the winning design going into production. Alongside such College-wide projects, RCA students made their own contributions to the Olympics, including: William Shannon (Design Products), who recycled some of the Stratford site’s 15,000 blue plywood hoardings for a boat-building workshop with local residents; and Robin Howie (CA&D), who developed a visual identity for the latest Olympic bobsleigh with UK Sport.

Discussions are underway to create further opportunities for RCA students, staff and alumni to play their part in the run up to 2012.

1: Hackney Wick community workshop, working group 2: Hackney Wick community workshop, sign-posting 3: William Shannon, ‘Blue Fence’ project

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Design London Design London is the new international centre for interdisciplinary design-led innovation, based at the Royal College of Art and Imperial College London. It was created as a result of the Cox Review (Creativity in Business), with the goal of stirring together the designers, business leaders and technology specialists of tomorrow to pioneer new models for interdisciplinary innovation. Formed at the end of 2007, Design London has put design at the heart of Imperial’s MBA, the world’s first business Master’s degree to feature design as a core subject. More than 250 Imperial College London MBA students and 88 students from the RCA and Imperial’s Faculty of Engineering have completed Design London’s sixmonth programme to date. Design London has already: • launched new postgraduate courses

in service design and design management, as well as special courses on entrepreneurship for fashion and textile students • launched six award-winning, new business ventures, all based on creative concepts from the RCA • delivered executive education to 145 small and medium enterprise (SME) companies in London • published research on service design, smart cities and the management of interdisciplinary design teams in leading academic journals • attracted an audience of over 3,000 people to date to its public outreach programme – the STIR lecture series. In July 2009 Design London opened London’s leading centre for innovation technology at the RCA with an £850,000 3D, immersive-visualisation environment

that can simulate and model everything from products, interiors, and service experiences to business processes. The centre is open for business too, as it supports not only our teachers and researchers but also industry projects.

www.designlondon.net

1: Artica: award-winning air conditioning system that uses 10% of energy used by conventional systems. 2: Imperial Engineering students’ design exercise 3: STIR, Dick Powell talk during the London Design Festival 2008 4: Innovation Technology Centre

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ReachoutRCA 2008/9 was a significant and exciting year for ReachOutRCA. Our programme of workshops and projects brought together young people, teachers, RCA students and alumni for inspirational exchanges. Our work was recognised with the prestigious Lloyd’s Arts & Business Award for our collaboration with Deutsche Bank at Frieze Art Fair. Our Big Draw project ‘The Animatics’ was named overall prize-winner in the Campaign for Drawing’s Drawing Inspiration Awards. Over the year ReachOutRCA provided opportunities for 47 RCA students and alumni from across the College’s fine and applied art and design departments, to deliver creative and challenging workshops based on their practice. We worked with young people and teachers from 27 schools in 14 London 28

boroughs. Workshops took place in schools, at SW7 museums, at Frieze Art Fair and alongside the SHOW 2009 at the RCA. We continued to develop our relationships with schools and key collaborating partners, including: Crafts Council, Exhibition Road Cultural Group, the Victoria and Albert Museum, Latymer Upper School and the Royal College of Music. ReachOutRCA also piloted our first residency with St Marylebone School Chemistry Department. Textiles Alumni Mandeep Marjara worked with pupils over five weeks to create an extraordinary installation based on the star systems. We also created new links with the Boroughs of Wandsworth and Westminster and the Design Council.

Following on from the award-winning Frieze Art Fair Education Programme in 2008, Deutsche Bank invited and accepted a programme proposal for 2009. The successful Crafts Council relationship will move forward as they have committed to fund the ‘Revival’ applied arts project in 2010.

1: Cumberland School students explore RCA SHOW Part One 2009 with RCA Printmaking alumnus Bronwen Sleigh. 2: Ernest Bevin College students and their teacher explore Sculpture SHOW 2009 during a workshop with RCA Sculpture alumnus Philippa Hadley Choy. 3: Haverstock School students and RCA alumnus Lucy Pawlak at Frieze Art Fair 2008. 4: Alperton School students worked with RCA Product Design alumnus Gregor Timlin during RCA SHOW Part Two 2009.

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Ceramics and glass are ubiquitous. They are among mankind’s oldest synthesised materials and are present in almost all aspects of our daily lives from tableware to sanitation, art and decoration to hip replacements, bricks to windows, etc. Ceramics & Glass at the RCA is not simply a fixed set of media, but also a site for discursive practice, where cultural, social, personal, historical and aesthetic concerns intersect. Underpinning this is the belief that our activity is rooted in its being an Applied Art. It is this ‘application’ of process, skills, material understanding and the development of ideas through making that defines our approach.

Alison Britton: Curator, Three by One, Crafts Council & Crafts Study Centre, Farnham.

Jack Tan (MA, 2009): Elected president of RCA Students’ Union.

Emmanuel Cooper: Contemporary Ceramics (pub. Thames & Hudson).

Students’ contributions to teaching programmes: University for the Creative Arts, Buckinghamshire New University, University of the Arts London, Bath Spa, Brighton, Falmouth and Plymouth Universities.

Professor Martin Smith: Surface and Depth, Galerie de Witte Voet, Amsterdam. Exhibitor, Korean Ceramics Biennale.

Richard Price (MA, 2009): Head of Glass Department, Buckinghamshire New University.

Felicity Aylieff: Out of China, Monumental Porcelain, Lightbox Gallery, Woking; Working to Scale, Contemporary Applied Arts, London. External examiner, University of Ulster. Tutor, Glas & Keramikskolen, Bornholm, Denmark.

Kerry Jameson (MA, 2009): Exhibitor, Young Masters, Cynthia Corbett Gallery, London.

Emmanuel Boos: AHRC Doctoral Award. Lisa Stockham & Ben Ben Li (MA, 2009): Research residencies at Bath Spa University’s Corsham Court. Penny Batley (MA, 2009): Exhibitor, Design-Nation at 100% Design. Katharine Morling (MA, 2009): Major private commission for ceramic interior, Glasgow.

Penny Batley, Marie Hermann, Shan Valla, Hélène Uffren & Lisa Stockham (MA, 2009): Exhibitors, Mint interior design, London.

SHOW 2009 sales: £39,341 – the highest on record, and three times that of 2008. Industry collaborations: Site-specific project collaborations with Sir John Soane’s Museum and Freud Museum, London; internships at Wedgwood, Denby, Royal Crown Derby, Studio Levien and Queensberry Hunt; and product developments for National Trust Shop at Waddesdon Manor, Aylesbury.

1: Steve Royston Brown, Arlecchino the Brave (detail) 2: Louis Thompson, Sigmund Freud’s Dream Catching Apparatus 1910 (reproduction, for Freud Museum) 3: Katherine Morling, Poffa Stool 4: Felicity Aylieff, Transport in China of Work for Working to Scale 5: Willem van Landeghem, Bone China Bowl

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Goldsmithing, Silversmithing, Metalwork & Jewellery The Goldsmithing, Silversmithing, Metalwork & Jewellery course at the RCA provides an environment to study and explore, in practical and theoretical terms, what it means to be an applied artist today. We challenge norms, question conventions and interrogate the role and purpose of the crafts-based artefact and of adornment – through conventional and smart materials as well as through digital and analogue technologies. Whether using high technologies or traditional methods, we believe in the physical act of making, because it keeps us in touch with what is real and because it offers students personal opportunities for invention and innovation. Professor Hans Stofer: Off My Trolley, Galerie S O, Solothurn. Exhibitor, Collect 2009, Saatchi Gallery, London; The Revivalists, Contemporary Applied Arts, London; Our Objects, Mackintosh Gallery, The Glasgow School of Art. Otto Künzli: Fukidashi, Galerie Wittenbrink, Munich. 30

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Michael Rowe: Exhibitor, MUDAC, Lausanne; Raising the Bar, Dovecot Studios, Edinburgh; Age of Experience, Ruthin Gallery, Wales; Talking Hands, National University Gallery, Seoul. Laura Potter: Exhibitor, Nowhere/Now/ Here, LABoral Centro de Arte, Gijon; Twelve Glass Cabinets, Bank St Arts, Sheffield.

interactive and educational project, Friday Late at the V&A; Be Bold, interactive event, London Design Festival, V&A. Academic collaborations: ‘Three School Project’: Hiko Mizuno College, Tokyo; Academy of Fine Art, Munich; and GSM&J, RCA, London.

Rebecca de Quin: Side x Side, Edge to Edge, Häme Castle, Finland. Amanda Mansell: Adorn: New Jewellery (pub. Laurence King; book launch CAA). Momoko Kumai (MA, 2007): Awarded Makower Silver Commission for the V&A. Ali Forbes (MA, 2009): Winner, Swarovski Crystal Award and subsequently employed as a designer. Industry collaborations: ‘Add Value’, student design project, Royal Mint; product developments for National Trust Shop at Waddesdon Manor; Metalrocks, public,

1: Rebecca de Quin, Side x Side, Edge To Edge 2: ‘Add Value’ project with the Royal Mint 3: Metalrocks, Friday Late at the V&A 4: Momoko Kumai, Makower Silver Commission for the V&A

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Architecture Whether for reasons of size or our unique art and design surroundings, the RCA is a very special place to study architecture. We celebrate architecture as a distinct discipline. We also invite influence from product design, graphics and fashion, among others. Looking at the city from different perspectives, four Architectural Design Studios (ADSs) pursue urban themes with a cultural edge. All of them are based in London, and reflect the life that Londoners lead or might want to lead. We believe in the link between the present and the future, and the role architecture should play in bridging between them. Professor Nigel Coates: Hypnerotosphere, 11th International Architecture Exhibition, Corderie dell’Arsenale, Venice Biennale; Battersea Gods Home, Super Contemporary, Design Museum, London. Glyndebourne restaurant redesign, Lewes, UK. Roberto Bottazzi (with Chora): Exhibitor, ‘The Landing’, Royal Academy Summer Show, London. Shortlisted, ‘Poplar Masterplan’, London.

