Study Guide Royal Academy of Art The Hague, 2015 by Koos Breen

Study Guide 2015 2016

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1. Introduction 1.1 Welcome to the Academy 1.2 A Glorious History 2. 2.1 2.2 2.3 2.4 2.5 2.6 2.7

Bachelor Study Programmes ArtScience Fine Arts Graphic Design Interactive/ Media/Design Interior Architecture and Furniture Design Photography Textile & Fashion

3. Preparatory Education 3.1 Preparatory Courses 4. Master Study Programmes 4.1 Master Artistic Research 4.2 Master ArtScience 2

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4.3 Master Interior Architecture (INSIDE) 4.4 Master Type & Media 5. Post Graduate Course 5.1 PGC Industrial Design 6. PhD Doctoral Programme 6.1 PhDArts 7. Research Domains 8.

General Study Information 8.1 Educational Structure 8.2 Academy-wide Education 8.3 Assessment in Art Education 8.4 Study and Progress Guidance 4

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8.5 Quality Assurance 9. Education and Examination Regulation 10. Floorplan Contacts

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1. Introduction

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1.1 Welcome to the Academy

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welcome to the academy

Welcome! We are very glad that you have chosen to study at the KABK. In this study guide you will find information on the curriculum and everything else that you need to know in order to make the most of your studies at the Academy, to ultimately graduate as an inquisitive and enterprising artist or designer who is capable of making a unique contribution to the profession and to society. The Academy’s teaching staff consists of over 200 lecturers, and each member of the teaching team also contributes to the professional field as a practising artist, designer or theoretician. We have access to a large network of international schools, and try to do everything we can to encourage and facilitate exchanges between students and lecturers. In addition to the main curriculum, we offer an extensive range of lectures, debates and film presentations. We are currently developing several labs that students can sign up for. And of course we like to mention our workshops, which are extremely well equipped. We also offer the option of taking classes at the Royal Conservatoire and at Leiden University through the Individual Study Track or other arrangements. The Academy’s location in the centre of The Hague is unique, and the presence of so many national and international administrative and political forums in the immediate area generates a large number of interesting practical assignments. These are just a few of our strengths. I now invite you to discover all the possibilities that the Academy offers, explore the boundaries between disciplines and surprise yourself (and us) – we are here to help you along the way! I wish you all an inspiring academic year. Work hard... and enjoy!

Marieke Schoenmakers Director

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1.2 A Glorious History

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1.2 A Glorious History The Royal Academy of Art in The Hague is the oldest art academy in the Netherlands. References to a Lucas Guild in The Hague date from as early as the 16th century. In 1656, a group of painters severed their ties with the guild and formed the Pictura Brotherhood, in order to make a clear distinction between artists and artisans. In 1682, the Pictura Brotherhood founded an academy, which was the forerunner of our current academy. Its predecessor was primarily intended to provide members of the brotherhood with the opportunity to further develop their drawing skills. The idea for organising this additional education came from a group of painters who had worked in Rome and, inspired by their international experience, felt the need to raise painting in The Hague to a more international and organised level. This desire was consistent with the highly courtly character of The Hague in contrast to other cities in the Netherlands. The founding of the original academy and its international orientation reflect two aspects that have played a prominent role throughout the history of our academy: the stimulation of the artistic climate in the immediate area and the continuous quest to do so from an international perspective. Upon separating from the Pictura Brotherhood in 1780, the institute was transformed into a free academy that was open to all. Building on the Prinsessegracht The late 18th century was a period of economic and political decline in the Netherlands. It was also a difficult time for the academy, which would not regain its prominent position until 1821, when it merged with the School for Civil Architecture. Having previously been based at the Korenbeurs and the Boterwaag, the academy moved to its current building on the Prinsessegracht in 1839. This neoclassical building, which was designed by the city’s master architect Zeger Reyers, is a true temple to the arts. With the disappearance of the guilds in the 19th century, technical education became increasingly important and the Academy played a role in this development. Over the course of the century, in addition to the architecture programme, a large number of artisans came to the academy for additional training in the fields of drawing and design. From the lists of enrolled students from that time, it appears that the institute was almost more a technical school

than an art academy. A teacher training programme was also established, which would occupy a prominent position until the 1970s. The 19th century marked the heyday of painting in The Hague. Many famous artists from that period were educated at the academy, including G. H. Breitner, Willem Maris, Jacob Maris and Johannes Bosboom. Independent courses In the late 19th century, the academy established the aforementioned training programme for art teachers, in addition to its courses in drawing, painting and architecture. Under the leadership of Dr J. H. Plantenga, the 20th century saw the addition of evening courses and, for a while, a Sunday morning course. Under the influence of the Bauhaus movement and other developments in the field, there was increased interest in the applied arts within the design disciplines. In 1929, the academy launched the ‘Advertisement Drawing and Furniture Construction’ course, which would later evolve into the independent departments of Graphic and Typographic Design and Interior. Towards a modern academy The academy building embodied a clear reference to the ancient past, but as needs must, the school was updated to reflect modern times. The renovations included creating a prominent area for design teaching and the building was generally modernised under the auspices of Plantenga. New teachers were recruited who applied the fresh perspectives of the 20th century avant-garde movement in their teaching. These included the renowned teachers Kiljan, Citroen, Schuitema and Alons. As part of another development, photography gained an important place within the Advertising department. During the early 20th century, the academy played a pioneering role in the Netherlands. In 1938, the ancient temple was replaced with the new academy building that fully reflected the new educational system. It was a monument to modernism, designed by Plantenga, J. W. E. Buijs and J. B. Lürsen. After the war, director B. Th. de Hey obtained approval by Royal Decree to establish a course in Industrial Design – one of the first of its kind in the Netherlands. Innovations over the last 50 years The academy was designated as the ‘Royal Academy’ in 1957, on the occasion of its 275th anniversary. In the same year, the academy separated from the

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technical college (in Dutch: HTS). In subsequent years, the art education system was modernised in three successive phases and accordingly, so to was the Royal Academy of Art. In 1968, a number of vocational schools officially became art academies with the status of “institutes of higher vocational education” (HBO). These academies, which at that time offered five-year programmes, consisted of various departments. In addition to painting and sculpture departments, they offered programmes in design. In general, they produced more designers than they did autonomous visual artists. In the 1980s, a process of expansion took place within the HBO system. The various independent academies merged into larger institutes. As part of this expansion, the Royal Academy of Art became part of the University of Visual Art, Music and Dance following its merger with the Royal Conservatoire and the photography and photonics departments at the vocational technical school (MTS) . In 2011, the name of the institution was changed to the University of the Arts in The Hague. The final phase of modernisation commenced with the redesign and renovation of the building in 2000. All of the art and design departments have since been housed in the building on the Prinsessegracht, although the 1938 building has also been retained. Its current form was realised by the Van Mourik Vermeulen architecture firm. The space requirements for modern art education were met in 2012, with the new extension atop the building on the Prinsessegracht and the purchase of two spaces directly connected to the academy. The building is now able to accommodate the expansion of the Bachelor and Master programmes. In the spring of 2015, the Master Interior Architecture (MIA) programme received its own space in the former nightclub on the Bleijenburgzijde. As the last programme with its own location the Master Artistic Research programme has moved to the academy building. The focus on new technologies and new media within the academy’s programmes has expanded dramatically. This can be seen in new facilities, laboratories and workshops as well as in the array of new programmes including ArtScience, Interactive/Media/Design, the Master Interior Architecture (INSIDE) and the Master Artistic Research.

Collaboration with Leiden University In 2001, an intensive collaboration was established with Leiden University in the newly founded Academy of Creative and Performing Arts. This was the first formal collaboration between a university and an art institute in the Netherlands. Since that time, students have had the option of studying at the University of the Arts in The Hague and at Leiden University simultaneously.

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2. Bachelor Study Programmes

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2.1 ArtScience

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2.1 ArtScience Interfaculty

2.1.2 Art and Science

2.1.1 Introduction The ArtScience Interfaculty offers an interdisciplinary Bachelor’s and Master’s programme that fosters curiosity-driven research as an approach to the creation of art. The programme regards art and science as a continuum and promotes the development of new art forms and artistic languages. The ArtScience programme is offered fully in English. Within a world in which technology and social developments intersect with traditional art forms (e.g. music, visual arts, cinema and theatre), within a world in which the ‘digital’ and the scientific are playing an increasingly prominent role in our perceptions of our society, environment and being, the ArtScience Interfaculty has chosen to focus on developing new artistic discourses and practices that transcend the traditional disciplines. We strongly believe that art should take an active part in shaping the world in which we live, and that it should regard the universe as a playground for unexpected forms of expression. We are interested in asking creative and fundamental questions concerning contemporary knowledge, and we favour an experiential and experimental approach to answer them. As a truly interdisciplinary department, we do not focus on any single type of idiom, but try to combine them. ‘Visual’ idioms, as the production and signification of objects and environments, are combined with the ‘musical’ idioms of composition in time, performance, improvisation and collaboration. We love science, and we try to indulge in its findings, but we aim to use its knowledge to produce interpretations. We make art. The ArtScience Interfaculty is an interdisciplinary department situated between and embedded within both the Royal Academy of Art and the Royal Conservatoire. Classes include scientific and theoretical knowledge, sensory perception, interdisciplinary composition, handson production, performance training, collaborative projects and critical thinking. We focus largely on individual coaching. ArtScience allows students to code and create never-before heard sounds and never-before seen images, to establish immersive environments, to design new forms of interaction with their audiences and explore media that have never before been used by artists. Most importantly, students are invited to re-invent art, as needed in this century.

For several years, we have been experiencing a new wave of interest in the connection between art and science. Two similar waves occurred in the previous century. The first took place in the 1920s and 1930s, marking the beginning of modern art, industrial design, modern music and modern architecture. The second of these waves was in the 1950s and 1960s, marking the birth of electronic music, video art, interactive art and generative art. Both of these periods shared a sense of optimism about potential future developments, as well as a sense of responsibility on the part of artists, who were expected to fulfil specific missions to help ensure the realisation of this positive potential. This mission was perceived as consisting of absorbing new technological and scientific notions into the realms of human experience and imagination. Civilisation often lags behind the advances in technological control of the world. According to the Bauhaus artist Laszlo Moholy-Nagy, this lag is one of the root causes of exploitation, war and other excesses. Within the current wave of interest in the ArtScience connection, several views on the interactions between art and science can be distinguished. One form of collaboration that has become almost common regards scientific concepts as a type of ‘content’, which artists translate into images, sounds or other experiences. Although this approach has the potential to reduce artists to some type of scientific communicators, it usually triggers radically new kinds of artistic development. This approach can also generate works that help scientists acquire new, intuitive understandings of what they are doing, as well as works that comment on the consequences of scientific developments. Another form of collaboration is one in which scientists and technologists assist in the realisation of artistic ideas. Although this process can reduce scientists or engineers to some type of art facilitators, it usually ensures that the actual artistic ideas are informed by a new awareness of possibilities. It also allows artists to help trigger new directions of research by posing uncommon problems. A more complex and much more interesting zone between art and science has been described in two recent books. In ArtScience (2008), David Edwards cites many examples from the worlds of sci-

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ence, art, civil society and industry that demonstrate the ways in which the transposition of ideas or strategies from one field to another often results in radical innovation. For Edwards, ArtScience is an intermediate area of creativity, in which neither art nor science is clearly defined. According to this reasoning, the stimulation of this zone is a key strategy for fostering innovation. In Information Arts (2002), the artist and theorist Stephen Wilson provides an encyclopaedic overview of many new forms of art that are rooted in current science and technology. Wilson no longer considers the traditional artistic disciplines relevant to the discussion of these art forms, proceeding to group them under the headings of the main scientific disciplines. Wilson further argues that these new forms of art will not necessarily find any place within the traditional platforms for art, and that they will not necessarily share traditional artistic concerns. The core idea that makes such collaborations and intermediate zones interesting is that art and science can both be considered as types of exploration, and that they are regarded as complementary in many ways. Whereas science maintains an aura of objectivity and detachment, art tends to favour subjectivity and critical engagement. Whereas peer review is the norm in science, artists are expected to be iconoclastic and original. Whereas science is expressed in formulas and text, art often exists in non-verbal experiences. Ultimately, however, art and science share the aim of enlarging the scope of our ideas about the world. By inventing new media and new artistic languages, art can create new worlds of experience. By widening our imagination, it can also create new kinds of thinking, as we are unable to think about things that we cannot imagine. As written in 1956 by Gyorgy Kepes, the founder of the Centre for Advanced Visual Studies at MIT, ‘The images and symbols which can truly domesticate the newly revealed aspects of nature will be developed only if we use all our faculties to the full - assimilating with the scientist’s brain, the poet’s heart and the painter’s eyes. It is an integrated vision that we need; but our awareness and understanding of the world and its realities are divided into the rational - the knowledge frozen in words and quantities – and the emotional – the knowledge vested in sensory image and feeling’.

2.1.3 An overview of the ArtScience Interfaculty At the ArtScience Interfaculty, students and teachers are developing new forms of interdisciplinary art. The goal of the Interfaculty’s teaching programme is to investigate and possibly shape the intersection between artistic concepts and recent developments in science and technology. Each year, a part of the programme of courses and projects is updated according to current themes from the intersection of art, media, science and technology. Possible artistic responses to recent developments are formulated by experimenting with new contexts and forms in which art can play a role. This discussion is continually related to an interdisciplinary base in which the continuity between media art, music, theatre, film and visual art is regarded as selfevident. The Interfaculty is a collaborative effort of the Royal Academy of Art (KABK) and the Royal Conservatoire (KC). Staff members come from a variety of artistic cultures and disciplines that is unique in its scope. The ArtScience Interfaculty collaborates closely with the Master’s programme in MediaTechnology at the Leiden Institute of Advanced Computer Science (Leiden University) . Within the Royal Conservatoire, the Interfaculty maintains close ties to the Composition department and the Institute of Sonology. Within the Royal Academy of Art, the Interfaculty collaborates primarily with the departments of Fine Arts and I/M/D. The Bachelor’s programme aims to guide students towards an ‘auto-disciplinary’ art practice. Students acquire the skills, research methods and conceptual background that they need in order to develop their personal artistic work within the broad field of the arts and sciences. The ArtScience Interfaculty has an ‘open’ curriculum from the second year onwards. During most of the study, students navigate individually through the teaching modules offered within the Interfaculty and its affiliated departments and institutions. At the Interfaculty, there are four forms of group activities: research projects, labs, theoretical courses and workshop-style courses. With the other Creative Departments of the Conservatoire (Composition and Sonology) the Interfaculty organises four weeks of exchange courses each year. Several Academy-wide courses and labs are organised with the KABK.

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In addition to the collective activities, students are expected to conduct their own research and to develop individual work, which is assessed by all teachers in two presentations each year. Beginning in the second year, each Bachelor student chooses two personal coaches who will provide advice regard to study choices and who will reflect on the student’s individual work.

These competencies form the foundation for the assessment by the teachers at the end of each course module, and they are used to evaluate the presentations at the end of each semester. In addition, evaluation sessions are held twice each year, in which students evaluate the programme and suggest improvements.

Final qualifications of the Bachelor’s programme 2.1.4 Goals of the programme During the final examination, students present works that demonstrate their abilThe Bachelor’s programme aims to guide ity to work as professional artists and that students towards an ‘auto-disciplinary’ convincingly communicate an articulated art practice. Students acquire the skills, and authentic vision on the arts. Graduresearch methods and conceptual back- ates are expected to have the following ground that they need in order to develop final qualifications: their personal artistic work within the broad field of the arts and sciences. ++ Students create authentic works The courses provide a theoretical emerging from their own artistic visions and practical foundation, but the core of that contribute to the fulfilment of their the education offered at ArtScience conpersonal ambitions as artists (creative sists of practice-based research. Knowlability) edge is acquired through the concep- ++ Students are able to consider, analyse, tion and realisation of projects. In these interpret and assess their own work projects, students work together with their and that of others, and they are able to teachers and primarily with other stuconsider their findings constructively in dents, thereby learning to collaborate and relation to their own work (capacity for organise projects on various scales. The critical reflection) open curriculum and the individual study ++ Students are able to achieve further tracks help students to develop a strong development in the breadth and depth sense of independence, self-organisation of their artistic practice in an ongoing and critical thinking during their studies. process, thereby contributing to develBecause many study projects are preopments in their artistic disciplines sented outside the walls of the school, (capacity for growth and innovation) students are expected to be active and ++ Students are able to establish and well connected in the field at the time of maintain an inspirational and functheir final examinations. tional working environment and organise their research, work and practice Professional competencies (organisational ability) Students are challenged to develop a ++ Students are able to present and disrange of professional competencies in cuss their artistic visions, research and three domains: work in an effective manner (communicative ability) a. the artistic-technical domain ++ Students are able to relate their artistic b. the professional domain practice to both the artistic and social c. the theoretical domain context (external awareness) ++ Students are able to make independent Within each of these domains, students contributions to collaborative products are expected to develop competencies or processes (capacity for collaborawithin the following areas: tion) 1. creativity 2. critical reflection 3. innovation and growth 4. organisation 5. communication 6. contextual awareness 7. collaboration

2.1.5 The structure of the programme

(The competencies are also published in the table at the end of this chapter.)

With the exception of some introductory and theoretical courses, the ArtScience Interfaculty has an ‘open curriculum’. Within constraints, students navigate individually through the modules offered within the Interfaculty and its affiliated departments and institutions. At the Inter-

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faculty, there are five forms of instruction: research projects, labs, individual coaching, theoretical courses and workshopstyle courses. With the exception of the first-year courses and theory courses, students always have a choice between several options. For additional information and the complete schedule, please refer to the ArtScience website (www.interfaculty.nl). Theoretical Courses From the first until the third year of the Bachelor’s programme, students follow a programme consisting of theoretical courses. After an introduction to ArtScience, subjects covered in these courses include the theory and history of the senses, media archaeology (and anarchaeology), the philosophy of technology, science and art, and the theory of interaction in art and nature. Each of these courses runs for five or six mornings and consist of lectures, reading assignments, group discussion and the preparation of written and verbal presentations by the students. These courses are intended to provide a theoretical and historical context to the research activities taking place within the Interfaculty. They also teach students to conduct theoretical research, to articulate their thoughts in writing and to give oral presentations on their work in relation to the work of others. First-year Bachelor students follow a specific set of introductory theoretical courses. This set includes courses offered exclusively to ArtScience students, as well as first-year theoretical programmes of the KABK (Studium Generale) and the KC (New Theory). Workshop-Style Courses A large number of short, practical workshops are offered in four periods of three weeks, two for each semester. Each of these courses consists of two full days a week over a period of three weeks. Some of these short, intensive courses focus on specific techniques, skills and practical awareness (e.g. light, sound, editing, electronics, programming and form studies). Each year, one or two of these courses focus on subjects that are still experimental and speculative, and which could potentially become the subject of a research project in the following year. About a third of these short courses are changed each year, thus making it possible to cover more ground during the four years of the Bachelor’s programme.

First-year Bachelor students are offered a separate programme of these practical workshops. Each of these modules focuses on several medium-independent concepts, basic skills and sensory training that are essential to the ArtScience approach. Labs Many of the activities at the Interfaculty have been clustered around six studio labs, which are defined by output media. These labs do not claim to cover everything in the field of ArtScience, and there are no hard boundaries between the labs. They are intended as support structures and groupings of people who are involved in creating similar output. Each of these labs is a combination of a laboratory, a production facility and an ensemble of teachers, students, alumni and guests working in one place. Each lab is also a platform offering coaching and space for projects by individual students, as well as a channel through which they can accumulate, document and disseminate the results of their research and artwork. Every few years, the focus of each studio lab is re-evaluated in order to keep abreast of developments in the field and developments within our research interests. Bachelor students are expected to join one or two of these studio labs. Although they are free to switch labs during their study programmes, they may not do so during a given semester. Students should document their own work that they do in the lab over the course of the year, and they are expected to write a research report each semester. Each lab has a weekly working session of three hours, during which students work on their projects together with the lab coach. In some of the labs, these sessions are a form of group coaching, while in other cases (RecPLay and StageLab), they tend to resemble group rehearsals. Some of the labs are facilities that are also open to lab members outside of the coaching sessions, and participation in all labs is open to students from other departments within the KABK and KC. Furthermore, each lab initiates group projects that result in presentations outside the walls of the school. Some of these projects are group projects, while other labs usually focus on presentations in the form of group exhibitions of individual works. Each lab also organises excursions and visits to performances, exhibitions and symposia. In time, every lab will publish its results in the form of

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books, DVDs or other media. The labs are as follows:

the CodeLab are Marcus Graf and Nenad Popov.

RecPlay This studio lab is an extension of the RecPLay group that has existed since 2001. It addresses a range of subjects including audiovisual improvisation, improvised electronic music, real-time visuals and freestyle video, with a practical focus on developing strategies for ensemble playing. The lab coach for RecPlay is Robert Pravda, complemented by Kasper van der Horst.

Research projects The field covered by the ArtScience programme is quite broad and dynamic. In order to avoid freezing our current approach in a fixed curriculum, we have chosen to adopt an ‘ink-blot strategy’ to cover this territory. Each year, the ArtScience team chooses a number of topics to be explored in research projects that will be carried out over a period of six weeks, at least three days a week. Some research projects are collective projects emphasising the production of art works and leading to a public presentation, outside the school walls. Other research projects focus less on the final result and more on the process of artistic investigation of the topic in question, producing artworks, prototypes and documentation in the form of papers and audiovisual registrations. In the research projects, students also learn to develop ideas collectively and become involved in the organisational aspects of preparing a public presentation. The following are examples of recent research projects: Foddering the Future: Exploring the Culinary Underground of Veghel’s Former Fodder Factory; Space Science in the Arts; The Theatre Machine; Life Live, Live Life on Bio-Art, and European Affairs on location in Belgrade and Krakow.