Tobias Klein: Exhibitor, ‘Contoured Embodiment and Resonating bodies in Viscous Space’, Royal Academy Summer Show, London. Contributor, Digital Architecture Now (pub. Thames & Hudson).

Jordan Hodgson (MA, 2009): Shortlisted, RIBA President’s Medals student awards.

Clive Sall: Architect, Design Council refurbishment; Walkers HQ, Grand Cayman.

Siobhan Kelly (MA, 2009): Winner, Network of Executive Women in Hospitality scholarship. Nominee, Helen Hamlyn Award for Innovation.

Tom Teatum (with Popular): ‘Between House’, prefabricated concrete façade in partnership with Quattro Concrete; ‘Shepherds Bush Masterplan’, for the Green and surrounding areas. Gerrard O’Carroll: Designer, SHOW 2009, Royal College of Art. Collaboration (with Nick Knight, SHOWstudio, Somerset House, London. Charlotte Skene Catling: Architect, Eco House Boat, Regent’s Canal, London; North Mymms Estate Yard, North Mymms. Fergus Feilden, John Edwards and Ian Douglas-Jones (MA, 2009): Blueprint

Ian Douglas-Jones (MA, 2009): Winner, Conran Award.

Tom Greenall (MA, 2009): Selected, Building Design ‘Class of 2009’. Fergus Feilden and Ian Douglas Jones (MA, 2009): Exhibitors, London Yields: Urban Agriculture, The Building Centre, London; also featured in Building Design. ADS3: Exhibitors, We Can Understand the Meaning Better Without, Euston Crypt, London; Small Show Huge Talent, Sotheby’s, London. 1: Fergus Feilden, Agridemics 2: Jordan Hodgson, Chandelier 3: ADS3, Faerie Camp Destiny Shower, Vermont 4: Nigel Coates, Hypnerotosphere

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Design Interactions Design Interactions at the RCA has a broader technological focus that goes beyond digital technologies to include areas such as biotechnology, neuroscience and nanotechnology. We explore not only applications for existing technologies but also possible social, cultural, political and ethical implications for future technologies. Professor Anthony Dunne: Received 2009 Sir Mischa Black Award for Innovation in Design Education. Commissioned by EPSRC (Engineering and Physical Sciences Research Council) to link 16 Design Interactions staff, students and alumni to 16 UK research projects. Invited by The Wellcome Trust to showcase the work of the department in their HQ windows, London, throughout 2010. Professor Anthony Dunne and Fiona Raby: Finalists, Design Management Institute’s Muriel Cooper Prize (USA). Exhibitors: Telling Tales, Victoria and Albert Museum, London; Notorious, FRAC, Ile-de-France and Le Plateau, Paris; Supertoys, Arnolfini, Bristol.

Exhibitor: Crossing Over, Royal Institution, London; Kinetica Art Fair, London.

Revital Cohen (MA, 2008) and Gunnar Green (MA, 1st year).

Noam Toran: Exhibitor, 4th International Video Art Biennale, Centre for Contemporary Art, Tel Aviv, Israel.

Revital Cohen (MA, 2008): Received Wellcome Trust Grant.

Nina Pope: Collaboration, Newham Council, ‘What Will Our Harvest Be?’ Funded through London Development Agency and Arts Council. Cesar Harada (MA, 2009): Winner, 2009 Ars Electronica Next Idea Award/Grant for graduate MA project, ‘Open_Sailing’. Will Carey (MA, 2009): Winner, Blueprint Best Show design at 100% Design, Disruptive Thinking, featuring selected DI graduating projects. Daisy Ginsberg (MA, 2009): Awarded residency at the bioart lab Symbiotica, Australia, to develop graduate synthetic biology MA project.

Professor Anthony Dunne, Fiona Raby, Noam Toran and James Auger: Exhibitors, Nowhere/Now/Here, Laboral AICC, Spain.

Dot Samsen, Thomas Thwaites and Cesar Harada (MA, 2009): Exhibitors, Test Lab: What Crisis?, V2: Institute for Unstable Media, The Netherlands.

James Auger: ‘Carnivorous Robots’ project nominated for Transmediale 2010 Award.

Design of the Year Prize: Design Museum, nominees included Noam Toran (tutor),

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Kjen Wilkens (MA, 1st year): Awarded Design London Fellowship. Microsoft Research, Cambridge: Funders, full-time Research Fellow (extended for another six months) and MPhil/PhD for three years. Vodafone: Funder, four-week, first-year MA project with Global User Experience team. MA Bio Project: Worked with research groups at ten UK universities to link teams of first-year DI students with researchers, including: Centre for Biomedical Engineering, University College London; Developmental Cognitive Neuroscience Unit, University of Sussex; Institute of Biomedical Engineering, Imperial College London; School of Biomedical and Molecular Sciences, University of Sussex. 1: Hayeon Yoo, Compass Phone 2: Nelly Ben Hayoun, Soyuz Chair 3: Noam Toran (with Onkar Kular), The MacGuffin Library 4: Will Carey, Disruptive Thinking 5: Zoe Papadopoulou and Cat Kramer, The Cloud Project

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Design Products Design Products, which incorporates furniture and industrial design, takes a pluralistic approach to the teaching of a very broad subject area. A series of separate ‘Platforms’, each with their own tutors, invite students to share their own approach to, and definitions of, design.

Telling Tales: Fantasy and Fear in Contemporary Design, Victoria and Albert Museum, London. Curator, Gareth Williams; exhibitors including Jurgen Bey and Tord Boontje; 165,000 visitors. The exhibition showcased the work of contemporary designers who explore the narrative potential of objects.

Academic collaborations: EPFL + ECAL Lab, Switzerland, offered flexible photo voltaic cells to create ‘Sunny Memories’. (The Greatzel cells they used were shortlisted for the Nobel Prize.); the French government’s ceramic factory Manufacture Nationale de Sevres invited proposals for their future.

Royal Designers for Industry: Awarded to tutors Sam Hecht and Luke Pearson. Highest accolade for designers in the UK: limited to 200, the award is conferred for ‘sustained excellence in aesthetic and efficient design for industry’.

Jorge Santos (PhD, 2009): Completed study on application of new designers tools – scanning and digital manufacturing equipment – in foetal medicine, working with physicians, ultrasound specialists and software developers to construct real-size, physical models of the unborn.

Brit Insurance Designs of the Year 2009: Shortlisted, Sebastian Noel and Troika, All the Time in the World and Cloud; Durrell Bishop (Lucky Bite), Dinner Table Game; Jurgen Bey, Witness; El Ultimo Grito, Composite bench system; Jorre Van Aste, Jar Tops; Joe Wentworth (MA, 2007), Ippogeo edited by Artemide; Noam Toran and Onkar Kular, MacGuffin Library.

Professor Ron Arad: No Discipline, a major retrospective, Pompidou Centre, Paris; MoMA, New York. Hilary French: Key Urban Housing of the Twentieth Century (pub. Laurence King). Troika (Conny Freyer, Eva Rucki, Sebastien Noel: MA, 2003): Digital by Design: Crafting Technology for Products and Environments (pub. Thames & Hudson) Gareth Williams: Telling Tales – Fantasy and Fear in Contemporary Design (pub. Victoria and Albert Museum), to accompany exhibition.

Sato Hisao (MA, 2005): Toys developed in 2006 went into production with a British manufacturing company and are now on sale in Muji. Toyota IQ Design Challenge Award: Winner, Dominic Hargreaves (MA, 2009), ‘garage’ category; shortlisted, Romain Jeantet and Jonas Trampedach (MA, 2009), ‘bedroom’ category. Industry collaborations: BASF SE offered students the opportunity to explore applications for a new kind of plastic Ultradur (B4300 M12); Yamaha Corporation asked for new ways to ‘play’ music.

Super Contemporary: Exhibition to, ‘celebrate the fearlessly progressive spirit of London’s greatest creative minds’. Curator, Daniel Charny. Exhibitors, Ron Arad, El Ultimo Grito with Urban Salon, Industrial Facility and Thomas Heatherwick, Design Museum, London.

1: Ron Arad, No Discipline (installation view) 2: Jonas Trampedach, Folding Chair 3: Manufacture Nationale de Sevres project 4: Min-Kyu Choi, Sundew Flower Fly Trap

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Innovation DEsign Engineering In IDE we are looking for a new type of designer; one who can innovate masterfully in areas across the broad spectrum of industrial design. Our remit is to fully exploit creativity, to deliver social benefits through design and to achieve commercial success through innovation. Professor Miles Pennington: Exhibitor, My Ecopets, TIA Toy Fair, New York and Fall Toy Preview, Dallas, licensed deal with major global children’s brand owner; Cybercino, Sic International Coffee Exhibition, Fiera Milano, fully automated commercial coffee machine, design and engineering for England’s only espresso machine makers, Fracino, Birmingham. Ashley Hall: Presented papers at ‘Creating a Better World’, E&PDE 09, 11th International Conference on Engineering and Product Design Education; IASDR 2009 Conference, Seoul. Ranulph Glanville: Elected President of the American Society for Cybernetics, 2009. Neil Barron: Winner, Mayor of London Boris Johnson’s, ‘London on Tap’ Competition for carafe design.