StageLab This lab investigates the aesthetic and technical qualities of materials and instruments in relation to the body, with the aim of developing hybrid performance practices. Practical work includes body training, work with light and sound on stage and the development of performances. The lab coach is Michiel Pijpe. Spatial Interaction Lab This lab concerns the composition of interactions involving audiovisual interfaces, interactive spaces, robotics, physical computing, extra senses and interactive architecture. Its practical focus is on hardware controllers, sensors, actuators and spatial use of sound and light. The lab coach for the Spatial Interaction Lab is Edwin van der Heide. Performative Instruments Lab The focus of this lab is on developing media-performance tools, interfaces and performative installations. Research is conducted on existing practices and technologies, with an emphasis on developing new works through a series of hands-on experiments. The lab coach for the Performative Instruments Lab is Kasper van der Horst, complemented by Robert Pravda. Tactile Research Lab This lab addresses wearables, inflatables and new, active and responsive materials. Its practical focus is on the skills that are necessary to create physical environments out of lightweight materials. The lab coach for the Tactile Research Lab is Cocky Eek. c0d3l4b This lab concerns the development of software for generative composition and generative art. Its practical focus is on work in software environments, including Max/Msp/Jitter, Processing, OpenFrameworks and LuaAV. The lab coaches for

Self-study, coaching and presentations We expect our students to start developing their personal domain within the field of the arts and sciences during their studies. Therefore an important part of the education consists of self-study, understood as time for creating personal work and pursuing personal research. Beginning in the second year of the programme, each student has two teachers who coach this personal work, reflect on it together with the student, offering a context for it, suggesting literature and other sources of information and often assisting in solving practical problems. As they advance in their studies, we expect our students to start showing their personal work outside the school walls and to start building their own networks. Instead of creating work specifically for the semi-annual presentations, this allows students to develop towards a situation in which their work has been shown and developed outside the school before being shown at the presentations.

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The students’ personal research is evaluated twice a year during the collective presentations at the end of each semester. At the end of the first semester, students are asked to present their research, explaining their topic, progress and methodology and illustrating it with documentation of experiments or finished works. At the end of the second semester, they are asked to present a finished work, together with a short, verbal explanation. Both presentations are evaluated in a discussion between the student and all of the core teachers, during which also the student’s general progress in the programme is discussed. The evaluations are based on five criteria and five student qualifications. The criteria for evaluating the research and presented work are as follows: the artistic quality of the core concept, the quality of the research process, the consistency of the work, the quality of the presentation or the quality of execution of the work and, finally, the poetry of the result. The progress of students is evaluated according to five student qualifications: the visibility of their artistic identity, their ability to reflect on their own processes, their ability to innovate, their ability to communicate and their awareness of context and current developments related to their research topics. Creative Departments Workshops at the Royal Conservatoire The Creative Departments of the Royal Conservatoire (Composition, Sonology, ArtScience and the Master T.I.M.E.) offer two weeks of full-time courses each semester for each other’s students. During the two weeks following the Autumn break and the two weeks following the Spring break, students can choose between intensive courses, each lasting one week each. Public Toolkit This course focuses on professional preparation and the extended artistic possibilities of the development of a public existence. Curators and organisers from different artistic realms are invited to elucidate practical and organisational aspects specific to their fields. Practical aspects (e.g. the writing of project proposals and business plans, publicity and documentation) are discussed. Students are encouraged to develop an artistic view on their public image in the media and their body of work as a whole, composing them in relation to the individual artworks that make up their practice.

Related to this course is the Academy-wide course in Entrepeneurship, which is part of the ArtScience curriculum. Thesis Bachelor students are expected to write a thesis, to be finished at the beginning of the first semester of their final year. The aim of the thesis is to articulate a theoretical and historical context for the students’ own work by investigating a topic that relates to it. Students are encouraged to develop personal forms of writing that fit their research topic, while demonstrating their ability to conduct theoretical research, find good sources and discuss work by other artists that is related to their own work. Individual Study Track and portfolio Many kinds of individual activity can be part of the Individual Study Track, including personal research projects, internships, international exchange, participation in productions, attending symposiums, initiating productions, organising festivals or writing research papers. When approved by the individual coaches, such activities can be awarded credit points. A written report and documentation of any such a project should be included in the portfolio. Part of the Individual Study Track consists of courses outside the ArtScience Interfaculty. Likely choices include the Introductory Courses offered by the KABK, the Royal Conservatoire and the courses offered in the Master’s programme in MediaTechnology at Leiden University. In addition to the options listed above, the Royal Academy, the Royal Conservatoire and Leiden University offer a very wide spectrum of courses. In the past, students have taken courses in such areas as Sonology, Singing, Percussion, Photography, Print Making, Art History, Philosophy, Electronics, Sociology, Bio-informatics, Art and Genomics and Medical Anatomy. We encourage future students to surprise us by exploring the many other possibilities. Points for elective courses are awarded based on examinations passed, certificates earned, written reports or other forms of documentation, which students should include in the portfolios that they compile over the course of the study year. Before the presentations in June, the teachers review the portfolios of all students and discuss their participation in classes and additional activities. Based on the portfolio and their own experiences,

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the teachers then evaluate the student’s year and confirm the credit points for courses followed outside the Interfaculty and for extracurricular activities. 2.1.6 Credit Points Overview Credit Points (EC points) are assigned twice each year, at the end of each semester before the presentations. Each credit point represents 28 hours of study, and students are expected to earn a total of 60 credit points each year. Credit points for participation in courses, labs, research projects, KABK introductory courses, MediaTechnology courses and other KABK and KC courses are assigned according to the evaluations made by the teachers of those courses. The credit points for the Individual Study Track are assigned according to written reports or other forms of project documentation. Each student is expected to compile a portfolio containing documentation for individual projects and for activities performed in research projects, labs and other courses. The points for extracurricular activities are assigned during the assessment of the portfolio at the end of May. Successful presentations of individual work earn eight credit points. Failed presentations must be repeated one or two months later, or at the end of the following semester. In order to pass the propaedeutic examination, a student must have earned enough points, in addition to passing both presentations, all of the first year courses, the Academy-wide and conservatory-wide first-year courses and the Introduction to Electronics. Students who fail to pass the propaedeutic examination within two years will not be allowed to continue their studies. In the first year, students are required to join two labs and two research projects. In the second and third years, they are expected to participate in at least three labs or research projects. In the fourth year, students must participate in at least two labs or research projects, in addition to being a member of at least one lab. NOTE: For the most current overview of credit points please visit: www.interfaculty.nl/programme/ curriculum

2.1.7 Admission to the Bachelor’s programme of the ArtScience Interfaculty To be admitted to the Bachelor’s programme in ArtScience, applicants must demonstrate artistic talent, intellectual curiosity and affinity with many artistic disciplines. They are asked to show examples of earlier work and explain their motivation for studying at the ArtScience Interfaculty. In order to be admitted to the entrance examination, candidates must send a letter of motivation, a curriculum vitae (resume), a portfolio and a number of official documents. In addition, all candidates should submit their responses to the assignment described below. All written materials should be in either Dutch or English. Please refer to http://www. interfaculty.nl for the most current information regarding the dates for entrance examinations. All candidates are asked to complete the online admission form at www. kabk.nl or www.koncon.nl. They will then be invited to contact the study coordinator (coordinator@interfaculty.nl). Candidates will be invited to submit the application materials requested, as described below, in order to receive an invitation for an interview. European candidates are expected to be physically present at this interview. For candidates outside of Europe, we will propose a Skype conference. Letter of motivation In the letter of motivation, candidates are asked to provide an overview of their current status in their artistic activities and to describe their visions for the future. The letter should cover the following points: ++ background information on the candidate’s artistic past; the motivation for becoming involved in art and for making the artistic choices that have been made thus far ++ a description of the artistic disciplines in which the candidate has been involved or interested in thus far ++ a description of the candidate’s main topics of interest with regard to art, science and culture (e.g. this could include specific art forms, subcultures, genres, styles, artists that inspire you, philosophical ideas, scientific research topics or developments in society) ++ an outline of what the candidate hopes to achieve by studying at the ArtScience Interfaculty

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++ a description of how the candidate expects to contribute to the learning environment at the Interfaculty and to the arts after completing the programme ++ a description of the artistic niche that the candidate expects to develop during the programme ++ any questions that the candidate might have about the ArtScience Interfaculty

Official documents Candidates should complete the online admission form through the websites of the KABK or KC. A copy of the candidate’s passport, a visa (if applicable), a copy of relevant diplomas, two passport photos and email address should be included with the materials sent for the entrance examination. 2.1.8 Staff *

Curriculum Vitae (Resume) This should cover the following: ++ previous education ++ artistic past (see also portfolio, below) ++ musical instruments played (if applicable) ++ techniques mastered ++ work experience ++ languages Portfolio The portfolio should provide a good overview of the candidate’s past artwork and/ or artistic activities. We are interested in all art forms (including music, visual art, interdisciplinary art, media art, theatre, film and literature). While the documentation should include copies and/or documentation of the candidate’s work, we also expect the candidate to write short texts describing the individual works, illustrated with photos, drawings, reviews and other components. In the case of time-based documentation (e.g. audio, video), candidates are asked to indicate one piece (or part of a piece) that they definitely would like to be viewed or listened to by the admission committee. Digital documentation should run on both Mac and PC. Candidates are requested to use common file formats: jpeg, gif, tiff, pdf, mp3, wav, aiff, flv, QuickTime (mov), avi, txt, rtf, Word (doc/docx/ odt), Powerpoint (ppt/pptx/odp).

Heads of department ++ Taconis Stolk ++ Edwin van der Heide Coordinator ++ Leonie Zweekhorst Lecturers ++ Arthur Elsenaar ++ Cocky Eek ++ Edwin van der Heide ++ Kasper van der Horst ++ Michiel Pijpe ++ Robert Pravda ++ Taconis Stolk Guest lecturers ++ Pieter van Boheemen ++ Lex van den Broek ++ Evelina Domnitch ++ Lucas Evers ++ Bernard Foing ++ Dmitri Gelfand ++ Marcus Graf ++ Roel Heremans ++ Gideon Kiers ++ Eric Kluitenberg ++ Katinka Marac ++ Ine Poppe ++ Frank Theys ++ Lucas van der Velden ++ Caro Verbeek

Assignment As part of the entrance examination, candidates are asked to submit a proposal for a work of art that they would like to make. The only requirement for the proposed work is that it should appeal to at least two senses, in most cases, sight and hearing. The proposal should consist of a written description, and it should include sketches in image, sound or other media. For the entrance examination, candidates are asked to bring a 3D scale model of the work of art proposed (this does not apply to non-European candidates). 32

Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

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competencies Propaedeutic Year

Main Phase, Year 2

Creative ability

You are able to apply the acquired skills and knowledge independently to the production of your work, and you are able to carry out the assignments given in connection with your artistic ambitions.

You are capable of initiating and sustaining a broad and varied, inquiry-based production of visual objects.

Capacity for critical reflection

You are able to reflect on your own work and evaluate its effectiveness and quality.

You are able to reflect on your own work and that of others and evaluate its effectiveness and quality.

Capacity for growth and innovation

You are able to acquire and apply new knowledge, skills and insights at a theoretical and practical level.

You are able to apply newly acquired knowledge, skills and insights to the development and progress of your own work.

Organisational ability

You are capable of organising internal and external factors in order to create an effective and inspiring research and working process.

You are able to arrange your work processes and studios in a manner that promotes progress and depth in production.

Communicative ability

You are capable of providing verbal explanations of your own work and development, in addition to interpreting your own positions in relation to the current artistic situation, both orally and in writing.

You are able to discuss your work and production processes, explaining these using words and images.

Environmental orientation

You are able to demonstrate a strong interest in historical and current forms of art and your social significance and embeddedness. They can actively participate in critical assessments of your own work and that of others.

You are capable of delving into artistic and social settings in order to intensify your production of visual objects and your reflection on these.

Capacity for collaboration

You are capable of making positive contributions to group projects, excursions and the educational climate in your classes and at the Academy.

You are capable of collaborating with fellow you and/or external parties, applying the experiences that emerge from these collaborations to enhance the progress and depth of your research and production processes.

ar tscience Main Phase, Year 3

Main Phase, Year 4

Creative ability

You are capable of applying thematic and formal coherence to the continuing production of visual objects.

You create authentic work that emerges from your own research and personal artistic vision and which contributes to the achievement of your personal ambitions as an artist.

Capacity for critical reflection

You are capable of identifying both weaknesses and potential when investigating work in terms of its thematic and formal coherence.

You are able to consider, analyse, explain and assess your own work and that of others, and you are capable of abstracting the outcomes for the benefit of your own work.

Capacity for growth and innovation

You are capable of achieving continual development in your work, in part by focusing on the coherence of your work.

Through a continuous process of research you are able to further develop your artistic practice in terms of both breadth and depth, thereby contributing to your discipline.

Organisational ability

You are able to arrange your work and research in a manner that promotes optimal thematic and formal coherence.

You are able to create an inspiring and functional working environment and organise your research, work and practice effectively.

Communicative ability

You are able to discuss the coherence of your work, explaining it using words and images.

You are able to present and explain your visions, research and work in a convincing manner.

Environmental orientation

You increasingly relate to artistic and social settings, using these aspects to intensify your investigation of thematic and formal coherence in your work.

You are able to relate your own artistic practice to the wider artistic and social context.

Capacity for collaboration

You are capable of collaborating with fellow you and/or external parties, applying the experiences that emerge from these collaborations to enhance your investigation of thematic and formal coherence.

You are able to make independent artistic contributions to collaborative products or processes.

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2.2 Fine Arts

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2.2 Fine Arts 2.2.1 General description of the discipline History of the discipline Until the mid -19th century, artists worked primarily on behalf of monarchs, the church and the upper middle class. Around 1850, the idea emerged that art should no longer be created on commission, but purely for the sake of art itself. The autonomous artist was born. Artists were forced to reconsider and redefine themselves and their public function. The 20th century would thus become the era of the self-aware modernist movement, which was characterised by a high level of appreciation for experimentation and innovation. Concurrent with the far-reaching technological, political and social developments of the era, new types of artists were born and old types, which had been thought to be lost forever, were reborn. After the end of the Cold War, the internationalisation that had been manifesting itself everywhere conquered the art world as well. The confrontation with previously unknown aesthetic cultures yielded hopeful amalgamations, although it also exerted pressure on established western art notions of modernity and autonomy. At the beginning of the 21st century, artists started to draw upon a vast range of artistic media, at times clearly distinguishable, at other times overlapping. As a result, art has become multidisciplinary. Once the primary discipline, painting continues to play an important role although it is no longer dominant. Most importantly, the fine arts represent a dynamic world where firmly rooted traditions compete with fierce trends of innovation. The result is a constantly changing landscape in which few certainties exist. Boundaries are blurring, not only between the various forms of art, but also between the ‘high’ and ‘low’ arts. Current state of the discipline Traditional stylistic or thematic issues no longer dominate contemporary visual art. Although artists working on their oeuvres in the privacy of their own studios will continue to exist, other artists have developed a keen sense for the changes in society and have decided to activate their work in that field. The vast increase of mobility and means of communication have led to the emancipation of cultural areas that were hitherto considered relatively obscure.

There is no longer a dominant western culture. Innovative cultural expressions can come from anywhere – even from as far away as Africa, China, Korea or Mexico – resulting in international art and cultural production. New media (e.g. video, internet) have resulted in the explosive expansion of the scope of art and the artistic toolkit. Artists no longer position themselves exclusively as traditional creators. They are also establishing themselves as researchers, entrepreneurs, commentators or engaged participants in social or political processes. They reveal hidden qualities, provide critical commentary on or are actively involved in social phenomena. Women artists are increasingly setting the tone in the artistic discourse. Today, photography, video and other lens-related disciplines are flourishing like never before. In the digital world, internet users appropriate and process countless images and transmit them as new works of art. While the current situation is creating an enormous number of opportunities, it is also posing new challenges for the arts and art education, which can be addressed successfully only if they are understood and accepted. The Fine Arts department addresses these issues with vigour. 2.2.2 Study profile In this section, we describe the professional profile on which we have based the programme of the Fine Arts department at the Royal Academy of Art (KABK) in The Hague. Visual artists create art in order to give significance and meaning to their own lives, as well as to the lives of others. In doing so, they fulfil an important social function. In the professional field, the work of visual artists is appreciated for the authentic way in which it expresses their artistic vision and ambition in the public domain, as well as for the innovative ideas that it advances with regard to the discipline of fine art and how those ideas can function in a social context. The work of visual artists appears in many different forms, from material objects to materialised processes (including thought processes), performances, business ventures, lectures and other verbalised concepts of a visual or theoretical nature. International setting The international setting has become an important element in contemporary professional practice. The playing field

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of young artists has grown immensely, making them artistic nomads, who may or may not travel the world to find hotspots (or places that are on the verge of becoming hotspots) in which to present work or proposals for new work. In addition to producing work, it is becoming increasingly important for contemporary artists to be able to claim positions in artistic and social environments. Artists are also researchers, producers, networkers, organisers and administrators, employing this combination of functions to achieve their artistic ambitions. Description of the study programme The propaedeutic year is specifically tailored to the fine arts, with orientation, selection and reference as its objectives. Specific to the department Fine Arts at the KABK is the division of the programme into four departments (i.e. ‘sections’) after the propaedeutic year: ++ Reproduction/Distribution (R&D) ++ Painting ++ Interdisciplinary Attitudes ++ 3D The identity and programme of each section depends upon the specific peculiarities of its disciplines. The part-time programme involves fewer contact hours and therefore consists of two sections after the propaedeutic year: 2D and Interdisciplinary Attitudes. These sections differentiate the part-time programme from the full-time programme. After students have successfully completed the propaedeutic year, they choose to continue their studies in either the two-dimensional or the three-dimensional domain. In the third semester, the teams of lecturers from Reproduction/ Distribution (Free Graphics) and Painting partially merge to provide students with an intensive exploration of the twodimensional domain, with the disciplines of graphics and painting. In each block, one of the disciplines is the subject of an extensive assignment. The same takes place in the three-dimensional domain, with the teams of lecturers from Interdisciplinary Attitudes and 3D. At the end of the third semester, students choose one of the four sections as a specialisation for graduation. This structure creates the conditions that students need in order to work in small groups, as well as for the organisation of specific workshops, external

activities and guest lectures in the various sections. Within the sections, we create a climate in which the boundaries of the discipline are examined and transcended, thus building the foundation that enables interdisciplinarity. In some cases, the process of development can make it necessary for a student to change sections. These students may change on their own initiative, with proper justification, or on the advice of their teams of lecturers. Inspirational contacts between students of different sections are encouraged, and numerous cross-sectional activities and projects take place during the course of the academic year. The fourth year, the year of graduation, is concluded with the final examination, in which individual students prepare exhibitions and theses that demonstrate their qualifications to enter the professional practice. Throughout the programme, students are reminded that the programme is a foundation on which they can further develop their personal artistic ambitions and abilities for their future professional practice. The programme is aimed at creating an understanding of the conditions under which this process occurs, and it stimulates the ambition to excel, thanks in part to the presence of a teaching staff consisting of artists with active international professional practices. The programme centres on the idea that artists are part of the national and international social mechanism, and that they have a function within this mechanism. In this context, artists define their significance by discovering, developing and expressing their own abilities and ambitions. Combined with their theoretical and practical positions, the reservoir of knowledge and skills from past and present artists plays a critical and inspirational role in this regard. The curriculum and associated teaching methods are consequently strongly orientated to the world around us. The various teaching formats in the curriculum challenge students to discover and reveal their talents and ambitions. They do this in a continuous process of clarification, revision and renewal, with the perspective of a lifelong artistic practice and the prospect of building an oeuvre of international stature. Students who have successfully completed their studies with a final examination are capable of conducting independent artistic research on behalf of an authentic oeuvre. They are able to articulate their work in public situations, and they are aware of the con-

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texts in which their art practices develop, whether in autonomous or in commissioned situations.

Many alumni choose to continue their studies abroad in such locations as Glasgow, London and New York.

Final qualifications for Fine Arts ++ Students create authentic work emerging from their own artistic visions and contributing to the fulfilment of their personal ambition as artists (creative ability) ++ Students are able to consider, analyse, interpret and assess their own work and the work of others, and they are capable of considering their findings constructively in relation to their own work (capacity for critical reflection) ++ Students are able to develop the breadth and depth of their artistic practices further in an ongoing process, thereby contributing to developments within their artistic disciplines (capacity for growth and innovation) ++ Students are able to establish and maintain an inspirational and functional working environment, and to organise their research, work and practice (organisational ability) ++ Students are able to present and discuss their artistic visions, research and work effectively (communicative ability) ++ Students are able to relate their artistic practice to both the artistic and the social context (external awareness) ++ Students are able to make independent contributions to collaborative products or processes (capacity for collaboration)

Admissions procedure Candidates are first invited to an exploratory interview, in which they can ask questions about the programme and in which they are questioned about their own artistic ambitions and social and cultural orientation. After this interview, candidates who are deemed suitable to apply are invited to take an entrance examination. Candidates failing in only certain aspects are given an additional assignment that will be assessed separately during the entrance examination. During this examination, candidates show a varied selection of their work (e.g. dummies, sketches, blueprints, digital files, movies and notes of ideas) to the admissions committee of the programme. The admissions committee consists of teachers and students.

Diploma Graduates are awarded the Bachelor of Fine Arts (BFA) degree, which qualifies them to enter post-graduate programmes in the Netherlands or abroad. Postgraduate studies After completing their Bachelor degrees, graduates are eligible to enrol in a Master programme in design (MA Design) or art (MA Fine Arts), or in other Master programmes at other art academies. Many of our graduates have continued their studies at internationally recognised institutions or programmes including MAR (Master Artistic Research) at the KABK, the Frank Mohr Institute in Groningen, the Sandberg Institute in Amsterdam, the Post St Joost Fine Arts in Breda, the Piet Zwart Institute in Rotterdam and the Dutch Art Institute in Enschede, or in socalled ‘third phase’ programmes at the Rijksacademie or De Ateliers in Amsterdam and the Jan van Eijck Academy in Maastricht.

Specific admissions requirements Candidates must fulfil the following requirements: ++ have a constant tendency to transform experience and imagination into twodimensional and/or three-dimensional products (e.g. videos, DVDs) that testify to an early sense of artistry ++ have a developing grip on the formal issues related to the above ++ have the need to enter the public domain with these works ++ have a developing awareness of their artistic contexts ++ have an inquisitive, self-critical and ambitious attitude 2.2.3 Study programme overview: full-time/part-time The Fine Arts programme at the KABK is offered as either a full-time or a part-time course, both of which must be completed in four years. Applicants for the part-time programme in the 2015-2016 academic year will be accepted pending sufficient registrations for the first year. After the propaedeutic year, students choose either the two-dimensional or the three-dimensional domain for the third semester. For the fourth semester, students must select one of the four sections. In the part-time programme, students choose between the two-dimensional and the Interdisciplinary Attitude

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domains after the third semester. The various sections are represented in these two domains. Teachers provide advice and guidance to students with regard to their choices. The four-year programme is characterised by a strong and continuous line of learning. This means that most of the teachers for the propaedeutic year also teach in the main phase, adapting their courses to the study programmes of the higher years. This allows students to make informed choices at the end of the propaedeutic year. (Part-time students choose between the two-dimensional and three-dimensional domains in the fourth semester.) During the course of the study programme, there are several points at which students can transfer to different sections, if doing so would enhance the development of their specific talents. Propaedeutic year The propaedeutic year consists of a study programme of 60 EC. During this year, the development of talent is linked to an orientation to the main phase, the artistic practice of individual students and the evaluation of their suitability for the programme. The propaedeutic year includes elements featuring all disciplines of the main phase, in addition to the courses General Art History and Field Orientation. These courses confront the students with the very lively art practice through visits to studios, galleries and museums. The courses and credits are listed below. Main Phase During the main phase, the curriculum is arranged as a foreshadowing of professional practice. Students work in their studios on numerous assignments designed to help them learn how to create a production flow of visual works, how to investigate the works for weaknesses and strengths and how to publicise their work in the artistic and social contexts in which they operate, while learning what the business and professional aspects of an artistic practice entail. The description of the main phase and courses can differ for the full-time and part-time programmes, due to differences in structure. The last two semesters of the main phase form the graduation year. It is concluded with the final examination, in which students are expected to demonstrate that they meet the qualifications necessary to become professional artists by presenting a coherent set of authentic works in a convincing way, in addition to preparing a thesis. Although the work

must speak for itself, students are also expected to talk about their work and theses during their presentations. In the conversations that follow, they are questioned about their motivations, manner of exhibition and ambitions for the future. Graduation candidates from all sections organise a pre-examination exhibition at the end of the seventh semester, in which they are responsible for handling any problems associated with making a group and individual exhibitions. The preexamination exhibition takes place outside of the Academy at a location chosen by the students. The main phase consists of three academic years, or six semesters. For courses and distribution of credit points, see the overview below. 2.2.4 Educational and professional goals The programme is described according to four partly overlapping areas of competence: ++ the Artistic domain ++ the Theoretical domain ++ the Professional social domain ++ Individual Study Track (IST) Artistic domain In the artistic technical domain, students concentrate primarily on developing their creative ability and the capacity for critical reflection. These abilities or competencies are considered the most characteristic and important for students graduating in fine arts education. All art and design courses develop the students’ abilities in this domain. Theoretical domain Creating art and designing is intellectual and investigative work. Art and design are evaluated according to artistic objectives for their relevance to national and international standards of professional practice. This implies that artists and designers need to possess adequate theoretical knowledge of the field. Professional domain This field touches upon most of the competencies or abilities addressed within the programme: capacity for critical reflection, capacity for growth and innovation, organisational ability, external awareness and capacity for collaboration.

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Individual Study Track (IST) The Individual Study Track (only for fulltime students) is a one-day weekly programme in which students develop their own highly individualised programmes. Anything is possible in this programme, as long as it is related to their own artistic research. The IST Officer is responsible for IST-related tutoring and communication. All competencies are addressed. Propaedeutic year The competencies of the propaedeutic year are activated by the courses offered, as well as within the framework of the orientation, selection and referencing phases of the programme (see Description of Study Programme). The ability to create is encouraged in all practical courses through assignments in the two-dimensional, threedimensional, lens-related and digital spectrums of the visual arts. The same applies to the capacity for critical reflection and the capacity for innovation and growth, given that the results of the assignments are analysed by both teachers and students according to their formal and substantive qualities. The results of these analyses are used to develop new assignments. The organisational ability of students is activated as they learn to organise the formal problems that occur when connecting content to form and it is inextricably linked to the process of creating. Students begin by creating something, followed by critical reflection and assignments for new work, which provides an incentive to review the production process and adjust its formal aspects. The theoretical aspects of organising are discussed in the course Field Orientation, an intensive programme in which students are confronted with professional practice and its organisational aspects. In the second semester, students learn to document their development in the form of a portfolio. Students also participate in an Inauguration Programme and maintain files in which they keep track of and comment on their developments. The Inauguration Programme is a cycle of exhibitions at various locations in the Academy, in which students are introduced to all aspects of making solo or group exhibitions: setting up, designing invitations, opening the show, documenting public discussions, cleaning. Their communicative ability is developed in all situations that force students to present and explain their own work or that of oth-

ers: in the Inauguration Programme, in the reports that they write for the course in Art Orientation and during the presentation for the course in General Art History. The external awareness of students is developed through the course in Field, as well as during excursions (e.g. the annual trips to Berlin, the Venice Biennale and Documenta). The General Art History course sheds light on the principles and factors that have shaped art and culture from the early days until Romanticism. During the propaedeutic year, students develop their capacity for collaboration by organising presentations for evaluations and progress meetings together with their peers, through joint ventures during the Open Day and by making group proposals for the Academy-wide project week. The didactic climate further encourages students to learn from each otherâ&#x20AC;&#x2122;s insights, ideas and problems. Artistic domain The general visual development in the propaedeutic year focuses on the acquisition of skills associated with various aspects of working in 2D through three courses in Drawing. Drawing 1 covers observational drawing, in which eye-hand coordination is practiced in such aspects as shape, size, plasticity, tonality, colour, line, composition and materiality. Drawing 2 addresses observational drawing based on the imagination. Drawing 3 approaches drawing as a tool for research, idea development and processing. The courses in Painting and Graphics cover watercolour, oil and graphic techniques. The Spatial course encompasses all aspects of working with and in space, in the material sense, as well as in the immaterial sense. In the Optics course, the lens is used as a search tool that is able to collect personal topics and themes. The skills of cinematic expression are taught starting from the camera obscura, the analogue and the digital camera, to the video camera and digital imaging. Idea development Idea development is understood as the organisation of a systematic process in which an inspiring idea is revealed and gradually conceptualised through theoretical and practical means. The process starts with the visualisation of an inhibited idea. The idea is then captured in sketches, followed by models, designs and drafts. Finally, a suitable context for the idea is researched. The course in Meaning plays a central role in this proc-

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ess, supported by the Drawing 3 course. One session of the second semester is reserved for the ‘free space’, which anticipates the Individual Study Track in the main phase. The first year has no supporting courses, other than the film programme, which can be seen as an annex to the General Art History course. The film programme PLAY/TIME presents monthly screenings of film history classics, each accompanied by an introduction. Theoretical domain The General Art History course covers developments in art and architecture from the early days to Romanticism, based on A World History of Art by Honour and Fleming and various articles. Each semester is concluded with an examination, and students are given writing assignments, in addition to giving presentations at least once a year. In the first semester of the second year, students go on excursion to Berlin. Preparation for this excursion includes attending a lecture series on the cultural state of the city in relation to historical, political, social and geographical factors. This cycle is concluded with an examination. The excursion includes visits to institutions of classical and modern art, artists’ studios, theatres and architectural points of interest. In the Field Orientation course, students investigate the tension between artistic ambitions and the ways in which these ambitions can function in the public domain by visiting places where this tension is generated and/or expressed. Examples include studios, artists’ initiatives, galleries and museums. Conversations and interviews are part of these visits, and students document their findings in reports. Professional domain The career preparation in the propaedeutic year is taught in the Field Orientation course, as described above. Students gain additional experience by participating in the Inauguration Programme, by designing a trophy in a simulated professional assignment, by organising the assessment and progress meeting presentations and by assisting graduates with the organisation of the pre-examination exhibition and the graduation show. After the first semester assessments, each student completes a one-week internship in an art-related situation or institution. Descriptions of the various courses are available in separate dossiers.

Main Phase/Year 2 Section profiles Section: Painting The disciplinary domain is defined by all conceivable forms of painting and drawing, and amalgamations thereof. The best-known examples are the techniques involving gouache, watercolour, oils, acrylics and tempera. Nevertheless, where the transfer of images is largely determined by colour, numerous other new means of expression occur in this domain as well, including photography, animation, cinematic projections and digital media. Section: Reproduction & Distribution This disciplinary domain is defined by all conceivable graphic techniques, including etching, lithography, woodcut, mezzotint, silkscreen and offset printing, and photographic and digital techniques. Working with various graphic techniques creates the possibility of printing numerous copies of a work. An interesting option is then to create a unique work from the copies. Another possibility is to produce books, posters and artworks, to be published periodically through traditional or digital means. Section: Interdisciplinary Attitudes The Interdisciplinary Attitudes section is characterised by the absence of any disciplinary concentration or limitation. Students and teachers unite in an artistic ambition. By gradually revealing this ambition, the most suitable discipline or combination of disciplines is determined. Social structures provide material for research and productions. This section results in theatrical productions, video installations and photographic works, as well as in drawings and/or paintings. Section: 3D The disciplinary climate of the 3D section is established in the second year. In this section, the classical sculpture is problematised in the ‘Large Model’ project, and the significance of space and threedimensionality is researched in all its facets. This confronts students with the scope of contemporary ideas of sculpture and space. Students are guided by research, assignments (some in the public domain) and presentations. In the past, this process has led students to create sculptures in the traditional sense of the word, architecture or proposals to that end, and video installations and photographic works.

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Students control a significant part of their own study material by creating works and reflecting on them. The primary learning objective for the second year is therefore to start and maintain an ongoing production of experimental and investigative visual products. The second year competencies are related to achieving this objective. The sections described above are imbedded into the part-time programme in two modular directions: 2D and Interdisciplinary Attitudes. The 2D module includes painting and free graphics, and the Interdisciplinary Attitudes module also includes the 3D section described above. Differences may occur between full-time and part-time study programmes. Competencies for Year 2 Students are expected to master the following competencies during this phase of the programme: ++ Creative ability: Students are able to initiate and maintain the production of a wide and diverse selection of investigative visual works. ++ Capacity for critical reflection: Students are able to reflect on their own work and that of others, and they are able to evaluate its quality and effectiveness. ++ Capacity for growth and innovation: Students are able to use newly acquired knowledge, skills and insights, as well as the criticism of others to advance the development of their work. ++ Organisational ability: Students are able to create ideal work environments that advance and enhance the production of and reflection on their work. ++ Communicative ability: Students are able to discuss and explain their work and its production process through oral and visual presentations. ++ External awareness: Students are able to research artistic and social settings in order to intensify their production of visual work and the reflection process. ++ Capacity for collaboration: Students are capable of collaborating with fellow students and/or external parties, employing the experiences gained through these collaborations to progress and intensify their production and research process. These competencies are applicable to all sections. Although the competencies are developed within the different disciplinary frameworks, they are active for the entire department in the Content/Form, Process/Research, Transferring and Theory courses.

Creative ability, the capacity for critical reflection and the capacity for growth and innovation are developed in the Content/Form and Process/Research courses, in which the constant flow of images is used as a study of the various aspects of the formation of meaning in an image, to investigate the articulation of size and space, to determine weaknesses and strengths in form and content, and to analyse the consequences resulting from these aspects, in relation to the use of different media and disciplines. The theoretical component of the Process/Research course stimulates the search for a suitable context as a factor of growth and innovation. Students also develop organisational ability in the Process/Research course, in which the source materials and work plan function as documentation. Communicative ability and external awareness are part of the courses in Content/Form and Process/ Research, although they feature most prominently in the Transference and Theory courses. These courses emphasise these skills in the making of exhibitions, as well as in exercises in verbal and written communication about the students’ own work and that of others. The courses also reveal historical and contemporary artistic contexts and factors that have a formative influence on these contexts. The students’ capacity for collaboration is stimulated by the fact that the students work together with their peers in a large studio space, organise internal and external projects and exhibitions, and prepare a time and space planning for the evaluations and progress meetings. Artistic domain General visual development General visual development in the second year manifests itself in four distinctive sections within the field of study, as well as in relation to the most important objective of the second year: the creation of a flow of images that is employed for numerous analytical and reflective interventions. In the Painting section, students paint and draw in all conceivable media, and various workshops are organised (e.g. a tempera workshop and a Photoshop course). In Reproduction & Distribution, students are introduced to all graphic techniques, photography and animation. A bookbinding workshop provides students with the skills that they need to create a publication.

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As implied by the title of the course, Interdisciplinary Attitudes offers an interdisciplinary environment, also in addition to workshops in the fields of theatre, sound and various sensory fields. In 3D, students research materiality, structure, design and meaning, as well as spatial quality and status. They create images and objects in all available materials, with primary emphasis on the ‘Large Model’, in which students work on a sculpture based on a live model during the course of the year. This process includes all stages involved in producing a ‘classical’ sculpture. A bronze-casting workshop is organised as well. Idea development Defined in the propaedeutic year, idea development is also addressed in this year, focusing on helping students to gain control of their flow of images in order to steer it in a recognisable thematic direction. Idea development is covered in all practical courses, as students search for their themes in all elements of the curriculum. In the Process/Research course, students organise a functional work environment, in order to create an effective foundation for increasing the depth and breadth of their research into their themes and/or artistic ambition. In addition, the department-wide Artistic Research course enables students to apply concepts of process and research, along with methods of materialisation, to their own research based on personal ideas and visual development. Supporting courses Supporting courses are available in the form of various Academy-wide introductory courses: ++ electives and minors in collaboration with Leiden University ++ optional activities within the framework of the Studium Generale and ’t Hart ++ the film programme ++ guest lecturers contributing specifically to internal and external projects Theoretical domain Even though all practical courses include theoretical components (e.g. exhibition theory in the Transference course; the addressing of metaphors, symbolism, style and stylisation in the Content/Form course; and the theoretical component in the Process/Research course) , the Theory course continues to provide the most important foundation for theoretical knowledge and intellectual skills. The the-

ory programme for the entire department is structured as follows: students gain knowledge of art history from Romanticism to the present by attending lectures, by taking day trips to exhibitions and by having group discussions in relation to a topic prepared by a fellow student. Students maintain a sourcebook with inspiring texts and images, writing a paper each semester on a self-chosen topic from the field of art, in addition to a statement about their own work, including such aspects as motivation, inspiration and relationships with other artists. Professional domain Career preparation is structured in two parts. The first part is integrated. For example, aspects of professional practice are discussed during in-class group conversations. This also takes place in other classes when necessary and useful, according to the situations in the students’ studios. The second part of the preparation is programmed. The following overview of this part is based on the programmes of previous years. Collaboration with external partners in the field is an important element of the programmed part. Some of these collaborations take place each year, while others vary from one year to the next. The following elements are offered throughout the department: the Rhetorics course, the Inauguration Programme, presentations in project spaces, studio visits, and incidental internships with professional visual artists as part of the Individual Study Track. The department collaborates on projects, varying by section and study, with a variety of partners: ++ Nest ++ The Hague Committee Room ++ Municipality of The Hague ++ Filmhuis, The Hague ++ Diligentia, The Hague ++ Tent, Rotterdam ++ Stroom, The Hague ++ Council for Culture Second-year students of all sections prepare group exhibitions as a prelude to the exhibitions in the third year. Main Phase/Year 3 Upon completion of the second year, students have reaped a rich harvest of formal and substantive questions. In the third year, these questions are employed in all sections for the purpose of researching their interrelationships.

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Competencies for Year 3 Students are expected to master the following competencies during this phase of the programme. ++ Creative ability: Students are able to create thematic and formal coherence in the continuous production of visual works. ++ Capacity for critical reflection: Students are able to pinpoint weaknesses and potential strengths in the process towards thematic and formal coherence. ++ Capacity for growth and innovation: Students are able to realise continuous development in their artistic ambitions by focusing on coherence in their work. ++ Organisational ability: Students are able to organise their work and research processes to achieve optimal advancement in the revelation of thematic and formal coherence. ++ Communicative ability: Students are able to discuss and explain the coherence in their work through oral and visual presentations. ++ External awareness: Students increasingly position themselves in relation to artistic and social settings, thus intensifying their research into thematic and formal coherence. ++ Capacity for collaboration: Students are capable of collaborating with their fellow students and/or external parties, employing the experiences gained through these collaborations in order to advance their research into thematic and formal coherence. The students’ creative ability, capacity for critical reflection and capacity for growth and innovation are further developed in the Content/Form course and in the practical and theoretical components of the Process/Research course. Organisational ability is developed in several components, including the practical component of the Process/Research course. Communicative ability and external awareness are developed in the Transference and Theory courses. The students’ capacity for collaboration is stimulated in a manner similar to that described above in the second-year competencies. This is accomplished in the Transference course through several internal and external presentations and exhibitions.

Artistic domain General visual development The description of general visual development in the second year applies to the third year as well, with the difference that all works produced are oriented towards the research into the coherence of artistic production. Central to this research is the continuing revelation of the students’ personal artistic abilities and ambitions. All practical courses contribute to this endeavour, including the Theory course, in which students further develop their insight and understanding of their own situations by relating them to inspiring and critical contexts. Idea development The description of idea development in the second year also applies equally to the third year, but with the addition of elements relating to the central objective of this study phase. The concept development in the third year thus focuses on structuring all formal and substantive questions that arise in the search for coherence, and unveiling authentic artistic practice. The Process/Research course plays the most important role in this development. Supporting courses Specific courses and workshops within the framework of the career preparation are described in the professional social domain below. The other possibilities for supporting courses are described under ‘Supporting courses’ in the section on Year 2. Theoretical domain In the third year, students are intensively confronted with various philosophical, aesthetic and social models of thinking. The teaching material consists of the book De Donkere Spiegel (The Dark Mirror) by Frank Vandeveire and a wide range of art historical literature, magazines and newspapers. Students learn to identify artistic problems, concepts and principles, while acquiring a grasp of the theoretical issues present in their work. Each semester, students write statements about their own work, in addition to research papers. The topic of the first paper is an art movement in relation to social development, while the second focuses on the question ‘What is art?’ At least once a year, each student gives a presentation on a theoretical topic. At the end of the academic year, students determine their thesis subjects. For further

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information about the theoretical domain in Year 3, please refer to the description of Year 2. Professional domain The activities described for the second year apply to the third year as well. In addition, projects and collaborations are organised each year especially for thirdyear students. These activities are specifically related to their stage of development. Students in all sections participate in the Documentation Workshop, which consists of several sessions distributed throughout the academic year. In this workshop, students learn to: ++ document work for presentations and/ or grant or subsidy applications ++ compile and present a portfolio ++ give verbal presentations ++ write texts for presentations, grant or subsidy applications, job assignments and post-graduate studies Students also take Finance and Business Plan courses, and they participate in a Grant/Subsidy Application Writing workshop and a workshop on presenting. Students in each section collaborate to organise an exhibition. The projects with external partners, as mentioned in the description of the second year, are employed in the third year in relation to the students’ stage of development. Main Phase + Graduation year In the final phase, the learning objective is the full development of the personal signature in content and form, as revealed in the third year. All aspects of the research process, including the process-based structure in which it takes place, is tailored to the unique convergence of content and form. These aspects are addressed in the courses in Process/Research and Content/Form. Furthermore, students master the practical and theoretical aspects of making their work public in the Transference course, in addition to learning about the financial/administrative side of being an artist. The competencies for this phase are related to this learning objective.

personal ambitions to become artists. ++ Capacity for critical reflection: Students are able to analyse, interpret and assess their own work and that of others, and they can apply the ensuing outcomes to benefit their own work. ++ Capacity for growth and innovation: Students continuously develop their art practice in both depth and intensity, thereby contributing to developments in visual art. ++ Organisational ability: Students are able to create and maintain their own inspiring and functional work environments, and they are able to organise all aspects of their research and production processes. ++ Communicative ability: Students are able to present and explain their artistic visions and work. ++ External awareness: Students are able to relate their own art practice to the practice of artists in the past and present, drawing connections between different public and social contexts. ++ Capacity for collaboration: Students are able to make independent artistic contributions to collaborative products or processes. Artistic domain General visual development All painted, graphic, sculptural and other disciplinary works are employed in order to sharpen the merging of form and content. This represents a process of refinement in the already acquired visual idiom, to which the practice courses and the Theory course contribute. The Theory course addresses inspiring and refining contexts through the theory lessons, in which students are encouraged to personalise their work further.

Competencies for the final year The competencies of the final phase correspond to the final qualifications of the programme:

Idea development As defined above, idea development focuses on structuring all formal and substantive questions that occur when students make the final decisions (within the framework of the programme) concerning their themes and the forms they will take. The Process/Research course is importance in this phase, as is the Transference course, as the work is more likely to reveal itself in all its formal and substantive peculiarities in public situations than it is in the studio.