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Blue Peter, BBC TV: Selection of ‘makes’ for famous children’s programme: Pip Mothersill; Sarat Babu, Hermann Trebsche; Nick Reddall; Ross Atkin; David Graham and Chris Holden (MA/MSc, 2009). Sustain: Exhibitors, online sustainability exhibition, RCA: Gianpaolo Fusari; Daniel Mason; Nick Redall; Pip Mothersill; David Graham; Dae Kyung Ahn; Ross Atkin; Hersh Haladker; Bibi Nelson (MA/MSc, 2009). Bare Conductive project: Collaboration with Calvin Harris and Sony Music UK to make the ‘Humanthesizer’: Bibiana Nelson, Matt Johnson, Isabel Lizardi, Becky Pilditch (MA/MSc, 2009). Toyota IQ Design Challenge Award: Shortlisted, Gianpaolo Fusari MA/MSc, 2009), Dae Kyung Ahn (MA/MSc, 2009) and Present Skins. James Dyson Award: Winners, Paul Thomas (MA/MSc, 2008), Yusuf Muhammad (MA/MSc, 2008) for lifesaving invention ‘Automist’. Go Global: ‘e.Artisans’ project, contemporary design for the global market, Kumasi University, Ghana.

Synaesthesia Design Lab: Experimental Design Master class run by Malte Wagenfeld, Royal Melbourne Institute of Technology (RMIT). Industry collaborations: Ford Motor Co., ‘Smart Thinking’, collaborative project Vehicle Design, Textiles and IDE; Unilever, ‘Laundry Minimisation’, recent IDE graduates; Lakeland Plastics, ‘I’ll Take Nine’, IDE1 project to develop innovative house wares; Unilever, ‘Cues for Success’, developing countries packaging project; London Development Agency, ‘Raw Fairies’, innovative packaging; Nekuda Design, ‘I am a brand, workshop with Avner Sadot, Nekuda Design, Israel; iSpace, Thales Alenia Space, Philips and the European Space Agency (ESA), ‘Space Hotel’, module with space architect Daniel Bedini; Design London, SEED (Social Environmental Enterprise + Design), including Clare Brass, Jonathon Porritt – Forum For the Future, Chair Sustainable Development Commission.

1: Sarat Babu, Micro Kinetics 2: David Graham, Move-it 3: Dae Kyung Ahn, Micro Factory 4: Sheraz Arif, Living Paint

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Vehicle Design Vehicle design has moved beyond engineering and consumerism, and increasingly must respond to individual demand, cultural, social and demographic change and, of course, environmental issues. The main focus of the Vehicle Design Department is to improve the design and experience of journeys, particularly of urban and inter-urban mobility. The goal is to promote and encourage sustainable transport futures through the development and teaching of new design methodologies for socially responsible mobility. Professor Dale Harrow: Principal investigator, EPSRC-funded research project ‘Smart Pods’. Speaker, Design Council Korean Tour; Cheltenham Science Festival; International Transport Design Summit, Barcelona. Marek Reichman (MA, 1990 and Visiting Lecturer): Exhibitor, Aston Martin Lagonda Concept SUV and One-77, Geneva Motor Show. Leader, winning Aston Martin/Foster + Partners multi-disciplinary team to design new Routemaster bus, Transport for London. Peter Stevens: Judge, Interior Motives Awards. ‘Solar Tractor’ project; ‘Windcar’ project. Lecture tour, China.

David Woodhouse (MA, 1990): Director, new Ford Ingeni design studio, to develop Ford’s global design strategy based in London. Reginald Hingston (MA, 2008): Design for boat to improve economic health of community of Lamrana, West Africa, went into production using local craftsmen, materials and skills. (Winner, Deutsche Bank award 2008.) Luke Harmer (PhD, 2009): Exhibitor, UITP Paris Design Day (2008) and Eurobus 2008. Lino Vital García-Verdugo (MPhil student): Awarded Design London Fellowship. Presentation, Jaguar Land Rover (Coventry). Artur Grisanti Mausbach (PhD student): Presented ‘Paradigm Shift: Entering a New Age of Automobile Aesthetics’, Fourth International Conference on Ecological Vehicle and Renewable Energies (EVER 2009), Monaco. Sheila Clark (PhD student): Exhibitor, car seats and accessories, Industrial Fabrics Association International (IFAI), Charlotte, North Carolina. Invited by Marie O’Mahony.

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Student exhibitions: Japan Car: Designs for the Crowded Globe (Kei-Car project), Science Museum, London; Fast Forward 40 Yrs, London Transport Museum; ‘Interior Motives’ entrants displayed at Frankfurt Motor Show; Future Cities Mobility, London Transport Museum; Selected graduate works, Futures Gallery, London Transport Museum. Industry collaborations: Internships at Hyundai, Japan; Ford and Seymourpowell, UK; Pininfarina, Italy; BMW, Audi and Opel, Germany. Partner projects: Autocare, ‘Smart Pods’; Daihatsu/Suzuki, Kei Car; Ford, afFORDable; Opel, Fast Forward 40 Yrs; HAVAS Media, Future Cities Mobility. Academic collaborations: ‘Smart Pods’, with Helen Hamlyn Research Centre, Universities of Loughborough, Bath, West of England and Plymouth. Umbro project with Fashion and Textiles Departments. ‘Sunny Delight’ project with Ford/Innovation Design Engineering Department. 1: Dalibor Pantucek (MA, 1st Year), Cocoon 2: Rui Guo (MA, 1st Year), Caring Engineering 3: David Seesing (MA, 1st Year), Nomad 4: Gabriel Tam (MA, 1st Year), Astrocar

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Animation The Animation Department has developed a vibrant, creative environment in which to observe, study, think, produce, exhibit and reflect through research and practice. The department delivers an exciting combination of both teaching and research, which examines the complex medium of animation. Professor Joan Ashworth: Professorial lecture, ‘Touch, Transform, Think, Tell’. Current research project: Mushroom Thief. Deborah Levy: AHRC-funded Research Fellow, completed three-year fellowship with keynote lecture, ‘The Lost Objects of Childhood’, featuring a short, stop-motion animation film, Hot Milk Madonna, made with Pia Borg (MA, 2008). Marina Warner: First Visiting Professor to the Animation Department. Inaugural lecture, ‘My Father He Ate Me’. Tim Webb: A is for Autism, in ‘More Than Just Reality? The Best Animated Documentaries’, 51st International Leipzig Festival for Documentary and Animation Films.

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Joe King: Sea Change, selected for screening by Andrew Kotting, Coastal Currents Arts Festival, Hastings. Arts Council funding: Strange Lights. Rafael Sommerhalder (MA, 2008): Flowerpots, winner, Animation, Adobe Design Achievement Awards. Wolves, winner, Conran Foundation Award. Kristian Andrews (MA, 2008): Rabbit Punch, award winner, International Animated Film Festival, Stuttgart; Grand Prix, International Competition, Curtocircuito Film Festival, Santiago de Compostela; nomination, Royal Television Student Awards.

Film Funding Day: Cross-college event (organiser, Joe King); overview of film funding opportunities in the UK. Attended by Film London; Arts Council England; Animate Projects; UK Film Council; BECTU (Moving Image Union). Academic collaborations: Sound Department students, National Film & Television School; Composing for Screen students, Royal College of Music. Peter & the Wolf: Suzie Templeton (MA, 2001) donated a set and puppets from the Academy Award-winning animated film; the first animation object to become part of the Royal College of Art Collection.

Laurie Hill and Ian Mackinnon (MA, 2005): Photograph of Jesus (Laurie Hill), winner; Long Jump (Ian Mackinnon), third prize: Getty Images/Short & Sweet Film Competition. Maryam Mohajer (MA, 2007): And Life Went On, winner, Best Student Film, Trinidad and Tobago Film Festival, Animae Caribe. Alan Smith and Adam Foulkes (MA, 1996): This Way Up, nominee, Animated Shorts, Academy Awards 2009.