++ Creative ability: Students create authentic work that originates from the pursuit of their individual artistic visions and that contribute to the realisation of their

Supporting courses Supporting courses are not part of the final phase of the programme, except in the professional practice workshops and

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activities. These activities are described in the section on the professional social domain. Theoretical domain In the final phase of the programme, the Theory course focuses primarily on the writing of the thesis, the subject of which was decided by the student at the end of the third year. The thesis is a report of the student’s comprehensive investigation conducted within the framework of the student’s work. It should show the student’s ability for reflection, an extensive understanding of the history of art and insight into the context of the student’s own work. The theses are discussed in groups during the first semester, and they are supervised individually during the second semester. The minimum length for a thesis is 25 pages of typed text, excluding images. The sourcebook is again a means of inventory, inspiration and documentation that is directly related to the student’s stage of development.

Graduating part-time students are able to use studio space at the Academy during their final two semesters. Other parttime students follow the programme by attending classes or through individual talks. Part-time students may also attend guest lectures, workshops and lectures that are scheduled during the day. 2.2.5 Organisation of the department * The head of department is responsible for the department’s policy and all aspects related to this policy. The team of lecturers reflects the content of the programme and its professional structure. All of the teachers have their own professional practices. Because of the diversity in experience and expertise, students are confronted with numerous aspects of and approaches to the discipline. Guest lectures are organised to provide specific knowledge of the professional field.

Professional domain Most of the external activities that are available in the second and third years are also available to fourth-year students. The following activities are organised specifically for fourth-year students from all sections:

Head of department Editorial note: during the editorial process the new head of the Fine Arts department was not yet appointed.

++ Post-Graduate Studies Day: At this event, Dutch institutions that offer postgraduate studies give presentations, and international Master programmes are discussed. Third-year students are welcome to attend, as long as it does not interfere with their schedules. ++ Day of the Future: This event consists of lectures on the local cultural policies (Stroom), presentations by the Fonds voor de Kunst (Fund for the Arts), lectures by various gallery owners and artists’ initiatives, presentations by the Chamber of Commerce, and talks by alumni from different years about their experiences after graduation. ++ Pre-examination exhibition: This exhibition, which is organised by students, takes place outside of the KABK building. It also includes a publication. ++ Portfolio/networking day: At this event, artists’ initiatives, galleries and curators present themselves and view/evaluate students’ portfolios. ++ Graduation show: The final show is the masterpiece (in all respects) of the newly launched professional practice.

Head of part-time course ++ Ernst Bergmans

Coordinator full-time course ++ Martijn Verhoeven

Coordinators part-time course ++ Willem Goedegebuure ++ Onno Schilstra Lecturers ++ Marijke Appelman ++ Maura Biava ++ Channa Boon ++ Engelien van den Dool ++ Irene Droogleever Fortuyn ++ Marion Duursema ++ Wim van Eck ++ Paul van der Eerden ++ Pieter van Evert ++ Willem Goedegebuure ++ Cecile van der Heiden ++ Eric Hirdes ++ Anja de Jong ++ Winnie Koekelbergh ++ Ton van Kints ++ Klaas Kloosterboer ++ André Kruysen ++ Frans Lampe ++ Alexandra Landré ++ Jeroen de Leijer ++ Frank Lisser

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++ Annemiek Louwerens ++ Tatjana Macic ++ Anna Moreno ++ Willem Moeselaar ++ Reinoud Oudshoorn ++ Femmy Otten ++ Maria Pask ++ Hans van der Pennen ++ David Powell ++ Ewoud van Rijn ++ Hester Scheurwater ++ Onno Schilstra ++ Els Snijder ++ Elly Strik ++ Martijn Verhoeven ++ Pim Voorneman

++ Tomo Savic ++ Janwillem Schrofer ++ Barbara Seiler ++ Marleen Sleeuwits ++ Roland Sohier ++ Suzanne Somers ++ Arjanne van der Spek ++ Iva Supic Jankovic ++ Puck Verkade ++ Ruut Willems ++ Hanae Wilke ++ Yasmijn Yarram ++ Italo Zuffi ++ Ina van Zyl ++ Weronika Zielinska

Guest lecturers ++ Mendel Agterberg ++ Nel Aerts ++ BAR ++ Lorenzo Benedetti ++ Neil Beloufa ++ Jelle Bouwhuis ++ Bogna Burska ++ Coen Brasser ++ Stephan van den Burg ++ Eliska Cabalova ++ Sarah Campos ++ Vaast Colson ++ Jasper Coppes ++ Calin Dan ++ Josef Danek ++ Dina Danish ++ Roloff de Jeu ++ Jaring Dürst Britt ++ Marcel van Eeden ++ Sjarel Ex ++ Gertjan Forrer ++ Andrea Freckmann ++ Katinka van Gorkum ++ Kaleb de Groot ++ Henri Jacobs ++ Bram de Jonghe ++ Jacob de Jonge ++ Xander Karskens ++ Jean Bernard Koeman ++ Frank Koolen ++ Luk Lambrecht ++ Eelco van der Lingen ++ Anna Luppi ++ Adrian Mazzarolo ++ Alexander Mayhew ++ Ilga Minjon ++ Rinke Nijburg ++ Femmy Otten ++ Olphaert den Otter ++ Charles van Otterdijk ++ Dan Perjovschi ++ Philip Peters ++ Sybren Renema ++ Arno van Roosmalen ++ Jochem Rotteveel

Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

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competencies Propaedeutic Year

Main Phase, Year 2

Creative ability

You are able to apply the acquired skills and knowledge independently to the production of your work, and you are able to carry out the assignments given in connection with your artistic ambitions.

You are capable of initiating and sustaining a broad and varied, inquiry-based production of visual objects.

Capacity for critical reflection

You are able to reflect on your own work and evaluate its effectiveness and quality.

You are able to reflect on your own work and that of others and evaluate its effectiveness and quality.

Capacity for growth and innovation

You are able to acquire and apply new knowledge, skills and insights at a theoretical and practical level.

You are able to apply newly acquired knowledge, skills and insights to the development and progress of your own work.

Organisational ability

You are capable of organising internal and external factors in order to create an effective and inspiring research and working process.

You are able to arrange your work processes and studios in a manner that promotes progress and depth in production.

Communicative ability

You are able to discuss your work and production processes, explaining these using words and images.

Environmental orientation

You are capable of delving into artistic and social settings in order to intensify your production of visual objects and your reflection on these.

Capacity for collaboration

You are capable of making positive contributions to group projects, excursions and the educational climate in your classes and at the Academy.

F INE AR TS Main Phase, Year 3

Main Phase, Year 4

Creative ability

You are capable of applying thematic and formal coherence to the continuing production of visual objects.

You create authentic work that emerges from your own research and personal artistic vision and which contributes to the achievement of your personal ambitions as an artist.

Capacity for critical reflection

You are capable of identifying both weaknesses and potential when investigating work in terms of its thematic and formal coherence.

You are able to consider, analyse, explain and assess your own work and that of others, and you are capable of abstracting the outcomes for the benefit of your own work.

Capacity for growth and innovation

You are capable of achieving continual development in your work, in part by focusing on the coherence of your work.

Through a continuous process of research you are able to further develop your artistic practice in terms of both breadth and depth, thereby contributing to your discipline.

Organisational ability

You are able to arrange your work and research in a manner that promotes optimal thematic and formal coherence.

You are able to create an inspiring and functional working environment and organise your research, work and practice effectively.

Communicative ability

You are able to discuss the coherence of your work, explaining it using words and images.

You are able to present and explain your visions, research and work in a convincing manner.

Environmental orientation

You increasingly relate to artistic and social settings, using these aspects to intensify your investigation of thematic and formal coherence in your work.

You are able to relate your own artistic practice to the wider artistic and social context.

Capacity for collaboration

You are able to make independent artistic contributions to collaborative products or processes.

credit points overvie w Fine Arts full-time

Year

Programmed professional preparation (**)

Integrated professional preparation

Semester

Drawing 1, Drawing 2 (*)

Conceptualization

Space

Studium Generale (***)

Free Space

Optics

Graphics

Painting

Main Phase PAI/R&D/AUT/3D

ABPPW

Final examination

Orientation to professional field

18 5

One week internship

General Art History

2 2

Excursion to Berlin

2 2

Theory

Research and Discourse

6 3

Thesis

IST

Total

(*) (**) (***)

Drawing 1 and 2 are spread across semesters 1 and 2 Incl. Writing a Business Plan in year 3 In the Fine Arts department, the academy-wide Studium Generale programme is extended with additional assignments

Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

f ine ar ts Fine Arts part-time

Year

Semester

Drawing

Spatial I

Spatial II

5 4

Photography

Image Development/Art Orientation

Painting

Orientation 2D/Autonomous

Main Phase 2D/Autonomous

Programmed professional preparation (incl. presentations)

Integrated professional preparation

Presentation Collective assessment

Final exam projects

Art History

24 5

Docking Station

Research & Discourse

6 5

Philosophy and Research

Final Thesis

Total

Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

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2.3 Graphic Design

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2.3 Graphic Design 2.3.1 General description of the discipline Graphic designers are investigative researchers. They look critically at their profession and the world, and they reflect on change. By continuously asking questions, they discover where information is hidden, determine the form in which it should be presented and decide how it can be made accessible. In doing so, the profession of the graphic designer is strongly related to visual arts, science, journalism and other creative disciplines. Graphic designers work on commission, in addition to initiating their own projects. They work with provided information, but also acquire it themselves. In the latter case, they are no longer simply designers, but take on the roles of initiator, editor, project manager and publisher as well. The profession places strong emphasis on the research and development of concepts that form the foundation of information transfer. Designing is a combination of imagining, engineering and inventing. For example, the design of a website is more than the actual website; it is the process of envisioning what the website will potentially look like and implementing how it will finally work. The increasing availability of technological means of production (e.g. user-friendly software and affordable highquality printers) has allowed designers to control the production process, thus reducing the gap between design and product. In everyday work, the designers have virtually infinite ways of expressing ideas at their disposal: sketching with a pencil, composing text with a design programme, drawing patterns in sand, experimenting with different materials, coding on a computer, visualising data, organising photographs and many more. The products they create are equally diverse: websites, apps, games, books, magazines, newspapers, spatial experiences, stationery, flyers, publicity campaigns, signage, typefaces, logos, flags, fashion items, packaging, money, and so much more. When images prove insufficient to tackle the addressed design problem, graphic designers will go beyond visual communication and involve sound, texture, and even smell and taste. As with many other domains, the power of graphic design grows when combined with of other disciplines, for example fine arts, architecture, film or theatre, but also

mathematics, biology or social sciences. Their vocabulary, imagery and signatures transcend the media in which they work. What, then, is the discipline of graphic design exactly? To keep it simple, we define graphic design as the process of developing and giving form to communication concepts by arranging, adapting and visualising the available information. The connotation with printed matter, as explicitly reflected in the name of the discipline, is a relic of the pre-digital era: the label no longer fully represents the content. For this reason, some now refer to the discipline as ‘visual communication’ or ‘visual design’. Graphic designers practise their profession in numerous ways. Some work alone, while others work for small studios and bureaus. Some of these initiatives have been established as cooperative efforts or collaborative ventures of independent designers, while others began as small businesses with staff and a leading designer. At the other end of the spectrum are large firms with many employees. These firms focus primarily on strategic communication and the development of identities and campaigns. Whereas individuals and small bureaus often specialise, large firms cover almost the entire field. In addition, many companies (e.g. marketing firms, media corporations and multinationals) have in-house graphic designers. The commissioning parties vary just as greatly, ranging from individuals to large-scale corporations, from cultural institutions to ministries, from shop owners to broadcasting houses. In summary, the discipline of graphic design includes everything that takes place with regard to graphic design and everyone who plays a part in it. Current state of the discipline What takes place within the discipline? Many of the current developments in graphic design are connected to three comprehensive themes: information, technology and the globalisation of society. It is impossible to escape from information in our contemporary information society. Over the last few decades, the amount of information and the speed with which it is disseminated has increased enormously. This has had major consequences for graphic designers. The abundance of information is often not recognised as a problem, and designers are increasingly becoming responsible for finding solutions to communication problems. Contrary to the promises of the

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contemporary template culture (in which everything is pre-designed by software) the need to structure information is growing rapidly together with the increasing amount of content that is created. In fact, contemporary designers do not simply apply the design tools anymore, but rather develop them. The world needs to realise that computers never create value on their own; only humans can do that. Any piece of software is a result of a thought process that happened at the time of its implementation, in the brain of its maker. If one conclusion can be drawn from this, it is that graphic designers cannot avoid reflecting on their role in the contemporary information society. One of the main questions they ask themselves is of a moral character: Do I wish to contribute to the dissemination of information, or are there limits to what I will send out into the world? Graphic design is founded on technique and technology. The message is inextricably linked to the medium, as reflected in the history of graphic design. For a long time, the profession was connected to the art of printing, which gradually reinvented itself over time. The digital revolution led the profession into the fast-paced world of bits and chips. It is difficult to imagine that only 25 years ago, designers did not use computers, and hardly any designer designed for the computer. Although paper will not disappear completely, almost all information will eventually reach us through digital systems. Graphic designers must therefore be knowledgeable about technological possibilities, and they should ideally be able to work with the technology. In addition, they must understand how technology transforms relationships and practices. Technology enables interaction, thus encouraging meaningful input from the public. These new developments provoke exciting reactions. Young designers seek hidden treasures from the analogue era and take on the challenges of the digital age. They research the concept of manual labour in contemporary society, as well as the ways in which automated processes influence design results. They give new life to vintage design traditions, while inventing new applications for existing technologies. Social ideals were once a driving force behind the emergence of graphic design. Designers desired better living conditions for all. Particularly in the period between the two World Wars, this social commitment was strong. At that

time, the Royal Academy of Art (KABK) in The Hague was a bastion of progressive modernists. Today’s designers resemble their colleagues from the past, in that they are fully engaged with the world, although the conditions are different. Whereas the socialists in the 1930s advocated the international, internationalisation is currently very much underway, and it is no longer the concern of pioneering designers. In today’s global society, everyone is in touch with everyone. This has far-reaching consequences for graphic designers. A design does not simply remain in the Netherlands; it travels into the world, especially through internet. Designers must know the codes of the new international visual culture that has emerged. At the same time, we want them to use their own codes. Being an investigative researcher means looking critically at the world and becoming an active participant in it. This can take many forms. For example, when designers distance themselves from the deceptive rhetoric of the commercial field. Or when they become advocates for a humane information society, in which people are not crushed by a torrent of superficial images. Ultimately, graphic design at the KABK could be called ‘involved design’ since it proposes new models of social intervention. In the daily work of the department, this social engagement is being practised through close cooperation with many distinguished entities, including not only cultural organisations such as Stroom (Centre for Visual Arts and Architecture), Open (Platform for Art, Culture & the Public Domain), De Affiche Galerij, but also governmental institutions like the Supreme Court of the Netherlands, the Ministry of Finance and the Court of Audit. 2.3.2 Study Profile Professional Objectives Graphic designers are increasingly working on the boundaries of the discipline. The department therefore strives to arrive at a broad definition of the discipline and to encourage students to explore those boundaries, crossing them when necessary. In general, the design process can be divided into four major phases: collecting, examining, visualising and publishing information. This methodology enables designers to appropriate the following attitudes and skills:

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++ developing concepts for the transfer and exchange of information, shaping them with the use of image, typography and other means ++ examining, organising, editing, visualising and managing information ++ working on commission and/or initiating projects ++ identifying socio-political problems and making statements about the profession and the world ++ triggering new developments in the discipline or advancing existing developments ++ in addition to meeting the needs of user and/or clients with their work developing and adding depth to their personal visions and work ++ and, above all, questioning the world and taking nothing for granted Description of the study programme The Graphic Design department educates students to become critical thinkers and versatile practitioners who develop outstanding concepts for visual communication. Ideal graduates are investigative designers who are fully aware of current affairs, choose their media wisely and master both traditional and new media. Graduates excel in their professional careers through their extraordinary conceptual and visual abilities, extensive knowledge of the profession and the world, strong technological curiosity and highly developed social engagement. The department offers an extensive curriculum. The programme is built around four main courses: Design, Interaction, Image and Typography. The excellent quality in the field of typeface design and typography distinguishes the programme from other graphic design studies. The type design education starts in the first year, in combination with typography. In the second year, students can choose to pursue this topic in the Letterstudio elective. The electives Playlab and Design Office are equally unique. Playlab is fully dedicated to avant-garde research, while Design Office focuses, with its external assignments for real clients, on the practical aspects of the discipline. Furthermore, these courses are backed up by additional theory and coding classes. Each year, the department uses the strong content of the programme and the composition of the teaching staff to achieve actuality, versatility, depth and interaction between theory and practice. Students work towards general or specialised graduation profiles. The social

dimension of the programme is reflected in the assignments, projects and teaching philosophy. A pioneering and questioning attitude prevails in relation to the discipline. On top of that, the department is well known internationally and the study environment is remarkably international, with foreign students, guest lecturers, field trips and collaborations with academies abroad. As described above, we regard the notions of image, interaction and programming as important points of interest in contemporary design, and they therefore occupy a prominent place in the programme. Final qualifications for Graphic Design The final qualifications have been summarised in seven competencies. The KABK has established these competencies according to the national final qualifications for Graphic Design programmes. The competencies can be found at the end of this chapter. Diploma Graduates are awarded the Bachelor of Design (BDes) degree, which qualifies them to enter postgraduate programmes in the Netherlands or abroad. Postgraduate studies After completing their Bachelor’s degrees, graduates may enrol in a Master programme in design (MA Design) or art (MA Fine Arts), or in other Master programmes at other art academies. In addition to our own Master programme in Type and Media, graduates have gone on to pursue Master’s degrees at many renowned institutions, including the Royal College in London, the Yale School of Art in New Haven, ECAL – Ecole cantonale d’art de Lausanne, the Typography Workshop at ArtEZ in Arnhem, the Sandberg Institute in Amsterdam and the University of Leiden. 2.3.3 Study programme overview The Graphic Design programme is offered in a full-time and a part-time variant. The structure of the two programmes is similar in content. Both programmes have a curriculum focusing on three domains of knowledge and ability: an artistic domain, a theoretical domain and a professional-social domain. In some cases, the domains are directly recognisable in the courses (e.g. theory and professional preparation). Other courses focus

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on more than one domain. For example, Design and Typography both have an artistic and a theoretical dimension, which are inextricably linked together. Artistic technical domain The four pillars of the programme (Design, Interaction, Image and Typography) are of a conceptual nature. Design centres on the examination, organisation, editing and visualisation of information and controlling processes of information transfer. As the name implies, the discipline of Interaction focuses on interactive processes designed for new media and other contexts. Image focuses on the creation, editing, deployment and organisation of images and the creation of concepts in which images play a role. The visual form of texts plays the central role in Typography, both independently and in relation to image. In Coding classes, students gain basic knowledge in programming and technical competences. They are introduced to the characteristics of algorithms, functions and loops and the possibilities for applying them in the design process. At the beginning of the second year, the notion of ‘courses’ is gradually abandoned, and supervision in the completion of assignments in various specialisations becomes more important. From this point on, there is a strong relationship with the professional social domain. In the second and third year, students choose between two electives at the beginning of each year. In the Letterstudio, letters are researched in relation to typography. Playlab includes an experimental research programme that searches for the boundaries of the discipline. The Design Office was created as a studio in which students work in teams on special assignments for actual clients, often in the cultural field. Theoretical domain The department’s theoretical programme establishes an exchange between the student’s work and the acquisition of knowledge and understanding of the current graphic design within its artistic, historical and social context. The first year focuses on contemporary graphic design as a significant part of visual culture and new media. The second year is devoted to theory in the history of design. Philosophy is the focal point of the third year, with attention to the relationship between graphic design and social issues. In the fourth year, the theory teacher provides guidance to students as they write their theses, which are linked to their graduation projects.

One important goal of the theory programme is to teach students to position themselves in relation to the work of others, to form opinions and to admit when personal feelings and taste are involved. The Reading Group forms another part of the domain. It is organised once a year with the goal of engaging students intellectually with challenging texts. The topics discussed cover everything from design and media theory to anthropology and ethics. In addition to the theoretical programme offered by the department, students take Academy-wide courses in art theory and academic skills, and they can participate in the Academy’s Studium Generale. Students may also take courses in other departments or at Leiden University, within the framework of the Individual Study Track (IST). Professional social domain What is the social significance of graphic design? What are your ambitions as a graphic designer in society? What do you need to do in order to achieve it? These questions are discussed throughout the programme, with the goal of preparing students for their future profession. During the propaedeutic year, this is accomplished in a playful and explorative way. In the subsequent years, assignments mimic realistic situations. There is contact with the professional field, the public and clients. Some projects take place outside the Academy, while others are derived from professional practice. In addition, all students are required to complete internships. In the fourth year, the focus is very explicitly placed on the students’ future professional practice, with a Career Orientation course, assistance in compiling a portfolio and the graduation projects. During these activities, the consequences of the students’ choices are examined. For example, students must ask themselves questions concerning the type of designers they would like to become, whether they would like to work for firms or independently, and what would suit them best. Possibilities for postgraduate education are also discussed. In the final year, students are expected to present themselves during evaluations as designers and justify their personal opinions.

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Full-time programme Propaedeutic year The first year is an adventurous exploration of the student’s qualities in various aspects of graphic design. These qualities are explored with challenging assignments that appeal to the student’s curiosity and creativity. Smaller assignments are alternated with larger assignments, taking the students to the far corners of their field. Considerable emphasis is placed on open-mindedness and the joy of working. Students try out different ways of working and acquire an initial indication of their visual abilities and the value of their ideas. In this way, students gradually move towards the development of their own visual language and visions. In the first year, it is important to create a large body of work that provides confidence and creates resilience that will be useful during the rest of the programme. Throughout the year, students complete assignments for which they must make use of the workshops. In the final assessment, students must answer the question of whether graphic design is suitable for them, and if they are suitable for the profession. They should be able to specify clearly the elements of the profession that are of primary interest to them. Points of departure ++ The introduction to the field is both practical and theoretical. ++ The creative and intellectual development of the student is central. ++ Scheduled courses are offered parallel to each other. They focus on particular aspects of the profession and the culture, both substantively and technically, and they broaden the frame of reference. In addition to scheduled courses, two project weeks take place in the propaedeutic year: a departmentwide week for all years, an Academywide course for all first-year groups and an excursion week.