1: Still from Maryam Mohajer, And Life Went On 2: Still from Wolves, Rafael Sommerhalder 3: Set of Suzie Templeton’s stop-motion film Peter and the Wolf. 4: Still from Photograph of Jesus, Laurie Hill 5: Still from Rabbit Punch, Kristian Andrews

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Communication Art & Design The largest RCA department, CA&D is also one of the most international, and the resulting mixture of cultural backgrounds, religious and social attitudes, and linguistic richness all contribute to the distinctive flavour of the department. Students on the course work in an enormously wide range of media, but the defining characteristic, which runs through all of the project work produced in CA&D, is the emphasis we place on ideas. We encourage students to develop critical positions in relation to the great issues of the day: environmental, cultural, political and social – but there’s also a great deal of work produced here that is made for no other reason than sheer creative pleasure. Professor Dan Fern: Chair, RCA International Development Group. Solo exhibition, England & Co. Gallery, London. Jeff Willis: Business Fellow, InnovationRCA: founder of Graphic Design Unit to negotiate projects with industry. Designer, British Academy visual identity. Andrzej Klimowski: Dr Jekyll & Mr Hyde, graphic novel (pub. SelfMadeHero). Juror, Slovenian International Design

Competition, Ljubljana, and exhibitor at accompanying design conference. Jon Wozencroft: ‘Brian Eno’s 77 Million Paintings’, lecture and screening, Punkt Festival, Norway. The Suffolk Symphony, new film with live music performance, Aldeburgh Festival, Suffolk. Anne Howeson: Remember Me, Guardian Gallery, London. Eva Kellenberger and Sebastian White (MA, 2009): Designers, Design Interactions’ yearbook, now working as a professional partnership. Carlos Mancebo (MA, 2009): Designer, CA&D, SHOW 2009, generally acclaimed to be the best in recent years Povilas Utovka and Alistair Webb (MA, 2009): Designers, supporting material, Cold War Modern (curator, David Crowley, CCA). Zoe Taylor (MA, 2009): Illustrator, Rapunzel, with writer Marina Warner. MAP/making: Collaborative performance project (MAP=Music, Art and Performance)

by first-year students with musicians from the Guildhall School of Music, using Marina Warner’s Rapunzel; culminating in a one-hour multimedia performance at Bath International Music Festival, commissioned by Festival Director Joanna MacGregor. British Film Institute: Screening, graduating moving-image students. Illustrative 09: International forum for contemporary illustration and graphic arts: 26 recent graduate and current student exhibitors. Research: PhD graduate in documentary film and two MPhils in typographic research and sonic art installation. External research seminars and conferences, film festivals and design exhibitions in Cuba, St Petersburg and UK venues. Karin von Ompteda (typographic research) gained major funding from the Canadian Social Sciences Research Council and other foundations. 1: Povilas Utovka and Alistair Webb, Code Share, CAC Vilnius (exhibition identity) 2: Leslie Deere, Outer Dark (detail) 3: A Young Kim, Protea at MAP/making, The Equator Project 4: Jaakko Tuomlvaara, Communication Art & Design Degree Show 2009 gallery graphics

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Fashion The design ethos of the Fashion Department is a powerful combination of creative expression, technical excellence and high professional standards. Its strength is based on a fearless approach to exploring and questioning the boundaries of womenswear and menswear. We believe that the core of innovation is based on the investigation and development of personal vision and inspiration, and that bringing this into a valid context offers a position of confidence that enables our graduates to pursue an influential career path within the international fashion industry. Professor Wendy Dagworthy: Contributor, Style City, How London Became a Fashion Capital (pub. Francis Lincoln). London Mapper and interviewee, Super Contemporary, Design Museum, London. Ike Rust: Halcyon Daze: Uncovering the Language of Designing, CETLD-funded film focusing on the process of learning Fashion at the RCA. Tristan Webber: ‘From Sketch to Product’, CETLD-funded project, with V&A Prints & Drawings Study Room.

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Julie Verhoeven: Fannying Around, Concrete, Hayward Gallery, London; Feathers Up My Arse, ZINGER Presents, Amsterdam; Rubber Necking, The White Cubicle, London. Darla Jane Gilroy: Future Perfect website identifying trends and providing brands, advertising agencies and think-tanks with visions of the future. Claire Pajazckowska: Co-editor, The Sublime Now (pub. Cambridge Scholars). Bronwen Marshall (MA, 2009): Competition winner, redesign Tower of London Beefeaters’ uniforms for launch event, Super Contemporary, Design Museum, London. Future Fashion Now: 2008 RCA Fashion graduates’ final collections, Victoria and Albert Museum, London, co-curated by Professor Wendy Dagworthy and senior tutors. ITS8, Trieste: RCA Fashion (Mason Jung, Chau Har Lee, Ali Forbes) overall winners, Fashion and Accessories Collections of the Year Awards.

London Fashion Week: Recent graduates making a powerful impact on the regeneration of London Fashion Week include Erdem, Aminaka Wilmont, Justin Smith, Soren Bach, Julian Smith, Katie Eary, James Long, Carolyn Massey, Aitor Throup, Holly Fulton and Heikki Salonen. Brioni project work: Harrods, London; Menswear Fashion Week, Milan. Sponsored projects 2008/9: I.F.F; Bill Amberg; Brioni; FMO; Umbro International; Sophie Hallette; Manolo Blahnik; UPS; Swarovski; Crown Paints. Umbro: Project collaboration RCA Departments of Fashion, Textiles and Vehicle Design, and Imperial College London. Teko College, Denmark: Design/technical student collaboration.

1: Mason Jung, Menswear 2: Chau Har Lee, Footwear 3: Bronwen Marshall, London Beefeaters’ uniforms (Photography Naomi James) 4: Future Fashion Now, Victoria and Albert Museum, London

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Textiles The Textiles Department aims to provide students with a course and environment that encourages individuality, enhances their skills and invites them to challenge and be challenged by related issues, while exploring the breadth and diversity of textiles. Constantly evolving technology, innovation, art, design and traditional craft skills cohabit and fuse in the subject of textiles. The context of textiles is approached through two selective pathways: Body and Space. Professor Clare Johnston: Presentations, The Colour Conference, Belfast University; National Institute of Fashion Technology, Delhi; National Institute of Design, Ahmedabad. Board member, Material and Design Exchange, UKKTN Anne Toomey: Research presentations, Annual Scholars’ Lecture, Cambridge; MADE: Materials for Design and Safety, Loughborough; Textile Institute World Conference, Hong Kong; SFIT (Smart Fabrics and Intelligent Textiles) Conference, Rome; Avantex, Frankfurt. External reviewer, Skin Dreams exhibition, Hong Kong Polytechnic University.

Sarah Dallas: Adviser to Museum of Fashion, Bath for Sarah Dallas Collections 1976–89. Contributor, Rowan Knitting and Crochet Magazine.

René De Lange, Will Stone, Laura Mcpherson, Justin Smith and Nicola Strathearn (MA, 2009): Exhibitors, Texprint, London, Paris and Hong Kong.

Freddie Robins: Exhibitor, Dress Codes: Clothing as Metaphor, Katonah Museum of Art, New York; Diritto Rovescio, Triennale Design Museum, Milan; Think Tank takes on ‘Skill’, Contemporary Applied Arts, London and touring; Bottom Drawer, PM Gallery, London; Deviants, Crafts Council, London and touring, Cloth & Culture Now, Sainsbury Centre for Visual Arts, Norwich and Whitworth Art Gallery, Manchester.

Nicola Strathearn (MA, 2009): Winner, ‘Breaking New Ground’ Prize, Texprint, London and Paris.

Julian Roberts: Presenter, Your Label, BBC, mentoring ten 14- to19-year-olds through development of a collection for London Fashion Week. School of Subtraction Cutting (pub. Centre for Pattern Design, CA). Subtraction cutting master classes at international universities and art galleries. Philippa Watkins: Contributor, journals and magazines: Textile Outlook International, Textiles View and Textiles. Comment and analysis on design trends and innovation in textiles, through European trade fairs in France, Italy and Germany. Consultant, textiles for fashion.

Keith Gray (MA, 2009): Exhibitor, full collection of menswear and prints, RCA Fashion catwalk show, London. UNESCO: Emma Bradbury (MA,1st Year) and Claire-Anne O’Brien (MA, 1st Year) participated in the ‘Snow Leopard’ project, Northern India. Institute of Materials: Joint workshops with Vehicle Design Department. Ford team project: Collaboration with IDE and Vehicle Design Departments. Umbro project: Collaboration with Fashion Department.

1: Keith Gray, Menwear 2: Ella Robinson, Canoe Cocktail 3: Freddie Robins, The Saddest Sight of All

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Painting The Painting Department is committed to offering students the opportunity to engage – in a pluralistic and highly critical manner – with painting’s unique relationship and approach to contemporary discourses: the status of the image and issues of materiality, site, practice and history. Our aim is to provide a creative and challenging professional environment in which students can develop their work and thinking in relation to both studio practice and academic research, in order to engage in the widest possible professional arena. Professor David Rayson: Everyday Fantastic, Marlborough Fine Art, London. Exhibitor, LUBOK 8, Schauspiel Spinnerei, Leipzig. Lectures, Camden Arts Centre, The Prince’s Drawing School; Slade School of Fine Art; CAFA and Tsinghua University, Beijing. John Strutton: Donderslag, Domobaal Gallery, London/Volta, New York. Exhibitor, PARKHAUS, Kunsthalle Düsseldorf; Precious Things, Highlanes Gallery, Drogheda. Goshka Macuga: Nominee and exhibitor, Turner Prize, Tate Britain, London; Bloomberg Commission: The Nature of the Beast, Whitechapel Art Gallery, London. 40

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Elizabeth Price: Hall of Sculptures, Spike Island, Bristol. John Slyce: Convened Fine Art Lecture Series, Dan Graham, Garth Evans, David Claerbout. Douglas Allsop: Fast Surface, Blind Screen and Reflective Editors, Letherby Gallery, University of the Arts, London; The Director’s Cut, Galerie Bernd A. Lausberg, Düsseldorf; Blind Spot, Bartha Contemporary, London. Ansel Krut: Next Chicago, Domobaal Gallery, Art Chicago. Exhibitor, Turps Banana 2, Galleria Marabini, Bologna. Milly Thompson: My Kind of People, Galerie Valerie, Bilbao/Venice. Exhibitor: Less is Less and More is More, That’s All, CAPC, Bordeaux. Through the Wall: Group show (MA, 2009), Rochelle School, London. Jerwood Contemporary Painters: Winners, Ellen Stanford (MA, 2008), Scott O’Rourke (MA, 2008).