Year 2 In the second year, students work on a series of challenging design assignments. The emphasis is on expanding their understanding of the profession and strengthening their qualities as designers. Ample space is reserved for research. The assignments address a variety of issues, including the concepts of public space and audience groups. There are realistic and fictional, optional and compulsory assignments. During the year, the courses taught are replaced by supervision by different teachers in joint assignments. Each teacher covers a specific area of expertise: Design, Image, Typography or Interaction. Students have the opportunity to discuss their work with different teachers. They also take the Letterstudio, Playlab or Design Office course, and they formulate their own Individual Study Trajectories. The theory programme is devoted to the history of graphic design within its cultural and social contexts, establishing a relationship with the work of the students. The students also focus on the presentation and exhibition of their work. Points of departure ++ Expanding the understanding of the discipline ++ Strengthening the students’ personal qualities as designer ++ Greater focus on research ++ Supervision by teachers with different specialisations in joint assignments ++ Choice between Letterstudio, Playlab and Design Office ++ Individual Study Track as a tool to add breathing space or depth to the study programme ++ Career preparation projects, in the context of classes, as well as the Individual Study Track ++ Organisation of exhibitions and presentations Study programme components Design Assignments with supervision in

Study programme components ++ Design ++ Image ++ Typography and Letters ++ Interaction ++ Drawing ++ Theory: Current Visual Culture ++ Academy-wide: Art Theory and Introduction to Science

++ Design ++ Image ++ Typography ++ Interaction ++ Design Theory ++ Elective: Letterstudio, Playlab or Design Office ++ Technique: Coding ++ Individual Study Track

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Year 3 The third year also focuses on complex design assignments. In this year, the emphasis is placed on the relationship between graphic designers and society. This is reflected in the theory programme, the assignments and the internship. One of the points of departure for the course is that students gain increasing control over their tracks as the programme progresses, and much is expected of them in the third year. Students are largely responsible for organising their own supervision, and they have considerable freedom in how they approach the assignments. For example, they can decide to increase their focus on designing for new media, to centralise the unification of text and image or to approach assignments typographically. The curriculum emphasises interdisciplinary collaboration and multidisciplinary knowledge. By making optimal use of Playlab, Design Office, the Letterstudio and the Individual Study Track, students can broaden their knowledge, specialise and acquire additional skills and techniques. The thirdyear theory programme teaches philosophy, and it is devoted to reflection on current social themes. Its aim is to help students develop a vision on their personal responsibility as a designer and to support their ideas of designing according to their social visions.

Study programme components Design Assignments with supervision in ++ Design ++ Image ++ Typography ++ Interaction ++ Theory: Philosophy ++ Elective: Letterstudio, Playlab or Design Office ++ Technique: Coding ++ Individual Study Track Year 4 This year is entirely focused on the final examination and the internship. The first semester is exploratory in nature, with students working on various design assignments involving both visual and contentbased elements, which could serve as precursors for the central theme of the graduation project. The final phase commences in the second semester. Students are motivated by deadlines, and they must work hard to be able to present enough work of a sufficient level to pass to the final phase. The theoretical part of the final year comprises the thesis, which provides the theoretical preparation for the graduation project. Students also prepare for the final examination and their future professional practice, and they are assisted in constructing their portfolios. Points of departure

Points of departure ++ After the first year’s emphasis on the discovery of student’s qualities, and the second year’s focus on deepening their understanding of the discipline, the third year concentrates on the relationship with society. ++ The courses continue to fuse together. In the second semester, the assignment teachers supervise a large assignment with a socially relevant theme. ++ The students choose Letterstudio, Playlab or Design Office. ++ The Individual Study Track serves as a tool for adding breathing space or depth to the study programme, and career preparation projects take place within the framework of the Individual Study Track.

++ The focus of the final year is on the position and positioning of students as graphic designers within their disciplines and society. ++ The entire year is devoted to the final examination; from the start of the year, students work on projects with which they can graduate. ++ The Individual Study Track serves as a tool for adding breathing space or depth to the study programme. ++ Students graduating with letter projects make use of supervision from the Letterstudio. Study programme components Graduation projects with supervision in ++ Design ++ Image ++ Typography ++ Interaction ++ Theory: Thesis ++ Career Preparation ++ Technique: Coding ++ Individual Study Track

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Part-time programme

2.3.5 Organisation of the department *

The structure of the part-time programme is very similar to that of the full-time programme, with the exception of the Individual Study Track and the compulsory internship. Electives like Letterstudio and Playlab, as well as the Coding classes have just been implemented into the curriculum. 2.3.4 Educational and professional objectives Throughout their study students are expected to master the competencies stated in the competencies table at the end of this chapter. Propaedeutic year The assessment in the second semester, the propaedeutic year assessment, may result in a ‘negative binding recommendation’ on continuation of studies. Referrals indicate that student may be advised to enrol in another study programme within or outside of the Academy. The propaedeutic year competencies are achieved according to the previously described study programme elements.

The heads of the Graphic Design department are Roosje Klap and Niels Schrader. They are responsible for the department’s policy, as well as for every aspect that directly relates to this policy. The team of lecturers reflects the content of the programme and its professional structure. Many of the teachers have their own professional practices, in which they work independently or in teams. Because of the diversity in experience and expertise, students are confronted with numerous aspects of and approaches to the discipline. Guest lectures are organised to provide specific knowledge of the professional field. Heads of department ++ Roosje Klap ++ Niels Schrader Coordinators ++ Pauline Schep ++ Ingrid Grunwald Team of lecturers Graphic Design ++ Bart de Baets ++ Susana Carvalho ++ Frits Deys ++ Gert Dumbar (éminence gris) ++ Matthias Kreutzer ++ Richard Niessen ++ Ruben Pater ++ Niels Schrader ++ Esther de Vries Image ++ Willem Goedegebuure ++ Michel Hoogervorst ++ Merel van ’t Hullenaar ++ Katrin Korfmann ++ Reinoud Oudshoorn ++ Simon Wald-Lasowski Interactive Media Design ++ Lauren Alexander ++ Kees van Drongelen ++ Dennis Flinterman ++ Jan Robert Leegte ++ Henrik van Leeuwen ++ Lizzie Malcolm ++ Olivier Otten ++ Dirk Vis Typography & Letters ++ Erik van Blokland ++ Thomas Buxó ++ Paul van der Laan

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++ Adriaan Mellegers ++ Rob van den Nieuwenhuizen ++ Diana Overzea ++ Donald Roos ++ Just van Rossum

++ Ben Schot ++ Susan Schüppli ++ Jorinde Seijdel ++ Pot van der Velden ++ Richard Vijgen

Drawing ++ Willem Moeselaar ++ Jordy van den Nieuwendijk Letterstudio (elective) ++ Frank Blokland ++ Donald Roos ++ Just van Rossum ++ Peter Verheul Design Office (elective) ++ Gijsbert Dijker ++ Chantal Hendriksen ++ Pawel Pokutycki PlayLab (elective) ++ Kévin Bray ++ Roosje Klap ++ Job Wouters Coding ++ Frederic Brodbeck ++ Pascal de Man ++ Eric Schrijver ++ Jochem van der Spek Theory ++ Marjan Brandsma ++ Maarten Cornel ++ Els Kuijpers ++ Ellen Schindler ++ Dirk Vis Coordinator final exam exhibition ++ Ewoud Traast Coordinator internships ++ Gijsbert Dijker Coordinator IST/electives ++ Frits Deys Guest lecturers ++ Hannes Bernand ++ Bits of Freedom ++ Remco van Bladel ++ Sandra Kassenaar ++ Max Kazemzadeh ++ Silvio Lorusso ++ Rosa Menkman ++ Moniker ++ Sjoerd van Oevelen ++ Polak van Bekkum ++ Dirk Poot (Pirate Party) ++ Gabrielle Provaas ++ Lex Reitsma ++ Sanne Rovers

Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

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competencies Propaedeutic Year

Main Phase, Year 2

Creative ability

You are able to develop designs, images or spatial works in which they explore new directions, based on the insights and experiences they have gained in the course of the programme.

You are able to work on design problems, drawing upon your own ideas and artistic ambitions and according to a personal method.

Capacity for critical reflection

You are able to reflect on your own work and evaluate its effectiveness and quality.

You are able to reflect on your own work and that of others, evaluating its effectiveness and quality.

Capacity for growth and innovation

You are able to acquire new knowledge, skills and insights on a theoretical and practical level.

You are able to apply newly acquired knowledge, skills and insights to the development of your own work.

Organisational ability

You are able to develop your own work processes, and they are capable of documenting and archiving your work.

You are able to adopt an inspiring manner of working and manage your work processes effectively in terms of time management and prioritisation.

Communicative ability

You are able to support your choices with regard to sources, materials and/or design solutions.

You are able to interpret assignments and provide debriefings in words and images.

Environmental orientation

You have broad interest in social and cultural developments, and they are able to recognise different visions on design.

You find inspiration in social and cultural developments, and they are able to identify them in your own work. They are also able to identify the target group for your work.

Capacity for collaboration

You are able to realise your goals in consultation with others.

You are able to engage in collaborative partnerships with others, and they are able to employ your talents in collaborative projects.

gr aphic design Main Phase, Year 3

Main Phase, Year 4

Creative ability

You are able to formulate design problems and apply research in order to develop design solutions.

You are able to develop innovative concepts arising from your artistic ambitions, using research to elaborate them into distinctive images, products, means of communication or spatial designs, and contextualising them in a meaningful way.

Capacity for critical reflection

You are able to relate your work to developments within the field and within a cultural and social context, and to take a position in this regard.

You are able to consider, analyse, explain and assess your own work and that of others, and are capable of abstracting the outcomes for the benefit of your own work.

Capacity for growth and innovation

You develop personal visions on design based on an open attitude.

Through a continuous process of research You are able to further develop your vision, work and working process, broadening and deepening these, thereby contributing to your chosen discipline and to society.

Organisational ability

You are able to find balance between subjects, facilitation and production-aimed activities.

You are able to create an inspiring and functional working environment and organise your research, work and practice effectively.

Communicative ability

You are able to present and explain your work and methods in a convincing manner.

You are able to present your vision, research and work, engaging in dialogue about it with clients and other interested parties.

Environmental orientation

You are able to make connections between your own work and that of others, and between your work and the public. You are able to adapt your work appropriately to your target group.

You are able to relate your own design practice to the artistic and social context.

Capacity for collaboration

You are able to effectively operate in different roles and with different responsibilities within the design process.

You are able to make an independent artistic contribution to collaborative products or processes.

credit points overvie w Graphic Design full-time

Year

Semester

Design

Image

Typography and Letters

Interaction Design

Design Cluster Assignments

Letterstudio, Playlab, DO. (choice)

Drawing

Final Exam Projects

Internship

Entrepreneurship

10 3

Theory: Contemporary Design

Theory: Design History

Theory: Philosophy

Theory: Thesis

Studium Generale

Research and Discourse

240

Individual Study Track

Total

Coding

Academy Broad Project Week

Credits are awarded as a whole at the collective assignments. Credits are an indication of the distribution of the study load. Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

gr aphic design Graphic Design part-time

Year Semester

Images 1

Images 2

2 2

3 4

4 6

Design 1

Design 2

5 3

Play Lab

Interactive Media Design

Typography

6 5

5 3

Typography / Letters

Letterstudio

Docking Station

Integrated Professional Orientation

Writing a Business Plan

Final Examination

Professional preparation (incl. entrepreneurial skills)

Theory: Design History

Theory: Current Image Culture

Philosophy

Final thesis

Collective Assessment Presentation

Total

240

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2.4 Interactive/ Media/Design

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Inter ac tive /Media /Design

2.4 I/M/D 2.4.1 History of the discipline In the brief history of interactive media, there have already been a number of radical shifts in the general perception of the discipline. During the rise of the internet in the early 1990s, there were two major streams of thought on how this medium could develop. First, there was a strong belief that the internet would play a vital role in the expansion of individual freedom and that it would make a major contribution to accelerating the media emancipation of attuned participants. Even as this freedom was being celebrated, however, most developments were highly clustered around individual, immobile usage. Technical developments had not advanced to the current level. Mobile communication was still operating primarily in the professional domain; broadband internet was accessible to only a few, and it was used only for professional purposes, and the costs of participation were still relatively high. Most of the applications outside of the professional domain were built for operation on slow, stationary personal computers with very limited access to the internet. We can now see that the rise of interactive media has contributed to the emergence of very different applications than could have been predicted at the beginning of this journey. Some of the developments that have emerged sharply contradict some of the concepts of the earlier years. Examples include the perception of internet technology and mobile telephony as two separate tracks, the belief that peer-to-peer communication would not lend itself to commodification, and the assumption that every socialsocietal development would follow the same, linear techno-economic path. We know better now. The most explosively expanding economy is currently that of mobile communication, in which most of the capacity is used for purposes other than making telephone calls, despite the fact that it is based on technology developed specifically for that purpose. The fastest growing companies (e.g. Facebook, YouTube) are essentially re-sellers of content generated by their own clients – who have now been transformed into prosumers (i.e. producers and consumers at the same time). This development has proved that it is no longer necessary to have a central core of production (or any production capacity at all) in order to generate streams of sellable content.

Observation of the techno-economic progression in most African countries reveals that ‘new participants’ are now entering at the most advanced level. In other words, there is no need to go through all of the intermediate stages (e.g. stationary computers, fixed telephone lines or even traditional television) in order to arrive at the most advanced level of participation. Most Africans have never seen their Facebook profiles on a ‘normal computer’, but only on their smartphones, and many of these participants use the same phone to pay for their daily purchases (e.g. through apps like M-Pesa), not only in shopping malls, but in the local market as well. This type of usage is highly advanced in comparison to what is common in regions with a longer history of usage. Such examples illustrate the necessity of re-assessing our notions of how and where new developments are (or will be) taking place. Thinking about Interactive/Media/Design thus demands considerable flexibility and a keen awareness of social developments taking place throughout the world. The awareness of our own relationship to society (at large) and the personal position of the designer amidst the constantly changing field conditions of interactivity call for constant monitoring and training. Their importance is equal to that of developing the skills that we need in order to express ourselves. 2.4.2 Current state of the discipline Given that the implementation of media convergence has probably not yet reached its full potential, and given that the concepts and perceptions of what interactive media are constantly undergoing rapid change, it makes little sense to speak of a history of interactive media as a separate part of its progress. Of all of the disciplines identified at the Royal Academy of Art (KABK) in The Hague, Interactive/Media/Design is probably the hardest to define according to what has been. One common misconception is that Interactive/Media/Design is synonymous with interaction design. Interaction design focuses primarily on the development of software and computer-human interfaces. Although it is an essential part of Interactive/Media/Design, it is explicitly not comprehensive. In light of the arguments mentioned above, we need an over-arching perspective that covers all specific media. Designing in the trail of ‘Moores Law’ under which effects processing speed, computing and mem-

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ory capacity roughly doubles every eighteen months, new potential is unlocked in a constant and predictable rate. Yet, whatever possibilities this generates is not a given. The designer stands in the middle and transduces notions from the virtual to the actual and vice versa, in which media themselves play an affording role, but not hold the key to expose the true meaning of this future development. The creation of new interaction can never be separated from the designer or from the conditions from which such interaction emerges. New forms of interaction can be self-referential, but they can never be detached. This meta-medial perception is probably the hardest ‘skill’ that students are expected to master during their studies in this department. Despite the constant demand for the production of physical products (which could obviously be digital as well, the oxymoron of modern media), there is a keen awareness that true progress in media development cannot be found by simply crafting a new i-Phone app or another MMORPG. Many years the developments in the field of interactive virtual reality have been focussed on ‘immersive’ experiences (like Oculus Rift) , currently the progression indicates tendencies towards ‘immerging’ experiences (like adaptive environments). For these reasons, the central question must remain, ‘What is interaction?’ If we were to have posed this question 20, 15 or even 10 years ago, we could have expected a range of answers that were as true as they were not. Today, few people are aware of the role and importance of such products as ATF-3, CD-i, Altavista or Second Life (or even what they were at all). Just a few years ago, however, these products were regarded as highly innovative and exemplary in the field of interactive media. The quest for a definition of interaction is essential to the involvement of all participants in this department: scholars, teachers and students alike. At the same time, all stakeholders are aware that there is no single answer. The focus must therefore be directed towards the capacities of the media with which we are confronted, rather than their properties. This is not because the properties of these media are unlikely to persist over time, but because interaction exists only in relationships, and not in the objects itself. These dynamic, energising and agile conditions shape the ‘habitat’ of a special breed of creator: the Interactive/ Media/Designer.

2.4.3 Department profile Description of the department Interactive/Media/Design (I/M/D) is the youngest department at the KABK. It trains students to become designers of interactive concepts and processes, establishing the link between people and processes, as well as between people and products. Ideas are our main product, and we therefore teach our students to think in terms that are not specific to particular media, subsequently translating them into concepts and meta-medial, multi-medial or cross-medial applications. Students work with real cases and commissions, focusing on the international market. To strengthen the students’ expertise and their chances of reaching an international audience, the department teaches all of its courses in English. Responding to the ever-increasing demand for media designers, the department of I/M/D provides the education that students need in order to become independent, social, conceptual, creative and pan-medial designers. Students learn to detect cultural, social, technological and economic tendencies in society, transferring these inclinations into promising new concepts. Throughout their studies, they learn how to work with a variety of media techniques that allow them to communicate with specialists at a professional level, in addition to identifying the optimal level at which these techniques can be applied. Of equal importance are the methods that we use to enable students to maintain an overview of the process, as well as the establishment and realisation of goals. The study programme is structured for the efficient engagement of numerous media typologies. At the start of the programme, students are immersed in a range of courses, including Interaction Design, Graphic Design, Photography, Sound Design and Visualisation. Following this extensive introduction, the focus shifts towards individual development. The I/M/D programme pushes the limits of media. Concept Development, MetaMedial Thinking and Personal Leadership and other courses confront students with the questions, ‘What can I do with this knowledge and what role do I play?’ With these questions in mind student go on to encounter courses in Multimedia Artistic Development, Creative Leadership, Critical Media and Storytelling, in addition to advanced levels of Interaction Design, Concept Development and Moving Images.

Inter ac tive /Media /Design

Collaboration is an essential part of the preparations for the professional circuit. In the I/M/D programme, students learn to assess their own expertise, as well as that of their colleagues – a key skill for successful collaboration. Many projects are executed collectively, often in teams consisting of students from different years. This working method introduces students to a studio setting during their studies. The I/M/D department maintains close contact with the professional field, in order to stay informed and to deepen existing insight. Students are involved in this process through dialogue with their teachers, collective attendance at conferences, co-organising symposiums, creating new knowledge and inspiring networks, in addition to organising challenging internships in the Netherlands and abroad. After graduation, students will be able to manoeuvre within intricate networks at different levels and search for knowledge with the broad perspectives that they need in order to become independent communication specialists. Our graduates will thus be able to compete for positions at large commercial or nonprofit communication agencies throughout the world. The I/M/D department is for students who aim to influence society through interactive media. Professional profile Graduates of the Interactive/Media/Design programme have a variety of potential careers to consider. The fact that I/M/D does not focus on or specialise in any specific medium often leads to the mistaken impression that it is not a specialisation in itself. The department was started in response to the increasing demand from the professional field for a type of designer who would be knowledgeable enough to communicate about media-specific issues with various media specialists, while maintaining enough distance to be able to translate the demands and preferences of clients into media expressions. At the same, these designers are expected to have a keen understanding of the rapidly changing field of media and their usage. This demands an attitude that embraces change and finds substance in instability. Conceivable positions for such designers include those of art director, concept developer, communication strategist and senior media developer. Despite the programme’s brief history (the first I/M/D graduates received their diplomas in 2010) , most alumni

have found professional positions within the category described, or those closely resembling it. They are now located all around the globe (e.g. Berlin, Hong Kong, Los Angeles) , working for commercial and non-profit organisations. Final qualifications for Interactive/Media/Design The final qualifications for the I/M/D study programme are expressed in terms of seven competencies within three domains. The KABK has established these competencies according to the national guidelines for design programmes. During the four years of study, our students are tested on the development of these competencies, each time at a more challenging level. The competencies are as follows: ++ creative ability ++ capacity for critical reflection ++ capacity for growth and innovation ++ organisational ability ++ communicative ability ++ external awareness ++ capacity for collaboration These competencies form the foundation for the assessment by the teachers at the end of each course, and they are used to evaluate the presentations at the end of each semester. In addition, evaluation sessions are held twice each year, in which students evaluate the programme and suggest improvements. Additional details with regard to the requirements are provided at the end this section of the study guide. Students are tested on their development within this range of professional competencies in three domains: ++ the artistic-technical domain ++ the theoretical domain ++ the professional-social domain The parameters for the development of innovative departments like Interactive/ Media/Design are reflected in the development of an enriched and relevant set of competencies. We adopt a projective approach to the educational goals, meaning that we attempt to remain as close as possible to our original set of parameters without focusing excessively on outcomes. This allows us to remain flexible, participatory, creative/reactive and able to adjust our course swiftly, if necessary.