John Moore’s Painting Prize 2009: Exhibitors, Richard Baines (2nd year), Ian Homerston (MA, 2009). Painting alumni: Katy Moran (MA, 2005), Andrea Rosen Gallery, New York; Laura Oldfield Ford (MA, 2007), Marlborough Fine Art, London; Ryan Mosley (MA, 2007), Alison Jacques Gallery, London; Jaimi Gili (MA, 1998), Bloomberg Space, London; Armando Anrade Tudela (MA, 2003), Ikon Gallery, Birmingham; Lydia Gifford (MA, 2008), winner, Valerie Beston Prize, solo exhibition, Marlborough Fine Art, London. Exhibitors: Ryan Mosley (MA, 2007). Alistair Frost (MA, 2007), Mathew Weir (MA, 2004), Sam Windett (MA, 2004) Scott O’Rourke (MA, 2008), Ellen Stanford (MA, 2008), Jerwood Visual Arts, London; Lara Viana (MA, 2007), Paul Westcombe (MA, 2007), Christopher Hanlon (MA, 2008), Bloomberg New Contemporaries, London; Katy Moran (MA, 2005), Anthea Hamilton (MA, 2005), Dee Ferris (MA, 2004), Art Now, Tate Britain, London.

1: Nathan Barlex, Robin Footitt and Andrew Larkin, Ghost Tank 2: Lydia Gifford in the Valerie Beston Studio (2008 Valerie Beston Prize winner) 3: Through the Wall, Rochelle School 4: Kate Moran, Snowdance 5: Ryan Mosley, Peacemakers

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Photography The Photography Department aims to foster a critical practice of the still and the moving image. Practice – but also theory and criticism – address the image as a material and physical object, used for the creation of fact, fiction and fantasy. Rut Blees Luxemburg: Commonsensual: The Works of Rut Blees Luxemburg (pub. Black Dog Publishing); texts, Regis Durand, A G Duttmann and Douglas Park. Peter Kennard: Embedded Art, Akademie der Künste, Berlin. Olivier Richon: Anima(l), Ibid Projects, London; Bendana-Pinel, Paris. Sarah Jones: Within: New Photographic Portraits, Bloomberg SPACE, London (commission, exhibition and catalogue).

Noemie Goudal (MA, 1st year): Shortlisted, International Talent Support awards (ITS8), Trieste. Featured in Hot Shoe magazine. Agata Madejska (MA, 1st year): Winner, National Magazine Award. Ewa Axelrad (MA, 1st year): Solo exhibition, EASTinternational 2009, Norwich University College of the Arts, selected by Art & Language and Raster Gallery.

Ricoh Japan: Collaboration using their top-of-the-range compact cameras to experiment with the book form. MA student work displayed at Photokina 2008, Cologne. La Seine: Collaboration between Photography research students and the research atelier, Ecole nationale supérieure des beaux arts de Paris. In situ research project and exhibition, Lasalle School of Art, Singapore.

Thomas Adank (MA, 2009): Exhibitor, Cass Sculpture Foundation, Goodwood. Regine Petersen (MA, 2009): Exhibitor, Saatchi New Sensations, A Foundation, London.

Hermione Wiltshire: Birth Rites, Glasgow Science Centre; Manchester Museum.

Åsa Johannesson (MA, 2009): Shortlisted, Independent Photographers Terry O’Neill Award.

Yve Lomax: ‘Besides/In a paradigmatic way’, Journal of Visual Arts Practice, 7:3, 2008, pp 205–12.

Susanne Ludwig and Konrad Pustola (MA, 2008): Exhibitors, Bloomberg New Contemporaries, London.

Leica Prize, Paris: Three Photography students shortlisted.

Runa Islam (MPhil, 2007): Shortlisted, Turner Prize, Tate Britain.

1: Runa Islam, Intervals; Spotlight and Banana 2: Olivier Richon, Anima(l) 3: Regine Petersen, Pigeon 4: Åsa Johannesson, Portraits of Him 9 5: Ewa Axelrad, Mislocated

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Printmaking Hybridity is the key to the Printmaking Department, which works with very diverse students to explore print media in their widest manifestations within a fine art context. The material and conceptual histories and influences of print are explored through making and critical reflection. This focus is supported by excellent workshops, opportunities for exhibition, discussion and exchange, all of which aim to bring out the creative potential of each student.

Ann-Marie LeQuesne: Double Exposure II, Merlin Studios, London.

Rhys Himsworth (MA, 2009): Winner, Conran Foundation Award; Land Securities Prize.

New Prints from the Royal College of Art: Selected by Chris Orr (RA), Royal Academy of Art, London.

Andrew Curtis (MA, 2009): Winner, Jealous Print Prize. Exhibitor, Bloomberg New Contemporaries, London.

10 – The Chris Orr Years 1998–2008: Limited-edition prints by Paula Rego, Michael Craig Martin, Tracey Emin alongside College staff and graduates, Royal College of Art, London.

David Price (MA, 2009): Exhibitor, Bloomberg New Contemporaries, London.

Professor Jo Stockham: Exhibitor, Buitendoor, Ostende; No Letters, Nettie Horn Gallery, London. Nominee, Paul Hamlyn Foundation Award.

‘Print in 3D’: One-day symposium, Victoria and Albert Museum, London; including Gill Saunders, Troika, Simon Patterson, Richard Woods, Jeremy Gardiner, Jo Stockham and Nick Grace, RapidformRCA.

Mark Hampson: Curator, Pick ‘n’ Mix, Walthamstow Woolworths, London. Exhibitor, Krakow Print Triennale. Dick Jewell: Solo exhibition, Rachmaninoff’s, London. Exhibitor, Self-made Men, Victoria and Albert Museum, London. Bob Matthews: Solo exhibitions: Keith Talent Gallery, London; Gregory Lind Gallery, San Francisco. Curator: A Sort of Night to the Mind, A Kind of Night for Our Thoughts, Herbert Read Gallery, Canterbury. 42

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Andrea Büttner (PhD, 2009): Solo exhibitions: Croy Nielsen, Berlin; Hollybush Gardens, London. Exhibitor, Nought to Sixty, ICA, London 2008. Oona Grimes: Solo exhibition, images made for Iain Sinclair, Hackney, That Rose Red Empire (pub. Hamish Hamilton), Daniel Arnaud Gallery, London. Serena Korda (MA, 2009): Winner, Deutsche Bank Award; Start Point Art Prize.

Claas Gutsche (MA, 2009): Winner, inaugural FT Weekend Fine Art Awards; Royal Academy of Art Summer Exhibition student prize. Printmaking alumni: Christiane Baumgartner (MA, 1999), solo exhibition, Alan Cristea, London; Haris Epaminonda (MA, 2003), The Generational: Younger Than Jesus; New Museum, New York; Richard Healy (MA, 2008), Red Mansion Art Prize; Gemma Anderson (MA, 2007), Wellcome Trusts Arts Award; George Charman (MA, 2008), Jerwood Drawing Prize, Second Prize; Maril`ene Oliver, The Space Between, Crypt Gallery, London, The Future Can Wait, Old Truman Brewery, London. 1: Hector de Gregorio, Lee Adams, Performer 2: Maril`ene Oliver, Dreamcatcher 3: Rhys Himsworth, Hephaestus 4: Andrew Curtis, New Empire

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Sculpture In 2008/9 the students and staff of the RCA Sculpture Department found themselves possessed of an exceptional opportunity, working in the handsomely lit, singlestorey spaces of the new building. Looking ahead, with the new Moving Image Studio and the imminent arrival of the Painting Department next door, there is the chance to set fresh standards for both the production and display of artworks. It will concentrate the debate about fine art at the RCA. For the first time there will be a genuine coalition of fine art students in a single place: a critical mass, to cultivate something much more considerable than the sum of the parts. We imagine a magnetic future, open to all students. At a time when the forming processes and materials of the world are encountering near-magical guidance systems, we should be expecting the Sculpture Department to attract the kinds of intelligences that will become the ‘shapebrokers’ of the twenty-first century.

John Frankland: Boulder, Peer Gallery, London, Shoreditch Park and Mabley Green. Exhibitor, Boule to Braid, Lisson Gallery, London.

Professor Richard Wentworth: Exhibitor, 53rd International Art Exhibition, Giardini Pavilion and Arsenale, Venice Biennale. Curator, Boule to Braid, Lisson Gallery, London. Inaugural curator, Cabinet of Curiosities, Whitechapel Art Gallery, London.

Denise de Cordova: Love, Flowers East, London.

Lee Grandjean: Workforce Ha Ha, De Fabriek, Eindhoven. Kate Davis: Exhibitor, Travelling Light, WW Gallery, London and Venice Biennale. Commission with Modus Operandi, Whooosh, Langdon Park Station, DLR. Keith Wilson: What is Industry? Strategic Questions #25, Eastside, Birmingham; Boat Race, Snape Maltings, Aldeburgh. Exhibitor, Deceitful Moon, Hayward Project Space, London. Jordan Baseman: Dark is the Night, The Photographer’s Gallery, London and ArtSway, New Forest. Exhibitor, 53rd International Art Exhibition, New Forest Pavilion, Venice Biennale.