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The parameters of I/M/D are as follows: ++ Creativity and innovation ++ New thinking ++ The I/M/D staff and students must work with real problems, real people and real conflicts ++ Never out of touch with what is happening in society ++ Courageous and risk-taking ++ Creative, ambitious, curious, risk-taking, socially engaged ++ Unique educational programme for young people seeking to make a positive difference in society ++ How can we best unlock the creative and innovative forces in each individual and in society as a whole? ++ The programme has always had and should always have a direct link with the private, public and voluntary sectors ++ Help organisations and individuals maximise their capacity for innovation and creativity, leveraging the I/M/D philosophy and methodology ++ Creating, testing, displaying, unfolding great ideas, products, services and learning Diploma Graduates are awarded the Bachelor of Design (BDes) degree, which qualifies them to enter post-graduate programmes at the Master level. Post-graduate studies After completing their Bachelor degrees, graduates may enrol in Master programmes. Several interesting programmes are offered in the Netherlands, including the Master programme in Artistic Research (KABK), the Master programme in Media Design and Communication (PZI), the Master programme in Interactive Media and Environments (FMI) and the Master programme in Media Studies (UvA). Admissions procedure Candidates apply online by completing the application form. They will then receive a document listing the documents they must to submit before the admissions interview. After these documents have been examined, candidates are invited to the admissions day, during which they will be asked to work on a task specifically designed to test particular qualifications. They will also be interviewed by a panel consisting of a coordinator, several teachers and, in some cases, students. Both the panel and the candidate may pose a wide range of questions during the inter-

view. The admissions day is intended to determine whether individual candidates are suited to the department and whether the department is suited to the candidate. It is in no way an examination. Specific admission requirements 1. Letter of motivation In the letter of motivation, candidates should describe the following: ++ their creative past (see also portfolio) ++ forms of interactivity, media and design in which they are interested ++ techniques mastered ++ software mastered (basic knowledge of Adobe Photoshop is an important advantage; some experience with Adobe Illustrator, Adobe InDesign, Flash and After Effects is helpful) ++ prior education ++ what they would like to achieve in their studies ++ general interest in culture, society, communication and technology as a whole ++ specific interests in genres, styles, other disciplines and technology ++ what they would like to contribute to the learning environment ++ questions they have regarding the study programme (reflecting an ability to transform opinions into questions is important, given that exploration, research, clear communication and understanding are basic elements in the programme) ++ curriculum vitae (resume) ++ the new niche they would like to create in the design practice of creative industries 2. Portfolio In the portfolio, candidates provide comprehensive descriptions of earlier works, performances, interactive, media or design projects, or other contributions to the field of communication, illustrated with photographs, drawings, reviews and other documentation. The portfolio may be also be illustrated with recordings on CD-ROM, video DVD, audio CD, any commonly used data carrier that works on a modern computer or web links. Candidates should mark a maximum of three minutes that they would definitely like to be viewed or heard by the selection committee. (As a general note, we recommend making a selection of no more than three relevant projects. The best project should always be the first project to be shown. We prefer to receive at least a selection of the

Inter ac tive /Media /Design

portfolio by e-mail, accompanied by the letter of motivation. Attachments should not exceed a maximum file size of 5 MB per email. If necessary, applicants may send multiple e-mails, numbered, and with a clear indication of the subject. The portfolio may be made available online.) 3. Official documents Candidates should send or bring to the interview copies of their passports, visas (if applicable) and diplomas, along with two passport photos and their e-mail addresses. Note that some of these documents (e.g. visa, diploma) may be submitted later if they are not available at the time of application, although they must be available for submission upon acceptance to the Academy.

school. Alternatively, it could consist of taking classes in other departments or at Leiden University, varying from the very practical to the very philosophical. The development of the competencies through the five phases can be divided as follows over the three major domains: Artistic technical domain: ++ Skill development ++ Advanced skill application Theoretical domain: ++ Research development ++ Self-development Professional social domain: ++ Exploration of the professional domain ++ Self-development

2.4.4 Study programme overview

Programme

Interactive/Media/Design is offered as a full-time programme that emphasises research and self-development. The courses are structured according to a logical pedagogical line of development, which does not recognise sharp boundaries. It is unlikely that students would ever be able to stop learning or disregard anything that might be useful in the development of their interests. The programme resembles a relatively fluid scale, allowing for acceleration of the learning curve at almost any stage. The structure of the programme can be divided into five major phases: ++ skill development ++ advanced skill application ++ research development ++ exploration of the professional domain ++ self-development These phases are distributed across the four-year programme. As indicated above, however, they are not always distinguished by sharp boundaries. For example, while working to master a given skill, a student could already be working with another skill at a much more advanced level, or a particular research interest could make it necessary to master yet another set of skills. This situation is translated into a clustering of courses, allowing room (beginning in the second year) for a fully personalised, Individual Study Track (IST), which allows for in-depth exploration in a specific field of interest. The IST is constructed by the students themselves, and it could include the development of an original project within or outside the

Propaedeutic year/Year 1 Skill development In the first year, students are introduced to a range of skills, and they construct a set of mental models that will allow them to gain control over the newly discovered domains of this department. The goal is to provide students with enough knowledge to be able to produce media expressions independently, using the skill sets that they have mastered, thereby laying the foundation for the advanced development of those skills. Many students have preferences for working with particular media, and these selections are usually made during the first year. Students who have successfully completed the first year receive a certificate that entitles them to enter the second year of the same programme, in addition to the option of entering the second year of other programmes with similar requirements. The courses in the first year are as follows: ++ Concept Development ++ Interaction Design I ++ Moving Images I ++ Graphic Design ++ Art Theory ++ Visualisation ++ Sound Design ++ Connecting the Dots ++ Introduction to Science ++ Academy-wide Propaedeuse Project Week (ABPP)

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These courses can be roughly divided over the three major domains as follows: Artistic technical domain: ++ Interaction Design I ++ Moving Images I ++ Graphic Design ++ Visualisation ++ Sound Design Theoretical domain: ++ Concept Development ++ Art Theory ++ Introduction to Science Professional social domain: ++ Concept Development ++ Academy-wide Propaedeuse Project Week (ABPP) ++ Connecting the Dots The following detailed description of Interaction Design I provides an example of the courses offered: How can we create intelligent, responsive media environments and shape the two-way communication between humans and machines? Which factors are essential in the design of interactive applications that appeal to our senses, trigger our emotions and influence our behaviour and way of thinking? Interaction Design focuses on mastering elementary conceptual, visual and technical skills that are required in many interactive media productions. Students work on projects based on individual concepts and create their own visuals and animations, although they focus primarily on developing one of the most challenging and fundamental elements underlying the structure of interactive systems: the code. Exercises in scripting graphics, programming feedback and coding interfaces are evaluated in terms of beauty, functionality, usability and other issues related to the user experience. Main phase/Year 2 Advances skill application and research development

second year is relatively special, in that it places much greater emphasis on the why than it does on the how and the what. The work accomplished in this year lays a personal foundation for the rest of the programme, and it is generally not regarded as easy. The identification of personal strengths and weaknesses and relating them to a set of important decisions is no light task. Students are not left to their own devices, however, as guidance is integrated into the courses, and special assistance is provided for preparing the IST. Given that writing is an essential part of modern communication, a special course is designed to improve the students’ capacities to express themselves in the written word, obviously using the English language: Writing Life is designed to help students achieve fluency in the art of written communication. English language skills are essential to reaching an international audience. Much of today’s information is exchanged through the written word, whether on the internet or through more traditional means. Although an artist’s work is based on images, artists must use written communication in order to provide their audiences with deeper insight into their expertise. Through various writing exercises, critique and assignments involving commercial, academic and creative writing, students acquire knowledge and skills that will give them confidence in world of written interaction. The courses in the second year are as follows: ++ Interactive Architecture/3D ++ Interaction Design II ++ Moving Images II ++ Photography ++ Writing ++ Individual Study Track ++ Connecting the Dots These courses can be roughly divided over the three major domains as follows:

During the second year, the emphasis of the programme shifts more towards the application of the skill sets that have been acquired and the development of a more distinct personal interest in a specific direction. In this year, students may also start the Individual Study Track (IST), which allows them to devote one entire day each week to a particular topic or course. Although all of the years in the programme are obviously important, the

Artistic technical domain: ++ Interaction Design II ++ Moving Images II ++ Photography Theoretical domain: ++ Connecting the Dots ++ Writing Professional social domain: ++ Interactive Architecture/3D ++ Individual Study Track

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Main phase/Year 3 Research, self-expression and exploration of the professional domain The third year consists of two very different parts. The first semester is devoted to critical reflection on all of the knowledge and skills that have been acquired, while the second semester is reserved for the execution of the internship. The courses in the first semester are aimed at connecting the students’ personal, creative development to the possibilities and demands of the outside world, not only as a preparation for the internship, but also as a way of reflecting on trends and considering overly celebrated gadgetry as being almost circumstantial, rather than essential. Internships vary considerably in execution. Past internships have ranged from commercial jobs in highly competitive international environments to fully research-driven ecological awareness programmes for large International non-profit organisations, and everything in between. Nevertheless, one common feature of all internships is that they have been perceived as very satisfying collaborations, in some cases leading directly to job offers. The following course description clearly reflects the critical standpoint: Critical Media: Engaging critically with contemporary society The Critical Media course has the ambitious goal of examining contemporary society from a critical perspective. Such critique can be honest and prolific only if it is based on introspection. The students of Interactive/Media/Design are first assigned to revise their working methodologies, sources of information and inspiration in a critical manner. Grounded in the importance of information and knowledge for contemporary society, questions of control and power are fundamental to understanding and actively engaging in society. Drawing on insights from such contemporary philosophers and thinkers as Noam Chomsky and Jean Baudrillard, this course addresses important questions, including ‘Who controls the information flow?’ and ‘How is knowledge produced and distributed?’. Once critical thinking has been cultivated, the next step is to direct it towards creative experiments involving the questions that have been asked. Tactical media and ‘hacktivism’ are two possible approaches that include such art organisations as The

Yes Men, Jodi, HeHe, Ubermorgen, or such art projects as ‘Google will eat itself’, ‘Image Fulgurator’ and ‘anti-social networking’. Finally, and most importantly, critical projects are developed during the course in order to experiment and test some of the concepts discussed. The course concludes with a public event in which the outcomes are discussed with a larger audience. The courses in the third year are as follows: ++ Writing Life ++ Multimedia Artistic Development ++ Cultural Hacking ++ ALEPH ++ Internship ++ Workshop 3D These courses can be roughly divided over the three major domains as follows: Artistic technical domain: ++ Individual Study Track Theoretical domain: ++ Writing Life ++ Multimedia Artistic Development ++ Cultural Hacking ++ ALEPH Professional social domain: ++ Internship ++ Workshop 3D Main Phase/Year 4 Self-expression The final year of the programme provides many moments of excitement and joy, although it obviously demands a long period of hard work as well, and many difficult decisions must be made. In addition to being the capstone of the programme, the final examination marks the start of the student’s career as an Interactive/Media/Designer. The Academy takes considerable pride in organising the exposition of the final projects, because it is aware this could serve as a catalyst for individual designers to distinguish themselves within the professional field. During the final year, several important issues must be addressed, and several tasks must be completed. Students are expected to produce a thesis based on research within a field of interest that is closely related to their final examinations. They are also required to draft a business plan, thereby ensuring a proper introduction to the legislative and financial sides of their practice as independent design-

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ers. In addition, each student is expected to produce a spectacular and innovative venture that will serve as the graduation project. To ensure that students direct all of their attention towards this project, they are guided by several experts. During individual and/or collective meetings students gradually progress towards the final stage: the exhibition of final examinations. The courses in the fourth year are as follows: ++ Senior Seminar ++ Examination and Concept Guidance ++ Thesis ++ Business plan ++ Individual Study Track ++ Final Examination Artistic technical domain: ++ Concept Development 3 ++ Interactive Architecture Theoretical domain: ++ Thesis Professional social domain: ++ Business plan 2.4.5 Educational and professional goals Interactive/Media/Design does not focus on any particular medium. In this study programme, the development of conceptual and theoretical skills is just as important as the development of practical skills. The programme realises these core values by adhering to three specific parameters: Integrated theory: In addition to the clearly theoretical driven courses (e.g. Art Theory), most courses have an integrated theoretical component. This means that skills are not presented without their context and history; personal development is connected to larger systems in society, and methods are always subjected to critical testing. This ensures that all students acquire a structural layer of theory, which they cannot always identify, but which will become visible once they start to put their accomplishments in practice. Intrinsic professional bonding: Intrinsic bonding with the professional practise is reached through the expertise and connectedness of our teaching staff. Almost all staff members have their own professional practices, and they draw as many connections as possible between

the educational goals and actual practice. This provides students with a high percentage of actual case studies with which they can work, in addition to several integrated projects undertaken in collaboration with the professional field. Self-development: Although the Interactive Media Design department explicitly operates within the realm of design, we are very much aware of the opportunities offered by the fact that we are part of an art academy, as opposed to being embedded in a more technical or skills-driven environment. We take the legacy of the fine arts tradition very seriously, and we strive to embrace total conceptual freedom, even though the products produced are likely to be designed with concrete and pragmatic roots. In order to help individual students reach their full potential, we invest considerable time in developing their artistic and conceptual qualities. Within the three major domains in which students master their sets of competencies, I/M/D has attached several specific qualifications, in order to manifest its key values. Artistic technical domain: As argued above, our department attaches considerable value to the development of the artistic domain as a ‘freestanding’ quality. We engage in open and constructive dialogue with our students from the very start of the programme. In our particular field, we can never be sure of the effects of new developments. We therefore believe that it is instrumental and essential to maintain an open vision, in which the practical research conducted by all participants (scholars, lecturers and students) delivers crucial information that enhances our understanding of future developments, in the practical realm, as well as in the artistic domain. Theoretical domain: The integration of theoretical components through the application and connection of these notions to very concrete course goals lays the groundwork for a fundamental understanding of the need to contextualise the work, and it leads students to investigate their own positions in within the professional field. Theoretical concepts cannot be considered separately from their application, and theory and practice are inextricably bound to each other. By deliberately steering away from the classical models of theoretical input, we strive to prevent the ‘airlock’ that often

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occurs when the connection between theory and practice is not made clear or when theory is superimposed onto the reality of practice, rather than being made an integral part of it. Professional social domain: Modern designers cannot afford to adopt a go-it-alone attitude. The professional domain brings a wide variety of collaborations and hybrid forms of authorship. By the integral inclusion of haptic, virtual and actual communication and by constantly working with real-world commissions and projects, we endeavour to connect our students to the emerging network of co-designers and professionals, which is of essential importance to the design industry. From the day they enter the Academy, students start building the valuable networks that will ultimately become essential in their professional careers. We help them understand the importance of these networks, and we support any kind of expansion by connecting and interlinking networks of all stakeholders, both within and outside the Academy.

4.4.6 Organisation of the department* The head and coordinator are responsible for the department’s policy, as well as for all aspects that are directly related to this policy. The staff members reflect the content of the departmental policy and a broad professional structure. Many staff members are employed in the professional field, where they work either individually or collectively. By confronting students with a wide variety of individual viewpoints and values, we help them to develop a positive yet critical stance towards the profession. Specific knowledge is offered through masterclasses, workshops and conference attendance. Head of department ++ Marc Boumeester (until 1 Sept. 2015) Editorial note: during the editorial process the new head of the I/M/D department was not yet appointed. Coordinator ++ Dave Willé d.wille@kabk.nl Lecturers ++ Mendel Agterberg ++ Anna Arov ++ Coen Brasser ++ Renske van Dam ++ Wim van Eck ++ Arthur Elsenaar ++ Nick van ‘t End ++ Maartje Fliervoet ++ Johan Gustavsson ++ Anja Hertenberger ++ Remus Ockels ++ Gitta Pardoel ++ Pawel Pokutycki ++ Shayna Schapp ++ Lena Shafir ++ Raymond Taudin Chabot ++ Jan Treffers

Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

competencies Propaedeutic Year

Main Phase, Year 2

Creative ability

You are able to develop designs, images or spatial works in which they explore new directions, based on the insights and experiences they have gained in the course of the programme.

You are able to work on design problems, drawing upon your own ideas and artistic ambitions and according to a personal method.

Capacity for critical reflection

You are able to reflect on your own work and evaluate its effectiveness and quality.

You are able to reflect on your own work and that of others, evaluating its effectiveness and quality.

Capacity for growth and innovation

You are able to acquire new knowledge, skills and insights on a theoretical and practical level.

You are able to apply newly acquired knowledge, skills and insights to the development of your own work.

Organisational ability

You are able to develop your own work processes, and they are capable of documenting and archiving your work.

You are able to adopt an inspiring manner of working and manage your work processes effectively in terms of time management and prioritisation.

Communicative ability

You are able to support your choices with regard to sources, materials and/or design solutions.

You are able to interpret assignments and provide debriefings in words and images.

Environmental orientation

You have broad interest in social and cultural developments, and they are able to recognise different visions on design.

You find inspiration in social and cultural developments, and they are able to identify them in your own work. They are also able to identify the target group for your work.

Capacity for collaboration

You are able to realise your goals in consultation with others.

You are able to engage in collaborative partnerships with others, and they are able to employ your talents in collaborative projects.

inter ac tive /media /design Main Phase, Year 3

Main Phase, Year 4

Creative ability

You are able to formulate design problems and apply research in order to develop design solutions.

Capacity for critical reflection

You are able to relate your work to developments within the field and within a cultural and social context, and to take a position in this regard.

You are able to consider, analyse, explain and assess your own work and that of others, and are capable of abstracting the outcomes for the benefit of your own work.

Capacity for growth and innovation

You develop personal visions on design based on an open attitude.

Organisational ability

You are able to find balance between subjects, facilitation and production-aimed activities.

You are able to create an inspiring and functional working environment and organise your research, work and practice effectively.

Communicative ability

You are able to present and explain your work and methods in a convincing manner.

You are able to present your vision, research and work, engaging in dialogue about it with clients and other interested parties.

Environmental orientation

You are able to make connections between your own work and that of others, and between your work and the public. You are able to adapt your work appropriately to your target group.

You are able to relate your own design practice to the artistic and social context.

Capacity for collaboration

You are able to effectively operate in different roles and with different responsibilities within the design process.

You are able to make an independent artistic contribution to collaborative products or processes.

credit points overvie w I/M/D full time (part 1)

Year

Semester

Sound Design

Visualizing

Graphic Design

Concept and Presentation

Interaction Design

3 4

4 6

Moving Image

Connecting the Dots

Photography

Interactive Architecture

Art Fundamentals

Writing Life

IM3D

MAD

Cultural Hacking

Internship

Senior Seminar

Philosophy of Design

Thesis writing

Final project

Individual Study Trajectory (IST)

Collective Assessment

Subtotal EC I/M/D

inter ac tive /media /design I/M/D full-time (part 2)

Year

Semester

Research and Discourse

Project Week (ABPPW)

3 4

4 6

Studium Generale

Entrepreneurship

Subtotal EC Academy-wide Program

Total

240

Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

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2.5 Interior Architecture and Furniture Design

Interior Architec ture and F urniture Design

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Interior Architec ture and F urniture Design

2.5 Interior Architecture and Furniture Design “No matter. Try again. Fail again. Fail better.” –Worstward Ho, Samuel Beckett 1983 The department of Interior Architecture and Furniture Design (IAFD) at the KABK focuses on the entire breadth of the spatial domain by concentrating on the spatial conditions that determine the ways in which we experience our day-to-day living environment. The core goal of the education offered within the programme is the personal development of each individual student into a creative, inquisitive, autonomous and well-rounded designer. The department devotes considerable attention to exploring the students’ possibilities and potential. Its curriculum strikes a considered balance between attention for the conceptual and for the empirical aspect: developing abstract thought versus embedded within a pragmatic, professional process. The curriculum is based on experimentation and research, the aim being for students to develop an inquisitive, autonomous design attitude that generates unexpected, surprising results and visions, making the impossible possible. The underlying didactic principle is ‘learning by doing’. The development of skills, knowledge and competencies is coupled with relevant assignments, preferably ones with a direct connection to design practice. The study programme places a heavy emphasis on the personal positioning of students, and the department assigns considerable importance to the manner in which they approach their identity from a professional perspective. It therefore encourages students to develop an independent mentality, a reflective design attitude and a capacity for empathy. Designers leaving the department with a Bachelor of Design are well-rounded designers, each with a unique, personal approach. They are good observers with a strong conceptual and empirical foundation and designers who can approach any conceivable spatial project with an open mind. After the first year, the study programme and the curriculum offer a choice between a specialised major in Interior Architecture (full-time/part-time) and a specialised major in Furniture

Design (only full-time). The programme comprises four years. The new Bachelor of Design corresponds to the educational vision of the KABK and the national final qualifications for design graduates. After completing the Bachelor degree, graduates are eligible to enrol in the Master Interior Architecture at the KABK. You can find the specific options and rights that graduates have with regard to registration with the Architects Registration Board, in accordance with the Academic Titles (Architects) Act (WAT), on the websites of the KABK and Dutch Register of Architects: www.architectenregister.nl The WAT was revised in January 2011. On 1 January 2015 the compulsory regulations for the Professional Traineeship will take effect. A comprehensively revised curriculum was implemented for the Bachelor programme, starting from the 2011-2012 academic year. These revisions were accompanied by the introduction of the INSIDE Master programme. The revisions for the fourth study year were successfully implemented in 2014-2015. The first students in the new Bachelor curriculum graduated in 2015. 2.5.1 General description of the discipline Interior Architecture and Furniture Design The department of Interior Architecture and Furniture Design is populated by product designers and spatial designers in the making. who regard space, in the broadest sense of the term, as their field of work. Their working area covers a domain that goes beyond designing interiors or the a piece of furniture. Our assignments therefore deal with design also focus on other objects and products, as well as private on and public and indoor and outdoor spaces. Today’s designers are increasingly transcending the classic boundaries of their discipline to explore other domains. Their thinking is cross-disciplinary and they forge interconnections, always trying to see the larger picture. By cultivating an attitude of curiosity, they constantly challenge and question their own position and that of the profession. These designers are increasingly creating their own contexts and the working conditions for an ever explorative working process. In addition to relating to their clients, they develop their own questions