Edward Payne (MA, 1st year): Winner, Annual Friends of Battersea Park Sculpture Commission.

James Capper (MA, 1st year): Shortlisted, Jerwood Sculpture Prize, London. Exhibitor, 53rd International Art Exhibition, Peckham Pavilion, Venice Biennale. Winner, Jack Goldhill Prize, Royal Academy Summer Exhibition, London. Lucy May (MA, 1st year): Exhibitor, Travelling Light, WW Gallery, London and Venice Biennale. Fred [London] Ltd: Student exhibition, crit. by gallery director Fred Mann and Kate Davis. Bank of America: Student exhibition, HQ building, Canary Wharf, London. Camden Arts Centre: First-year student summer project with Keith Wilson. Foundry: Castings, City of London Festival, Painters & Stainers Livery Company. Education, Victoria & Albert Museum Guides; Dr Stephen Case-Green, Pangolin Foundry; The British Wax Refining Company.

1: Lucy May, Throat of Venice 2: John Frankland, Boulder 3: Krister Klassman, Untitled (winner, Villiers David Travel Award) 4: Edward Payne, Table-shelter Stack

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Drawing Studio During 2008/9 the Drawing Studio provided a wide range of workshops and events, as part of its remit to raise the awareness of the importance of drawing and its relevance to art and design practice. Course-specific workshops were carried out in consultation with Heads of Department or Senior Tutors, alongside well-attended, College-wide workshops and evening classes that are open to all students and staff. Drawing classes: ‘Drawing the Body’ figure drawing classes; ‘Lab’ (experimental approaches to drawing) taught by Iwona Abrams; ‘The Anatomy Course’, restructured and enlarged to meet student demand by tutors Eleanor Crook and Richard Neave; ‘Natural Forms’ run by John Norris-Wood; ‘Facial Reconstruction’ workshop; ‘Esemplastic Tuesdays’ replaced by sound/music/poetry and performance; Martin Morris’ ‘Drawing Course’ (lunchtime drawing classes open to staff). Master classes, workshops and lectures: Run by distinguished artists, designers and theorists, including ‘Body Decoration’ workshop, Dr Rebecca Jewell; ‘Imagination and Drawing’, Amelia Johnstone; ‘Comicology and Sequential 44

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Narrative’ workshops, Doctor Simpo; ‘Tactile’ workshops, Tereza Stelhikova; ‘Collaborative Drawing’ workshops, Meghana Bisineer and Jane Cheadle; and ‘Animation-specific’ workshops, Aline Helmcke. Drawing Studio competitions: The Man Group Drawing Prize; John Norris Wood Natural Forms Drawing Prize, sponsored by Josh and Cyndy Silver (and accompanying exhibition).

GOB: Exhibition/research project, culminating in a week-long residency in the Courtyard Galleries, Kensington Campus. A collaboration between six research students from across the College, the project aimed to explore and expose publicly the nature of practice-led research, through site-specific production of works and seminar with external guests artist Shezad Dawood, and writer Tom McCarthy.

Under the guidance of the College-wide Research Tutor in Drawing, the Drawing Studio continued its collaboration across disciplines and departments, promoting research through drawing in the widest possible sense; encouraging the perception of drawing as a tool for investigation, as well as an autonomous medium. Margarita Gluzberg: Captive Bird Society, MAC/VAL, Musée d’art Contemporain du Val-de-Marne, Paris; Kevin Kavanagh Gallery, Dublin. Exhibitor, Natural Wonders, New Art From London, Baibakov Art Projects, Moscow; Il Faut Être Absolument Moderne, Paradise Row Gallery, Istanbul. Speaker, Folie à Deux Symposium, Tate Britain, London.

1–2: GOB research project, RCA galleries 3–4: Drawing Studio workshop 5: Margarita Gluzberg, Captive Bird Society (installation/performance), MAC/VAL, Musée d’art Contemporain du Val-de-Marne, Paris

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Conservation 2008/9 saw a review of options for RCA/V&A Conservation, and the decision that – as a result of the Victoria and Albert Museum’s reassessment of its commitment to our partnership in conservation – there will be no further recruitment of students. The College will continue to support existing Conservation students, and to provide them with a learning experience that meets the RCA’s standards of excellence. The department was established in 1989 as a unique partnership between the RCA and the V&A, in association with Imperial College London, for the delivery of specialist, work-based postgraduate learning in conservation. MA, MPhil and PhD students have worked across the disciplinary boundaries of the Humanities, Sciences and the Arts, exploring avenues of context and understanding that influence conservation practice and theory, and revealing new ways of looking at conservation issues. The department’s significant achievements include: • 61 MA, 15 MPhil, and 8 PhD conservation graduates to date.

• Some 95% of graduates employed in conservation or directly related activities, many in senior positions both in the UK and internationally. • MA expanded beyond the V&A to offer diverse specialisms through collaboration with many London-based heritage organisations, including: Preventive Conservation, Conservation of Social History Objects, Natural History Collections, Ethnographic Materials and Musical Instruments, and Conservation Science. • Queen’s Anniversary Prize for Further and Higher Education, 2001. • UK’s Student Conservator of the Year nominations, and three award winners. In addition to the V&A, Imperial College London and a large number of conservation, heritage and education professionals, the following museums and organisations have collaborated formally in the development and delivery of RCA/ V&A Conservation: the British Museum, English Heritage, the FOM Institute AMOLF (The Netherlands), FORTH-IESL (Crete), Historic Royal Palaces, ICON, the Horniman Museum, the Leather Conservation Centre, the Museum of London, the National Conservation Centre

Liverpool, The National Archives, the National Maritime Museum, the National Trust, The Natural History Museum, School of Conservation of the Royal Danish Academy of Fine Art, the Straus Center for Conservation (Harvard University Art Museums), Tate. We are indebted to all who have worked with us.

1: Textiles conservation 2: Working on a Plywood Chair by Marcel Breuer (dating from about 1936). 3: Stained Glass conservation

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Critical & Historical Studies Critical & Historical Studies (CHS) provides a unique environment for postgraduate art and design students to reflect upon their own practice, and to engage critically with students from their own and other disciplines. The CHS Collegewide programme is designed to enhance each student’s College experience by engaging with important ideas that are relevant to their studio work in an exciting and challenging manner. In so doing, it provides each student with an intellectual framework within which they can begin to establish a coherent relationship between theory and practice.

Filipa Roseta (PhD, 2009): Professora Auxiliar, Faculty of Architecture, Universidade Técnica de Lisboa.

Joe Kerr: Convened ‘Architecture and Design in the Bacon Era’, the Architecture Foundation/Tate Britain debates, October–November 2008. Lucy Soutter: ‘Conceptual Painting’, a panel discussion from 2006, included in Frieze Projects/Frieze Talks 2006–2008 (pub. Thames & Hudson). Michael Schwab: ‘First, the Second: Walter Benjamin’s Theory of Reflection and the Question of Artistic Research’, (pub. Journal of Visual Arts Practice, 7:3, pp. 213–23). 46

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1: Critical & Historical Studies resources 2: Franz Ackermann, ‘Gateway’ installation, Altermodern, Tate Britain © everydaylife.style, 2009 3: Catrin Morgan (MA, 2009), The Collector/The Butterfly Library

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Curating Contemporary Art Established in 1992, the Curating Contemporary Art MA at the RCA has become a benchmark for postgraduate curatorial education, globally. The course is unique because of the collaborative nature of its group learning and its growing range of international partnerships and projects. CCA RCA provides a unique mix of practical experience based on the development of exhibition projects, theoretical study, and access – through travel and visiting lecturers – to an international range of professionals from all areas of the field. CCA RCA is also developing pioneering research into curatorial histories and contemporary debates. This year sees the launch of the workplacement based MA Curating pathway (Inspire), an initiative with Arts Council England. Professor Mark Nash: Curator, Re-imagining October, Calvert 22, London. Co-curator, The View from Elsewhere, exhibition and catalogue essay, Gallery of Modern Art, Queensland; Sherman Gallery, Sydney (with Kathryn Weir).

David Batchelor: The Backlights, Galeria Leme, São Paulo. Clare Carolin: Curator, Regina José Galindo: The Body of Others, Modern Art, Oxford. Acting Senior Curator, Modern Art, Oxford. Kit Hammonds: Director, Publish and Be Damned, self-publishing fair. Acting Director, Showroom Gallery, London. Michaela Crimmin: Director, Arts & Ecology Centre, Royal Society of Arts, London. Jean Fisher: Keynote speaker, SITAC, Guadalajara. Catalogue essay, ‘James Coleman’, IMMA, Dublin.

Polly Savage (MPhil, student): Author, ‘Playing to the Gallery: Masks, Masquerades and Museums’, African Arts, Winter 2008; Nnenna Okore: Infinite Flow, exhibition catalogue, October Gallery, London. Marieke van Hal (MPhil, student): Curator, Bergen Biennial. Louli Michaelidou (MPhil, student): Commissioner, Cyprus Pavilion, Venice. Olga Fernandez (MPhil, student): Coordinator, ‘Curatorial Strategies. Past and Present’, CCA RCA. Author, Angel Ferrant, monograph on the avant-gardist Spanish artist.