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and define their own projects, communicating their own vision in the process. The issues and questions facing current-day society are relevant factors in this vision. In their work, contemporary spatial and product designers anticipate potential future changes in order to improve the quality of the living environment. Spatial and product designers are well-rounded designers, each with a completely unique personal approach. They are empathetic designers and keen observers with strong conceptual and empirical foundations. They are designers who can approach any conceivable spatial project with an open mind. Furniture design Within this broad approach, product designers focus on the object and its relationship between people and space. The object - furniture or product - is closely related to the human body, and this relationship defines many aspects of the way in which it is used or perceived. Pieces of furniture are also objects in space – within the architectural space, in particular. They may constitute either a separate object or an integral component of the space. In this way, they help to define the use value of the space and the way it is experienced by its users. One aspect of furniture or objects that can be important is the connection to emotional, social or cultural values. In this way a product can transmit or visualise a message or story. The development of new techniques, production processes and materials plays an important role in the expression of the product, its malleability and the new possibilities for use created in the process. Sustainability and a conscientious approach to materials and their use are also of major importance in this regard. Interior architecture In recent decades, the interior has become increasingly regarded as a space that generates specific meanings and emotions through shapes, colours, scents, materials and objects, such that they can consciously lead to planned experiences. This space can be interpreted broadly; it comprises both private space and public space, as well as urban and outdoor space. The focus of these spaces extends beyond spending time to include movement and mobility. Identity, communication, experience and similar concepts play a role in the design of these spaces. Spatial designers work from within a broad whole to address the smallest details. Their work involves

the development of spatial concepts that form the basis for the envisaged perception and experience, up to and including the materialisation and production techniques that will ultimately support the realisation of these concepts. The relationship to current and future issues relating to the use of space or spaces, and the sustainability of the use of both materials and spaces are of major importance in this regard. There are points where interior architecture overlaps with other design disciplines, such as design, textile and product design. However, knowledge and skills from disciplines beyond the general domain of design are also applied within interior architecture: these fields include ergonomics, technology, marketing, anthropology and psychology. Interior architecture is interrelated to all of these areas. 2.5.2 Study Profile Learning by Doing: EmpiricalCreative Education and Training Empirical The underlying educational emphasis is on experimentation and research. The core educational goal is to discover possibilities and personal potential. Central to the KABK Bachelor programme in Interior Architecture and Furniture Design is striking the right balance between empirical and conceptual education.: abstract thought versus the pragmatic process in which it is embedded. The programme encourages students to develop an inquisitive, autonomous design attitude that generates unexpected, surprising results and visions, making the seemingly impossible possible. Making Learning by doing. The programme’s strong focus on personal, individual positioning and the identity of its designers is of central importance from a professional perspective. Considerable importance is attached to both the working process and the student’s individual approach. Designers with the degree of Bachelor of Design will be able to effortlessly handle any project using their own unique approach, keeping in touch with the rapidly transforming living environment of the 21st century. Education Characteristic for the curriculum is the tension between the development of the student’s design personality (learning to

Interior Architec ture and F urniture Design

design on an individual basis), preparing students to meet professional requirements, as specified by the discipline and the profession, and their contribution to social design projects within contemporary reality and the cultural context. The new Bachelor curriculum centres on the motto ‘Learning by Doing: Empirical-Creative Education and Training’, understood as an integrative activity. Courses are offered in an integrated, supportive and supplementary way, in line with developments in the core subject matter of the curriculum. Dialogue and interaction are keywords in the educational approach. Students work in small teams. The workshop context encourages students to exchange, as well as supplement and confront each other. Social interaction and collaboration are of central importance. Development of students’ empathetic capacity is an important point of attention: this refers to empathy in relation to users, target groups, society and contemporary issues. Students are also required to reflect on their attitudes, personal responsibilities and independent functioning within the departmental team. Students progress not just by completing assignments in a satisfactory manner and meeting the expectations of their tutors; they must also create a flow in which they are able to develop themselves. Each exercise demands a specific approach and must be related to specific issues. This makes the curriculum versatile and adaptable to the unpredictable dynamics of contemporary reality. Full-time and part-time Interior Architecture is offered in the form of a full-time and a part-time programme. The specialisation Furniture Design is offered exclusively as a full-time programme. During the first year of the fulltime study programme in Interior Architecture and Furniture Design, students complete a number of joint courses. From the second year, students choose to specialise in either Interior Architecture or Furniture Design, with the design projects offered separately. Interior versus Furniture In the second year, students choose either the specialisation in Interior Architecture or the track in Furniture Design. The courses within the domain of design are subject-specific and tailored to the selected discipline. The remaining curriculum is aimed at students of both Interior Architecture and Furniture Design.

Final qualifications for Interior Architecture and Furniture Design Graduates of Interior Architecture or Furniture Design are well-rounded designers, each with a unique, personal approach and attitude towards design. They are empathetic designers and good observers, with strong conceptual and empirical foundations. They are designers who can approach any conceivable spatial project with an open mind. In order to participate in the final examination, students must meet the following final qualifications: ++ Students are able to develop and elaborate an innovative concept into a distinctive image, product, means of communication or spatial design that can be used in a meaningful way within a given context (creative capacity) ++ Students are able to consider, analyse, explain and assess their own work and that of others, and are capable of thinking through the outcomes for the benefit of their work (capacity for critical reflection) ++ Students are able to further broaden and deepen their vision, work and working methods in a process of continuous inquiry, thereby contributing to their discipline and to society (capacity for growth and communication) ++ Students are able to establish an inspiring and functional working situation, in addition to organising their research, work and practice (entrepreneurial and organisational capacity) ++ Students are able to present their vision, research and work in a convincing manner, and engage in dialogue about it with clients and other stakeholders (communicative capacity) ++ Students are able to relate their identity as a designer to the artistic and social context (environmental orientation) ++ Students are capable of making an independent contribution to a joint product or process (capacity for collaboration) You can find a complete overview of the competencies for each programme year and of the final qualifications of the IAFD design programmes at the end of this chapter. Diploma Graduates are awarded the Bachelor of Design (BDes) degree in Interior Architecture or Furniture Design.

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Postgraduate studies A Bachelor of Design degree qualifies for possible subsequent studies leading to the Master of Art degree, or to any other second-phase programme of studies at an academy of art or related discipline (e.g. Academy of Architecture). Within the KABK, students wishing to enhance their qualifications in discipline of Interior Architecture have the option of pursuing the Master study in Interior Architecture INSIDE. For information on the procedure for selection and admissions, please visit www.enterinside.nl. Admissions procedure The KABK website offers additional information on the study programme and applications. Prospective students can use the application form (http://www. kabk.nl/admission) to register for the admissions test, which takes place on the admissions day. Candidates who are invited to participate in the admissions day will be asked to bring a letter of motivation, the completed questionnaire and their portfolio with them. The portfolio should preferably contain work that was not prepared in the context of assignments for school. During the admissions day, candidates give presentations on the work that they have brought with them and work on two assignments. One is a conceptual design assignment intended to demonstrate insight, inventiveness and feeling for form. The other is a drawing assignment that demonstrates the extent to which candidates are capable of observing and documenting visual information. Each candidate will have an interview with the admissions committee (consisting of the head or coordinator, lecturers and students from the area of specialisation) about their portfolio, addressing as many topics as possible. The aim is to ascertain whether the candidate possesses sufficient talent and competencies to start the programme. Specific admissions requirements During the admissions day, admissions tests are held and candidates are assessed on a range of aspects, according to various methods. The assignments provide information on individual candidates with regard to the following aspects:

++ research skills ++ perseverance ++ capacity for observation ++ drawing skills ++ capacity for visualisation ++ insight ++ a personal approach The interview about the candidate’s work should give insight into the candidate’s: ++ social world ++ personal interests ++ dexterity and/or sensitivity to materials ++ organisation skills, initiative, personal ability ++ reasoning capacity ++ general knowledge ++ knowledge of art, history, culture, architecture and related areas ++ motivation and ambitions ++ personal objectives The emphasis here is on the candidate’s own work (sketch books, objects, notes, collections) that was not prepared for any previous assignment or in the context of schooling. 2.5.3 Study programme overview Full-time programme Main structure of the curriculum The four-year programme of the new Bachelor of Design (Interior Architecture/ Furniture Design) consists of three phases: the propaedeutic phase, the main phase and the graduation phase. Each phase has a specific mission. The line followed by these missions is that of crosspollination (Year 1), depth and connection (Years 2 and 3) and positioning (Year 4). This chronological structure is elaborated into four learning tracks, which constitute the domains that are addressed in each of the study years. These four domains are 1. Design, 2. Morphology and Research Labs, 3. Media and Materials and 4. Knowledge and Context. The curriculum is based on principles of experimentation and research. In each study year, research (by design) focuses on a specific area or current topic, based on a solid historical and cultural foundation and the potential efforts for interpreting and integrating this basis in design.

++ the ability to provide creative and/or inventive solutions ++ spatial insight ++ sensitivity to materials 94

Interior Architec ture and F urniture Design

Domains Design domain The Design domain is the main component and represents the basis of the study programme. It has a thematic structure. Particularly in the first year, the conceptual framework has a simple structure, so that students can learn to question everyday concepts. Interior Architecture focuses on four areas of design: Private interiors, Public interiors, Urban interiors and 3D objects. Starting from the second year of the Furniture Design programme, the following design areas are addressed: Private objects, Public objects, Urban objects and 3D objects. On class days, students work on projects in the academy’s workshop spaces, supervised by tutors but also independently. Morphology domain The autonomous exercises, investigative studies and free studies (of form) within this domain are conducted in a laboratory-like atmosphere. What distinguishes this domain from the design projects is that this programme component is dedicated exclusively to ‘making’. In this domain the process phases applied in the design exercises, from analysis to design, are explicitly thrown overboard: the focus here is on the process, instead of on the end result. Based on a particular approach or method, students create, visualise and experiment. The aim of Morphology is to learn how to investigate, get to know and master the phenomenon of space and form using a variety of resources, media and applications. The manner of expression is partly determined by the medium or approach. The integration of visualisation is another important component. Within the domain of Morphology, extensive attention can be paid to such topics as light, texture, relief, form, acoustics and sound, colour and scent. Media and Materials domain The domain of Media and Materials revolves around basic skills and tools. The focus is not necessarily on the literal mastery of these skills, but on discovering and learning how the skills can be applied and used within the design projects. This domain should thus be seen as both a source of inspiration and a trigger. In this regard, media, techniques and materials constitute a domain of expertise and research. The skills addressed in this domain include 2D and 3D hand drawing, model building, photography, graphic design, textiles and ceramics, 2D and 3D

computer drawing, rapid prototyping, augmented reality and image processing. The teaching and mastery of techniques and skills are never ends in themselves and do not represent the primary learning objective. This domain also involves working and thinking in a cross-disciplinary way, transcending the boundaries of each design discipline. This study component gives students a comprehensive introduction to all the departments and the wealth of facilities/workshops within the institute. Knowledge and Context domain This domain comprises theoretical instruction in the form of tutorials and working assignments relating to art criticism, architectural theory and design theory. Special lectures and excursions are also organised. The department of Interior Architecture and Furniture Design has its own lecture programme consisting of 18 lectures per year. The lecture programme provides an additional theoretical impulse to the programme, and is tailored to reflect the themes and topics of that year’s ongoing curriculum as much as possible. A direct link between the year theme and the programme of lectures and films (as well as the Academy-wide Studium Generale) reinforces and supports both the theoretical framework in general and, more specifically, the curriculum of each semester. Plenty of young, up-and-coming artists and designers are invited to speak and students organise a film or a debate at the end of each lecture. Excursions and trips are a fundamental aspect of the study programme. The propaedeutic phase (Year 1) begins with an introduction week, which includes an excursion. Foreign or domestic excursions are organised once a year as part of the annual excursion week. The final examination starts with a workshop organised either in the Netherlands or abroad. The main programme is supplemented by several smaller subject-based theoretical and professionally-oriented excursions, trips and visits to museums or exhibitions. The curriculum is based on principles of experimentation and research. In each study year, research focuses on a specific area. A solid historical and cultural basis and the ability to interpret and integrate it in the design process can generate fruitful results. Individual Study Track The Individual Study Track (IST), which is required for all students beginning in the

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second study year, is aimed at expanding the depth and breadth of the programme. The condition is that the content of the track reflects the programme’s current design exercise and that this demonstrable connection to the IST can be assessed in the final assessment of the design exercise. How the study load and the associated credits are allocated for this purpose is decided in consultation with the supervisor. Several options are available in this regard, including taking a minor course at Leiden University or one of the introductory courses that are offered within the Academy. In addition to elective courses, students can also use the IST to add depth to their studies by focusing on the fundamental courses in greater detail or by choosing from the Academywide range of interdisciplinary Research Labs that are organised by the various departments. The IST is accompanied by a study plan, which must be approved by the supervisor. Both the coach and the study advisor assist students in drawing up this plan. The coach provides guidance throughout each study year, and the study advisor maintains an overview of all the study years. The coaches encourage students to work across disciplines as much as possible, and to make use of all the available expertise, facilities and workshops. In each year of the main phase, 12 ECT credits are reserved for the IST. Part-time students can take advantage of the range of elective courses offered. Courses from the full-time or part-time curriculum can also be used for the IST (if space is available and subject to permission). For general information on the IST, please refer to the general section.

ing aware that art and design (along with art education) always involve creating in relation to thought (and vice versa) . Project-based instruction plays a central role. Each semester, students work on two main projects, which involve design exercises composed in different phases. Project work takes place during a concentrated period of 16 weeks. In this study year the Morphology domain comprises four blocks. The rest of the weekly curriculum is largely devoted to the design projects. In the first year, the domain of knowledge and context (and thus the theory) consists of three main components: 1. Architectural theory Concepts and frameworks, contemporary and current situation and context. 2. Design theory Concepts and frameworks, contemporary and current situation, graphic design, visual art and context. During the Media and Materials domain first-year students receive a thorough introduction to all departments and to the wealth of facilities/workshops available throughout the Academy. 3. Research & Discourse All Bachelor students at the KABK take the module Research & Discourse during the propaedeutic phase. The KABK also organises a Studium Generale for all students. In addition, a lecture series is organised by the department three times a year. Each series consists of six lectures on a particular topic (usually related to the department’s chosen year theme). Main Phase/Year 2

Propaedeutic Year/Year 1 Semesters 3 and 4 Semesters 1 and 2 Mission: diversity During the first study year, the following core concepts play a central role: crossdisciplinarity, scanning, experimentation, (broad) orientation and confrontation, design, learning by doing, interaction and social networking/student mix. In the propaedeutic phase, maximum use is made of the institute’s workshops and facilities, exposing students to all possible methods of development and production. Interaction with the other disciplines offered by the KABK is also encouraged during this phase. The propaedeutic phase is one of asking questions, exploring, experimenting and observing, in addition to becom-

Mission: depth and connection Core concepts in the main phase are forecasting, back-casting, visionary thinking, dreaming, the future, and the here and now. The curriculum seeks to forge links to contemporary issues in both the national and international arena - to connect to the real world and to the students’ individual position within this theme (Who am I?). The second year is the phase in which students deepen their existing skills, gain insight into the profession and become aware of their own intentions, which lay at the basis of their work and work processes. Having been introduced to their chosen field, the Academy and the work-

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shops during the propaedeutic phase, students use this basic knowledge in the second year to adopt positions in assignments of greater complexity. The reality of the professional field and the specific areas of attention it comprises are examined in greater depth. At the same time, students are urged to start formulating a vision and a dream for their future as a designer. Students are expected to demonstrate a greater degree of initiative, and they are challenged to develop and use their own personal preferences. Interior versus Furniture In the second year, students of Furniture Design and Interior Architecture follow separate design curricula. Although the projects are structured in the same way, the approach and content is tailored to the specific field. At the same time, this similar structure also offers opportunities for collaboration. The other domains are followed jointly by the second-year students. In the second year, students are required to take two obligatory Morphology modules. The research component within both the design courses and the Morphology Labs increases with each study year. The courses offered by the department in the context of the Individual Study Track (IST) programme include modules known as Research Labs. These are also offered Academy-wide, giving them a more inter-disciplinary character. The aim of the IST, which is compulsory for all students from the second year onward, is to add depth and breadth to the study programme. The condition is that the content of the track reflects the programmeâ&#x20AC;&#x2122;s current design exercise and that this demonstrable connection to the IST can be assessed in the final assessment of the design exercise. Students who wish to use the IST to add depth to their studies can choose to lay greater emphasis on the fundamental courses, make a selection from the KABK-wide range of interdisciplinary Research Labs and introductory courses, or choose to take a minor at Leiden University. The IST is accompanied by a study plan, which must be approved by the supervisor. Both the coach and the study adviser guide students in drawing up this plan. The domain-specific knowledge and context of the second year consists of three main components: 1. Art appreciation Through visits to exhibitions, museums, galleries, contemporary platforms for art,

architecture and design, projects in the city, art in public spaces and buildings 2. Architectural theory Concepts and frameworks, contemporary and current situation and context, anthropology and sociology (main theory course for students of Interior Architecture) 3. Design theory Concepts and frameworks, contemporary and current situation and context, anthropology and sociology (main theory course for students of Furniture Design) In the second year, Architectural Theory and Design theory are both linked to the project-based design courses and assignments on Mondays or Tuesdays, thus providing students with direct theoretical input and motivating them to delve even deeper into the theory. This constitutes an initial impulse for the development of individual preferences and original research. In addition, separate lectures and tutorials are programmed for each course, corresponding to the respective research topics. In the second year, within the framework of Interior Architecture and Furniture Design and the theory of architecture and design, attention is also paid to the anthropology of space and its usage, thus teaching students to regard our relationships with spaces and objects from an anthropological and sociological perspective. Space and object are investigated and experienced from a variety of perspectives, including from a spatial perspective (public and private), a user perspective (visitor, housekeeper), an action-related perspective (often culturally determined), a behavioural perspective (social and other types of behaviour) and the scripts that take place or should take place within them), and a sensory perspective how does it smell there?). The use and development of empathy plays a major role in this regard. Main Phase/Year 3 Semesters 5 and 6 Mission: depth and connection Core concepts in this part of the main phase include the following: reality check, skills, knowledge, practical and professional experience, employee vs. entrepreneur, internship and projects from internal studio/lab/workshop or external collaboration with the professional field, industry, authorities, companies and social organisations.

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During this phase, students focus on developing their own work and individual approaches, which are expressed in personal questions or problem statements. The interaction between the artistic and the social environment also plays an important role in this phase. The third study year mirrors the structure of the second year, with an additional focus on the links to professional practice. The exercises within the design domain attempt to add depth by specifically addressing the malleability of the designs. Students become aware of the consequences that result from a developed concept in terms of construction, materials and costs by carrying out a â&#x20AC;&#x2DC;reality checkâ&#x20AC;&#x2122;. The practical exercises constitute an important aspect of the third-year curriculum. Students work on real assignments for external clients, in which implementation and realisation of the project within budgetary frameworks and a strict schedule play an important role. Such direct links to practice are also made through presentations in the Netherlands and abroad, including the annual presentation at the Salone del Mobile in Milan. Students are encouraged to work across disciplines as much as possible and to draw heavily upon the expertise, facilities and workshops available within the KABK. The Media and Materials domain and Knowledge and Context domain are explored in depth by focusing on specific themes and techniques. These over-arching topics emerge from the year theme, which often relates to a specific social context, and also provide direction in the other domains. In semester 5, each student writes an internship plan. In semester 6 students gain experience of professional practice in the form of an internship at a carefully and individually selected national or international design or architectural firm. The capstone of the main phase is the memento, an assessment portfolio prepared during the second and third study years.

in the professional field, manifesting this through their body of work, statement and portfolio. Additional depth is pursued through an essay and/or thesis. The students create their own interior architecture or furniture collections, master the associated techniques and are able to present their collections in a convincing manner. The primary goal of the final phase, which culminates in a final examination, is to allow students to demonstrate their qualities as designers. This implies that they must be able to convert their ideas into concepts, architectural solutions, furniture and product solutions, form, material, technique and detail, in the context of one or more assignments. Examinations in Interior Architecture or Furniture Design consist of the following components:

Main Phase + Final Phase/Year 4

3. Theoretic Research One important aspect of the final phase is the theoretic research project: an essay (in a visual or written form) and/or thesis in which students are expected to position themselves and to reflect critically on the discipline, fascinations and the relationship to their own collections. The essay/ thesis explicitly addresses the knowledge acquired within the domain of knowledge and context. Individual students are expected to adopt specific positions

Semesters 7 and 8 (Graduation) Mission: positioning Core concepts: manifestation, body of work, statement and portfolio, additional research, additional depth, essay/thesis, and collection building. In the graduation phase, students focus on developing their individual position. The students determine their place

1. Collection Creating a design or multiple designs that address the entirety of the interior architectural or furniture collection or related collection in the broadest sense of the term. This is accomplished within thematic and self-developed assignments that allow the intensive realisation of an interior or furniture collection, whereby the thematic or locational context of the collection is presented to students in the form of the over-arching year theme. Individual students select their own independent positions within the design exercise, demonstrating that they are capable of applying the relevant techniques and skills needed to realise their designs optimally, based on the knowledge and experience gained in domain of media and materials. 2. Research by Design Research by Design expresses the studentâ&#x20AC;&#x2122;s personal design attitude. This design and research component is an extension of previous study projects that have been realised within the domain of morphology and/or the Individual Study Track.