Florence Ostende (MA, 2009): Editor, Catalogue, online contemporary art magazine (www.cataloguemagazine.com), with Coline Milliard (MA, 2007).

Student exhibitions: Performing Localities: Recent Guatemalan Performance Art on Video, Iniva, London; Testing Ground: Curating, collaborative exhibition with Goldsmiths MFA Curating, University of London and 176 Gallery; Reel Geographies, Jagillonian University, Krakow.

Pamela Prado (MA, 2009): Organiser, ‘The New Archive. Documenting Visual Art from Latin America’, conference, RCA, 2009.

1: David Batchelor, Installation view of The Backlights, ~ Paulo Galeria Leme, Sao 2–3: Performing Localities: Recent Guatemalan Performance Art on Video, Iniva, London

Jonathan Rée: Broadcaster, William Hazlitt, Philosopher, BBC Radio 3.

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History of Design The History of Design Department offers an exceptional opportunity to study the world of design at postgraduate level. Not only do our students work in the creative environment of the College, they also have direct access to the rich collections and considerable expertise of the Victoria and Albert Museum. David Crowley: Cold War Modern – Design 1945–1970, Victoria and Albert Museum, London; MART, Rovereto; National Gallery of Art, Vilnius. The Times called it, ‘Britain’s finest exhibition on design in years’.

following directly from his MA thesis, ‘English Woodworking Artisans of the Early Modern Period’. The Viennese Café and Fin-de-siècle Culture: Working with Birkbeck College, University of London, this AHRC-funded research project entered its third and final year. Vienna Café 1900: Exhibition, Royal College of Art, examining the lasting significance of the city’s coffee culture. The exhibition was accompanied by screenings, performances and an international conference.

Dr Christine Guth: Toshiba series of lectures in Japanese Art on the theme of Hokusai’s Great Wave, British Museum, London; SOAS, London and Sainsbury Centre at UEA, Norwich. Professor Jeremy Aynsley: Designing Modern Germany (pub. Reaktion Books). Asian Design History: Launch of our pioneering MA ‘specialism’, led by Dr Christine Guth. Don White (MA, 2009): Took up PhD studentship, University of Warwick, 48

School of Humanities

1: Café life in Vienna 2: Cold War Modern, Victoria and Albert Museum, London 3: Invitation to the symposium organised by graduating students at the V&A in June 2009. 4: Cover, Jeremy Aynsley, Designing Modern Germany

2

3

1

Post Experience Programmes There were 11 registered Post Experience Programme students during 2008/9: Communication Art & Design: Jung-Hsuan Liang (Taiwan), illustration and design skills; Joana Monteiro (Portugal), visual representations in the music industry. Textiles: Sigal Cohen (Venezuela), application of graphic design skills to fabric surfaces. Fashion Womenswear: Young Joo Yoo (South Korea), identifying traditional British style for a new audience. Vehicle Design: Nobutake Tase (Japan; sponsored by Nissan), extending design capabilities; Daria Cabaj (Poland; naval architect), developing the aesthetics of a yacht project.

Printmaking: Rooshika Patel (India), furthering knowledge of fine art printmaking. Design Products: Alejandro Villarreal (Mexico), developing academic knowledge of product design (programme will continue into 2009/10); Shunsuke Tanaka (Japan; sponsored by Toyota Motor Corporation), studying the European design-making process (programme will continue into 2009/10).

outstanding designers; Tien Sheng Huang (Taiwan), collaborating with designers from varied backgrounds and extending academic design knowledge into more practical design knowledge.

For the fourth consecutive year, Post Experience Programmes in Design Products were sponsored by scholarships from the Taiwanese government. Two applicants were successful: Shi Kai Tseng (Taiwan), finding the definition of design and learning with the most

1–3: Post Experience Programmes

49

Financial Report & Summary Accounts The College’s income and expenditure results for the year to 31 July 2009 are summarised below, and the income and expenditure account and balance sheet appear on the following pages. The figures incorporate a number of quite large elements which disguise the College’s operational financial performance. These include the financial position of the College’s Retirement Benefits Scheme, as required by FRS 17, and an amount of £2.2m due to the College under the HEFCE ‘matched funding’ scheme, whereby certain donations received by the College are

matched by HEFCE in a ratio of 1:3. The table below shows the effect of these adjustments and the College’s operational financial results for the past two years.

looked at in the context of declining public expenditure, an operational surplus of £419,000 represents less than 1.5% of the College’s turnover and does not offer us much of a cushion against financial adversity.

This is a creditable result in the circumstances, especially in the context of the three-year pay settlement agreed in 2005, which called for an increase of RPI in October 2008. This unfortunately coincided with the peak level of inflation just before the recession began and resulted in a large and unexpected increase in payroll costs. However,

2008/09 2007/08 £’000s

 

2008/9  £’000 

2007/8 £’000

Historic Cost Surplus HEFCE Matched Funding Restructuring Costs FRS 17 Adjustments Battersea North Site Costs Sale of Bacon Painting Interest on Bacon Proceeds

       

3,031 (2,185) 316 (539) 26 – (230)



8,127 – – (756) 948 (7,704) (280)

Surplus Generated from Operations

      

335

419

Breakdown of the College’s Income in 2008/9 by Source Funding Council Grants 56% Tuition Fees and Education Contracts 20% Research Grants and Contracts 7% Other Operating Income 12% Endowment and Investment Income 5%

5% 12%

7% 56%

20%

50

Summary Consolidated Income and Expenditure Account for the Year Ended 31 July 2009 Income



Funding Council Grants Tuition Fees and Education Contracts Research Grants and Contracts Other Operating Income Endowment and Investment Income Total Income

Expenditure Staff Costs Other Operating Expenses Depreciation Total Expenditure Surplus/(Deficit) on Continuing Operations Disposals of Fixed Assets Surplus after Disposal of Assets Surplus Transferred from Accumulated Income in Endowment Funds Surplus for the Year Retained Within General Reserves

2008/9 £’000

2007/8 £’000

18,145 6,613 2,230 4,090 1,568

16,166 5,980 1,416 3,238 1,938

32,646

28,738

14,355 14,802 1,800

12,908 14,987 1,762

30,957

29,657

1,689

(919)

0

7,704

1,689

6,785

183

548

1,872

7,333

1,689

6,785

1,342

1,342

3,031

8,127

Statement of Historical Cost Surpluses and Deficits for the Year Ended 31 July 2009 Surplus After Depreciation of Assets at Valuation Difference Between the Historical Cost Depreciation Charge and the Actual Depreciation Charge for the Year Calculated on the Revalued Amount Historical Cost Surplus

51

Summary Consolidated Balance Sheet as at 31 July 2009

Assets Tangible Assets Endowment Asset Investments Other Fixed Asset Investments Current Assets Current Liabilities Net Current Assets Debtors: Amounts Falling Due After One Year Net Assets Excluding Pension Liability Pension Liability Net assets including pension liability Represented by: Deferred Capital Grants Endowments General Reserves Revaluation Reserve General Reserves Excluding Pension Reserve Pension Reserve Total General Reserves Total

2009 £’000

2008 £’000

59,201

55,242

11,179

10,186

332

243

17,620

15,204

(4,053)

(3,687)

13,567

11,517

2,434

0

86,713

77,188

(21,477)

(4,834)

65,236

72,354

14,316

7,117

11,179

10,186

46,045

47,387

15,173 (21,477)

12,498 (4,834)

(6,304)

7,664

65,236

72,354

The full financial statements were approved by Council on 12 November 2009 and can be obtained at www.rca.ac.uk. Independent Auditors’ Statement to the Royal College of Art (“The College”) We have examined the summarised financial statements of the College for the year ended 31 July 2009 which comprise the Summary Group Income and Expenditure Account and the Summary Group Balance Sheet, which are set out on pages 50 to 52 of the College’s Annual Review. The summarised financial statements have been prepared by the Council for the purpose of inclusion in the Annual Review, as explained in note 1. This statement is made, in accordance with our engagement letter dated 6 June 2008, solely to the College, in order to meet the requirements of paragraph 36 of the Statement of Recommended Practice: Accounting for further and higher education (2007). Our work has been undertaken so that we might state to the College those matters we have agreed to state to it in such a statement and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the College for our work, for this statement, or for the opinions we have formed.

52

Respective responsibilities of the council and auditors The Council has accepted responsibility for the preparation of the summarised financial statements in accordance with paragraphs 29 to 35 of the Statement of Recommended Practice: Accounting for further and higher education (2007). Our responsibility is to report to the College our opinion on the consistency of the summarised financial statements on pages 50 to 52 within the Annual Review with the full Financial Statements. We also read the other information contained within the Financial Report and Summary Accounts and consider the implications for our report if we become aware of any apparent misstatements or material inconsistencies with the summarised financial statements. Basis of opinion We conducted our work having regard to Bulletin 1999/6 the auditor’s statement on the summary financial statement issued by the Auditing Practices Board. Our separate report on the College’s full Financial Statements for the year ended 31 July 2009 describes the basis of our statutory audit opinion on those financial statements.

Opinion In our opinion, the summarised financial statements set out on pages 50 to 52 are consistent with the full Financial Statements for the year ended 31 July 2009. Stephen Clark Senior Statutory Auditor for and on behalf of KPMG, LLP. Statutory Auditor Chartered Accountants 2 Cornwall Street Birmingham B3 2DL 12 November 2009

53

College Honours & Appointments At Convocation 2009, Honorary Doctorates and Fellowships were conferred as listed below.

Honorary Doctors Tony Cragg: Sculptor Professor Sir Christopher Frayling: Rector, Writer and Broadcaster Jonathan Ive: Designer Senior Fellows Elsbeth Juda: Fashion and advertising photographer Jan Svankmajer: Animator Michael Wolff: Communication Designer Professors Emeritus Professor Ron Arad: Head of Department, Design Products Professor Sir Christopher Frayling: Rector; Professor of Cultural History Professor David Watkins: Former Head of Department, Goldsmithing, Silversmithing, Metalwork & Jewellery Professor Glynn Williams: Head of School of Fine Art; Professor of Sculpture Honorary Fellows Victoria Conran: Sponsor and champion of the College Catherine Mitchell: Business Development Manager, International Flavours and Fragrances George Kessler: Group Director, Kesslers International Ltd 54

Graham Lawson: Sound Technician, Animation Richard Rome: Former Senior Tutor, Sculpture Malcolm Shirley: Secretary, the Royal Commission for the Exhibition of 1851 Bob Tipper: Former Technician, Printmaking Martha Turinas-James: Patron, the Varley Awards for Excellence in Communications Fellows Sue Bradburn: Media Relations Officer Padraig Coogan: Network Administrator Kate Davis: Tutor, Sculpture Chris Franklin: Events Manager Nick Leon: Director, Design London Ann-Marie LeQuesne: Tutor, Printmaking Ray Martin: Chief Engineer Stefan Stefanou: Technician, Ceramics and Glass

Clare Brass: Senior Design Tutor, Design London and Industrial Design Engineering Catherine Demoisy: Head of Academic Fundraising, Development Jamie Gilham: Senior Research Manager, Research Office Bradley Hardiman: Head of Incubator, Design London Sam Livingstone: Senior Tutor, Vehicle Design Professor Miles Pennington: Head of Department, Industrial Design Engineering Dr Paul Thompson: Rector and Vice-Provost Professor Richard Wentworth: Head of Department, Sculpture Gareth Williams: Senior Tutor, Design Products

Senior Staff Appointments Karen Alexander: Senior Tutor, Inspire Programme, Curating Contemporary Art Professor Jeremy Aynsley: Director of Research; Head of School, Humanities and Professor of History of Design Professor Tord Boontje: Head of Department, Design Products Honorary Fellows, 2009 (from left: Jan Svankmajer, Sir Christopher Frayling, Elsbeth Juda and Michael Wolff)

Donors & Sponsors The Royal College of Art gratefully acknowledges the substantial help and support we have received – financial, in kind and in many other ways – from our patrons, donors and sponsors. A number of those listed below – in particular those who have provided college-wide support, endowments and capital funding – have made a long-term commitment to us over a number of years; others have supported us during the current academic year. We are also grateful to those patrons, donors and sponsors who wish to remain anonymous. College-wide Supporters

Department Supporters

Major Donors Conran Foundation James Dyson Foundation The Dr Mortimer and Theresa Sackler Foundation Toyota (GB) plc Garfield Weston Foundation The Wolfson Foundation

Awards & Scholarships 20:21 Contemporary British Art Fair Alexander de Brye Scholarship Armourers and Brasiers’ Company Prize Augustus Martin Award Basil H Alkazzi Foundation Brioni Award Charles Wallace India Trust Awards Charlotte Fraser Award Claremont Garments Scholarship CLAWSA (Cities of London and Westminster Society of Architects) Clive Wainwright Memorial Prize Crown Award Davis Langdon Award Eduardo Paolozzi Travel Award Engineering and Physical Sciences Research Council Studentships Eric and Jean Cass Scholarship Friends of the V&A Geoff Lawson Jaguar Scholarship Gillian Naylor Essay Prize in Memory of Tom Naylor History of Design Award for Distinction in the Final Dissertation Hoopers Gallery Award House and Garden Award International Flavours & Fragrances (GB) Ltd / Thierry Mugler Awards James Dyson Foundation Bursaries Janey Ironside Travel Scholarship Jealous Art Print Award John McAslan + Partners Award

Supporters 29th May 1961 Charitable Trust Monica Ford Robert Lane Linklaters Outset Contemporary Art Fund The Paolozzi Foundation Miuccia Prada Oliver Stocken The Violet Tchenguiz Charitable Trust Michael G Wilson In-kind Support Homebase Ltd Forbo Flooring UK Ltd Prizes, Awards and Scholarships Conran Foundation Deutsche Bank The Man Group plc Charitable Trust NEWH UK Worshipful Company of Painter-Stainers The Matthews Wrightson Charity Trust

John Purcell Prize Kay Cosserat Scholarship Laura & Bernard Ashley Scholarship Manolo Blahnik Award Marks & Spencer Scholarship Marlene Burston Award Nat Cohen Scholarship National Magazine Award New London Architecture Prize Oliver Ford Trust Scholarship Ossie Clark Scholarship Parallel Prize Passion Pictures Prize Photographer’s Gallery Award Pilkington Automotive Vehicle Design Awards Printmakers Council Prize R J Washington Bursary Rowan Award Royal Mint Awards Ruth Drew Award Serenella Ciclitira Scholarship Sheila Robinson Memorial Prize SMC Alsop Prize for Urbanism Sophie Hallette Award South Square Trust Scholarships The Augustus Martin Award The Boots Company Scholarship Theo Fennell Awards Tim Mara Trust Prizes Todd & Duncan Award for Excellence Umbro International Award UPS Award Valerie Beston Artists’ Trust Award Varley Memorial Award W H Smith Scholarship Worshipful Company of Carpenters Worshipful Company of Coachmakers and Coach Harness Makers Bursaries Worshipful Company of Goldsmiths’ Bursary Worshipful Company of Painter-Stainers Bursaries for Painting & Award Donors Adam Opel AG Allen & Overy Arts Council England Bank of America BASF SE Brioni Converse Design Museum EPFL EPSRC Federation of Manufacturing Opticians Ford Motor Company plc 55

House of Fraser Intel Corporation International Flavours & Fragrances (GB) Ltd/Thierry Mugler Manufacture National de Sevres Merlin Studios Metro Imaging Microsoft Research Monique Beudert Fund Next Oasis Arts & Crafts Products Oberon Books Picasso Pictures Polish Cultural Institute Romanian Cultural Institute Royal Mail SEACEX Sony Computer Entertainment Europe Swarovski The Behrens Foundation The French Embassy The Leverhulme Trust The Woo Charitable Foundation Thomas Gibson Fine Art Umbro International Unilever R&D Port Sunlight UPS Victoria Miro Vodafone Wellcome Trust Withers LLP WPP Group plc Yamaha Corporation Zegna Baruffa In-kind Support Adjaye Associates BreakThru Films 56

Denby Pottery Company Foster + Partners Future Systems John Purcell Paper MAKE Architects New London Architecture Nexus Productions Nicholas Grimshaw & Partners Ltd Polywood Studios Robert Horne Paper Co Ltd Rogers Stirk Harbour & Partners Ron Arad Associates Royal Crown Derby Studio aka Studio Levien The Sound Post Production Department of the National Film School Wedgwood Group Wells MacKereth Zaha Hadid Architects Helen Hamlyn Centre Helen Hamlyn Trust EPSRC AHRC Design Council ESRC Wellcome Trust National Patient Safety Agency Audi Design Foundation Bene BUPA CABE Kinnarps Legrand Megaman Charity Trust Fund Norwegian Design Council Norwegian Research Council

Research in Motion Samsung Sanctuary Care Think! Factorydesign Help the Aged Technology Strategy Board InnovationRCA Design Council James Dyson Foundation London Design Festival London Development Agency Materials Knowledge Transfer Network (Technology Strategy Board) ReachOutRCA The Man Group plc Charitable Trust Reeves Project Partners: Crafts Council Deutsche Bank Campaign for Drawing: Drawing Inspiration Award Kensington & Chelsea Council Hammersmith & Fulham Council Oasis Arts & Crafts Specialist Schools and Academies Trust Westminster Council

Sir Christopher Frayling with Conran Foundation members (Vicky Conran and Nicholas Bull) and the Conran Foundation Awards 2009 winners: Ian DouglasJones (Architecture), Penelope Batley (Ceramics & Glass), Rafael Sommerhalder (Animation), Min-Kyu Choi (Design Products), Rhys Himsworth (Printmaking) and Andreas Blank (Sculpture).

‘The objects of the College are to advance learning, knowledge and professional competence particularly in the field of fine arts, in the principles and practice of art and design in their relation to industrial and commercial processes and social developments and other subjects relating thereto through teaching, research and collaboration with industry and commerce.’ Charter of Incorporation of the Royal College of Art, 28 July 1967

Visitor: His Royal Highness The Prince Philip Duke of Edinburgh Provost: Sir Terence Conran Pro-Provost and Chairman of the Council: Sir Neil Cossons Rector and Vice-Provost: Dr Paul Thompson

Editor: Octavia Reeve Design: Happily Ever After www.happily-ever-after.co.uk Photography: Marta Casellas, Anja Schaffner, Dominic Tschudin Printed by: Calverts Paper: Cocoon Silk 50% recycled, FSC mixed sources

Website: www.rca.ac.uk

Annual Review 2008/9