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with regard to current theories of architecture and design and position themselves within the current debate. 4. Body of work Candidates must include previously realised designs and research (from preceding study years) in their complete final presentation and collection. 5. Entrepreneurship and the working landscape Final examination, exhibition and the presentation of the collection. Another important aspect of the final phase is studentsâ&#x20AC;&#x2122; visual and verbal presentation of their collection, in which they are expected to position themselves and to reflect critically on the discipline, fascinations and the relationship to their own collections. In the Academy-wide course Entrepreneurship, the students apply practical knowledge acquired during the lectures in aÂ real-world setting through fictitious case studies. (Questions that are addressed include: How do I get assignments? How do I make invoices? How do I send invoices?) Students display and present their collections to the outside world in a variety of ways, for example through their portfolios or by creating their own websites and setting up PR and social media campaigns. Student Portal The student portal www.kabk.nl/ia is the central instrument of communication for and by the department. News, practical announcements, curriculum, assignments, class schedules, calendars, task descriptions or other course information are placed on the portal. The current and latest versions of the exercise structures for each study year are available via the IAFD student portal: www.kabk.nl/ia. Assignment structures form the framework within which lecturers construct their assignments and curriculums. This working method ensures that a current, relevant and customised curriculum can be offered each semester. The appendices of the assignment structure list the specific assignments structures and curriculums for each course per semester. These resources are available for download by students and lecturers. Lists of required, recommended and further reading are included in the curriculums and specific assignment. The assignments for each semester are also listed on the Downloads page (the last page of the portal).

Timetable Each semester, students work on two main projects, which involve design exercises consisting of different phases. Students can engage in project work during a concentrated period of 16 weeks. On Tuesdays or Wednesdays, the work domains are Morphology, the IST and the Academy-wide Research Labs. The rest of the weekly curriculum is largely devoted to the projects. Students usually receive theoretical instruction on Thursdays. The Media and Materials domain is scheduled on Fridays, focusing on a more autonomous exercise of skills. Part-time study programme The part-time study programme has nearly the same basic curriculum as the full-time study programme. The Individual Study Track (IST), however, is offered as a class curriculum. There is no compulsory internship. Students are expected to develop the relationship with professional practice themselves. 2.5.4 Educational and professional objectives Collective feedback At the end of the first and the third block, halfway through a semester, students give brief presentations on their work from the preceding period. These presentations are held centrally and integrally to the team of supervising lecturers, in the presence of fellow students. This is an informal opportunity to receive feedback and should be considered as an informative exercise in reflection and presentation. These presentations may nonetheless result in the formulation of customised goals/objectives for the coming block. Course reviews At the end of a semester, prior to the collective assessment, students present work for each course from the preceding period to the relevant lecturer and fellow students. These presentations may lead to custom formulated goals/objectives for the coming block. Collective assessments Each semester ends with brief presentations by the students concerning the work from the preceding period. In these presentations, students present (or represent) both the design exercise and the other course exercises. This formal assessment point is informative and intended as an exercise in presentation. Students

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present their work directly to team of lecturers and the public (fellow students) during the collective assessments. During their presentations, students receive direct feedback on their work, and there is space for dialogue. The student is not present during the ultimate assessment and the internal committee consultation concerning this assessment. The aim of the interaction with the team is to provide insight into the work of the students and their capacity for reflection and formulating common but customised short-term goals/objectives for the coming quarter or study year. This formula helps to safeguard the overall quality of teaching within the department, the input of individual students and the progress and continuity of the study process. First-year assessment At the end of the first year (the propaedeutic phase), students receive a binding recommendation regarding the continuation of their studies. Halfway through and at the end of the first study year, collective assessments are held to determine whether students have mastered sufficient design qualities and whether they possess sufficient talent to continue to develop into potentially successful designers. Students are also assessed on their ability to relate to their own social environments through their individual design positions. A complete overview of the competencies to be assessed in the propaedeutic phase is provided in the scheme at the end of this section.

ments, identify these developments and further develop them by deepening and developing their own vision, mission and body of work. In doing so, they search for any problems inherent in the architectural brief, in order to resolve and translate these in their design. Another feature of great importance is that students become aware of the cultural, social, technological and economic developments around them. Their working methods should be rooted in engagement. Designers who wish to fulfil their roles in a relevant manner must possess a capacity for empathy and an awareness of their audience. Students learn to develop their own positions as designers and to present themselves accordingly. To this end, they must learn to discover, question, develop, design and represent their own preferences. In addition to an independent mentality and a reflective attitude towards design, this requires sufficient breadth in terms of theoretical and artistic training. Students must be capable of critical reflection, in order to appreciate, analyse, explain and assess their own work and that of others. The complete overview of the IAFD competencies per study year is provided in the competencies table at the end of this chapter.

Competencies During the study programme, students must master the ‘Competencies – Spatial Designer’ specific to IAFD. Mastery implies that students will be capable of functioning independently within the professional field. Their development into well-rounded designers is the primary goal of the study programme. They are trained in such a way that they are able to apply the knowledge and skills that they have acquired in professional situations. This places demands on the designer’s person and personality. Designers who have been trained at the KABK formulate a personal vision on the design profession and their own position within society. They should be able to communicate meanings in surprising and multi-layered ways, in addition to reflecting on developments in the discipline and within society. Proceeding from an inquisitive attitude and independent work processes, students are able to trigger new develop100

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2.5.5 Organisation of the department * The department head is responsible for departmental policy and for all aspects directly related to it. The team of lecturers reflects the policy in terms of content, as well as a broadly based professional structure. Many of the lecturers also have their own professional practices, in which they work independently or in teams. The diversity within the team of lecturers ensures that students are confronted with a wide range of aspects and approaches relating to the profession. Specific practical knowledge is also offered through guest classes and lectures. Head of department ++ Herman Verkerk Coordinators ++ Mariska Beljon m.beljon@kabk.nl ++ Roosmarijn Hompe r.hompe@kabk.nl Internship coordinator ++ Willem Moeselaar Study adviser ++ Ellen Vos Team of Lecturers Design ++ Gert Anninga ++ Gijs Baks ++ Amber Beernink ++ Samira Boon ++ Jan Harm ter Brugge ++ Maarten Collignon ++ Lars van Es ++ Arne Hendriks ++ Ingeborg Horst ++ Barend Koolhaas ++ Tessa Koot ++ Jeroen van Mechelen ++ Aura Luz Melis ++ Wendy Legro ++ Wim Ros ++ Christoph Seyferth ++ Nienke Sybrandy ++ Ramin Visch ++ Wim De Vos ++ Eric Vreedenburgh

Media and Materials ++ Marie Ilse Bourlanges ++ Corine Datema ++ Elena Khurtova ++ Harold Linker ++ Willem Moeselaar ++ Jeroen Musch ++ Sanne Peper ++ Michaël Snitker ++ Frans Willigers Knowledge and Context ++ Mariska Beljon ++ Liesbeth Fit ++ Inger Groeneveld ++ Roosmarijn Hompe ++ Ernie Mellegers KABK Research Lab(s) ++ Arne Hendriks ++ Krijn Christiaansen ++ Cathelijne Montens Guest lecturers ++ Erik Blits (external expert) ++ Suzanne Oxenaar ++ Bas van Beek ++ Niels Peteri ++ Matylda Krzykowski ++ Tijmen Ploeg ++ Chris Kabel ++ Rik Ruigrok ++ Gilles van Wanrooij ++ Anselm van Sinferth ++ Guus Beumer ++ Arna Mackic ++ Fokke Moerel ++ Hans van Houwelingen ++ Evelien van Veen ++ Kamiel Klaasse ++ Ronald Hooft Working Field Committee ++ Chris Kabel ++ Ira Koers ++ Herman Kossmann ++ Harm Tilman ++ Joanna van der Zanden Research & Discourse (Academy-wide) ++ Herman Verkerk ++ Janneke Wesseling ++ Liesbeth Fit ++ Maarten Cornel ++ Iris Luttmer (coordinator)

Morphology ++ Krijn Christiaansen ++ Cathelijne Montens ++ Ellen Vos *

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Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

competencies Propaedeutic Year

Main Phase, Year 2

Creative ability

You are able to develop designs, images or spatial works in which they explore new directions, based on the insights and experiences they have gained in the course of the programme.

You are able to work on design problems, drawing upon your own ideas and artistic ambitions and according to a personal method.

Capacity for critical reflection

You are able to reflect on your own work and evaluate its effectiveness and quality.

You are able to reflect on your own work and that of others, evaluating its effectiveness and quality.

Capacity for growth and innovation

You are able to acquire new knowledge, skills and insights on a theoretical and practical level.

You are able to apply newly acquired knowledge, skills and insights to the development of your own work.

Organisational ability

You are able to develop your own work processes, and they are capable of documenting and archiving your work.

You are able to adopt an inspiring manner of working and manage your work processes effectively in terms of time management and prioritisation.

Communicative ability

You are able to support your choices with regard to sources, materials and/or design solutions.

You are able to interpret assignments and provide debriefings in words and images.

Environmental orientation

You have broad interest in social and cultural developments, and they are able to recognise different visions on design.

You find inspiration in social and cultural developments, and they are able to identify them in your own work. They are also able to identify the target group for your work.

Capacity for collaboration

You are able to realise your goals in consultation with others.

You are able to engage in collaborative partnerships with others, and they are able to employ your talents in collaborative projects.

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interior architec ture and f urniture design Main Phase, Year 3

Main Phase, Year 4

Creative ability

You are able to formulate design problems and apply research in order to develop design solutions.

Capacity for critical reflection

You are able to relate your work to developments within the field and within a cultural and social context, and to take a position in this regard.

You are able to consider, analyse, explain and assess your own work and that of others, and are capable of abstracting the outcomes for the benefit of your own work.

Capacity for growth and innovation

You develop personal visions on design based on an open attitude.

Organisational ability

You are able to find balance between subjects, facilitation and production-aimed activities.

You are able to create an inspiring and functional working environment and organise your research, work and practice effectively.

Communicative ability

You are able to present and explain your work and methods in a convincing manner.

You are able to present your vision, research and work, engaging in dialogue about it with clients and other interested parties.

Environmental orientation

You are able to make connections between your own work and that of others, and between your work and the public. You are able to adapt your work appropriately to your target group.

You are able to relate your own design practice to the artistic and social context.

Capacity for collaboration

You are able to effectively operate in different roles and with different responsibilities within the design process.

You are able to make an independent artistic contribution to collaborative products or processes.

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credit points overvie w Interior Architecture and Furniture Design full-time

Year

Morphology

Media & Materials

Semester

Design

Internship

Subtotal Artistic Professional Domain

IST

Subtotal Individual Study Trajectory

Knowledge & Context

Lectures [18/year]+ SG

Essay/Thesis

Subtotal Theorethical Domain

Research & Discourse

ABPPW

Entrepreneurship

Subtotal Academy-wide Education

Total

240

Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

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interior architec ture and f urniture design Interior Architecture and Furniture Design part-time

Year

Morphology

Media & Materials

IST

Subtotal Individual Study Trajectory

Semester

Design

Subtotal Artistic Professional Domain

Knowledge & Context

Lectures (18/year) + SG

Essay/Thesis

Subtotal Theorethical Domain

Research & Discourse

Subtotal Academy-wide Education

Total

240

Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

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2.6 Photography

photogr aphy

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photogr aphy

2.6 Photography 2.6.1 General description of the discipline Current situation of the discipline Almost everyone takes photographs, but not everyone is a photographer. It takes well-honed technical skills to develop into a professional. That is why students are still being trained as photographers. Throughout history, photographers have developed their own culture of high-quality images. Contemporary photography covers an enormous spectrum, branching into all levels of society and occupying an important position in the world of the visual arts. Much is demanded of contemporary professional photographers. In addition to understanding their profession in a technical and aesthetic sense, they must have profound knowledge and understanding of the meaning, symbolism, value and impact of photographic images. They are also expected to possess a wide range of artistic abilities, in order to achieve desired effects that are capable of standing on their own. In addition, professional photographers must claim their own positions within the contemporary cultural field, and they must be able to distinguish themselves by expressing their personal views both orally and in writing, apart from the actual images. Contemporary professional practice: the professional profile In this section, we highlight the professional profile upon which the Photography programme is based. The professionals of today are authors, in the sense that they are makers, finders and creators. They are able to practice the profession in the traditional sense, while contributing to the evolution of the discipline. Contemporary photographers are entrepreneurs who know how to generate a base of support for their work. They have an extensive frame of reference for the field and the discipline, particularly in an international context. They have a vision for the position of the discipline in the world of art and culture, as well as in social developments. They are aware of the many platforms that offer opportunities, including social media and the internet in general, as well as traditional platforms, including journals, posters and other printed media. They have extensive

networks, and they are able to collaborate with others. Within our society, people are increasingly using the medium of photography without worrying about the technical quality of the images. In response, professional photography appears to be moving in the opposite direction. Each genre or specialism is developing increasingly specific requirements. The professional practice of the photojournalist has become more clearly distinguished from that of the conceptual documentary photographer. This trend has emerged across the entire field of photography (including the domain of fictional photography). Young professionals are therefore being confronted with increasingly greater and more specific demands. In order to achieve professional recognition, aspiring photographers should be well informed about how they would like to enter the field and about the platforms on which they can present their work. 2.6.2 Study profile As the only photography department at any art academy in the Netherlands, we focus on four major areas of professional photography: conceptual documentary photography, photojournalism (together classified as Documentary), staging people and mise-en-scĂ¨ne (together classified as Fiction). In the first year of programme (the propaedeutic year) , students receive a thorough introduction to these areas. Thereafter, students choose to complete the remaining three years in either Documentary or Fiction, positioning their work in one of these areas based on subsequent choices. The department aims to train students to become self-aware and independent photographers, each with a recognisable visual language and personal vision, along with the ability to work independently, as well as on commission. They develop their own concepts and initiate projects. Their motivations, themes and ethical standards are clear to others. They know how to engage their clients or audiences and are creative in finding a business model for their work. An important characteristic of our programme is that we use the contemporary professional field as central point in our educational approach. Students are given assignments resembling, or based on, professional assignments, and they are usually working on several projects simultaneously. We pay close attention to

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the ways in which students develop their initial ideas, which ultimately result in a series, complete with all the accompanying production activities. Another characteristic is the strong emphasis that is placed on the development of intellectual and visual qualities. We ask students to approach their subjects with curiosity and an open mind, and then to investigate them thoroughly. This requires an interest in the content, background and diverse ways of representing a subject. In the process of investigation, students develop their own visual language and discover how their visions on various subjects and on the profession of photography relate to the visions of others. Our goal is to teach students how to become independent thinkers, constantly searching for authentic images from a personal perspective on both the medium and the world. The dynamic curriculum consists of an alternating series of work discussions, seminars, workshops and lectures. Within a short period, students gain knowledge of various fields and develop skills to operate independently. Because their subjects are often situated outside the academy, students regularly work on location. In the Academy, they practise in studios and darkrooms, editing their images, working on prints and participating in collective work assessments and the preparation of publications and presentations. The students thus do not learn only from their lecturers, but also from their peers. The educational process is dominated by a commitment to continuous effort for research, authenticity, depth and professionalism. It is supported by a programme of electives and guest lectures by as well national as international professionals. Expertise from other disciplines is employed when necessary, allowing students to develop strategies for presenting their work optimally and in suitable contexts. The primary goal of our programme is to train our students to become the professionals of tomorrow, connecting their own visual language with a professional way of working at an international standard. Facts as the departure point for photography: Documentary specialisation ‘Documentary’ is the over-arching term used by the Royal Academy of Art (KABK) in The Hague for the professional practice of documentary photojournalists and conceptual documentary photographers.

Although the practice of photojournalists differs from conceptual documentary photographers, they have similarities in the way they choose their subjects, either with a general news value or with a specific significance for a target group. This practice is most commonly used to reflect on contemporary history. Photographers specialising in documentary are curious and engaged towards social processes and concrete subjects. Photographers who proceed from facts offer a window on reality. Subjectivity is essential to their individual styles, however, and position statements are important to the impact of their photography. These photographers must pay attention to the preliminary phase of research. They must read about and empathise with their subjects, consult specialists and tap into new markets. The artistic autonomy enjoyed by these photographers is closely linked to the policies of the platforms for which they work. Photographers who employ photography as an informative medium focus their loyalty on the user of the photos: the public. Despite many common features, however, there are clear distinctions between photojournalists and conceptual documentary photographers. Although both disciplines revolve around reality, photojournalism emphasises reporting with direct news value, while conceptual documentary photography is used to reflect on particular aspects of the subject. Fiction as departure point for Photography: Fiction specialisation At the KABK, ‘Fiction’ consists of all imagery that enlarges reality. Fiction photographers are photographers who produce high-quality work from staged situations or with the suggestion of staging. Most fiction photographers possess an artistic gift for fantasy, having impressive technical skills that allow them to represent their subjects appropriately. They are strongly committed to their assignments, whether at their own initiative or commissioned by others. The work of fiction photographers is the result of intensive research into the nature of the image in general, and particularly with regard to photographic visual language. It is intended to be distinct within the contemporary torrent of images. For this reason, fiction photographers are increasingly developing their own concepts from which to work. Based on their authorship, they are active in a

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variety of contexts, which they creatively adapt to suit their needs. They have a rich imagination, representational skills and clear minds. Their work emphasises the creation of concepts and the pursuit of the right visual presentation, combined with sophisticated technical execution. Fiction photographers often collaborate in multidisciplinary teams. We distinguish between photographers who concentrate on staging people and those who concentrate on environmental situations (e.g. mise-en-scène) , from tabletop to landscape. Final qualifications for Photography Graduates are expected to meet the following qualifications: ++ Students are able to develop and implement distinctive imagery in a meaningful way resulting from their research and artistic ambition (creative ability) ++ Students are able to contextualise and critically reflect on their own work and on work of others, and they are capable to utilise external feedback and positively implement this in their own work (capacity for critical reflection) ++ Students are able to continuously investigate and analyse their own ambition, vision and working methods as well as the professional practice around them. Their innovate position constantly challenges the photographic medium in general (capacity for growth and innovation) ++ Students are able to organise an inspiring and professional working ambiance. They are capable of practically organising their profession and are ambitious in marketing their work (entrepreneurial and organisational ability) ++ Students know where to reach and how engage their audience and clients. Students are able to present their vision, research and work in a convincing manner, as well written as orally (communicative ability) ++ Students understand how their work relates to the professional artistic and societal context (external awareness) ++ Students understand group dynamics and are able to make independent artistic contributions to a collaborative work. Students are also capable of organising collaborating partners for their own practice (capacity for collaboration)

Diploma Graduates are awarded the Bachelor of Design (BDes) degree. Postgraduate studies After completing the Bachelor’s degree, graduates are eligible to enrol in a Master programme in design (MA Design) or art (MA Visual Arts), another Master programme at an art academy, or the MA in Photographic Studies at Leiden University. Admissions procedure Candidates are invited to participate in a trial morning within the department. The portfolio and take-home assignments are discussed in the course of the morning, and candidates receive advice on how they might improve their work. Candidates are advised to register for the trial morning as early as possible. It is possible to participate in multiple trial mornings. Candidates who are deemed suitable to apply are invited to take an entrance examination. During this examination, candidates work on assignments, and the admissions committee assesses each candidate according to the portfolio/work and an interview. The work consists of a diverse selection of both visual and photographic work, supplemented by the home assignments. Each candidate will have one or more interviews about the work. The committee consists of both students and lecturers. Specific admissions requirements Candidates must fulfil the following requirements: ++ have a passion for the visual, especially for the medium of photography ++ have particularly broad social interests ++ have an ongoing need to visualise their interests and ideas in photography ++ have a desire to make their own ideas public ++ have good communication and social skills ++ have organisational talents ++ take initiative and have an entrepreneurial spirit ++ have perseverance ++ be capable of functioning both as a soloist and in collaboration with others ++ be able to think critically ++ be able to develop on a textual level ++ have a basic familiarity with the infrastructure of the photographic field in the Netherlands ++ demonstrate some experience in the use of the medium to reach their visual goals

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++ work on photographs in serial form ++ be aware that photography is one of the visual disciplines and that this requires more than just excellent technical expertise or an eye for aesthetics 2.6.3 Study programme overview Overview of full-time/part-time study The full-time programme offers specialisations in Documentary and Fiction. The part-time programme offers the specialisation in Documentary. Full-time programme The full-time programme comprises four years. For the structure of the semesters in the full-time programme, please refer to descriptions of each year below. Part-time programme The four-year programme is also divided into semesters. The programme consists of modules that together form a complete package. In the near future, it will also be possible to take the modules separately, if the student’s level of competence is deemed sufficient. Students who have successfully completed the examination module have fulfilled the learning outcomes of the current Bachelor programme in Photography. This educational structure also allows us to offer the part-time programme in four years. In most cases, classes are held on two or three days each week, usually with one day starting at 2.00 p.m. and the (two) other day(s) at 4.00 p.m. The last class ends at 9.45 p.m. In the final phase, students should be available for one full workday a week in order to attend classes. For the structure of the semesters in the full-time programme, please refer to descriptions of each year below. The content of the part-time programme in Photography is the same as that of the full-time programme, but with a different organisation and structure. To date, no internship period is included in the programme. Part-time students must therefore engage in independent career orientation, in addition to the programme. With permission, part-time students may follow parts of the full-time curriculum. Individual Study Track The Individual Study Track (IST), which is required for all students beginning in the second study year, is aimed at expanding the depth and breadth of the programme.

Space has been created in the schedule to this end. The study load and associated credits are applied to the IST, in consultation with the supervisors. Several options are available for organising the Individual Study Track, including the possibility of taking a minor course at Leiden University. In addition to the electives, students may use the IST to add depth to their studies by paying additional attention to the fundamental courses or by choosing from the Academy-wide range of IST course offerings. The IST is paired with a study plan, which must be approved by the supervisors and guided by a coach. During each year of the main phase, credits of 12 EC are reserved for the Individual Study Track. Internationalisation We have a large population of students from various countries. In addition, the study programme is placed within an international perspective from the outset. Each study year includes a project week abroad, and we collaborate with other art schools throughout Europe. In addition to these activities, we receive exchange students for a semester, and our students have the opportunity to complete an exchange period at one of our partner institutes. We recommend placing exchange programmes in Semester 6, under certain conditions. Advance permission from the department is required. Propaedeutic year Exploration and visual development Full-time/Part-time: Semesters 1 and 2 In the propaedeutic year programme, the programme focuses on visual development. The properties of photographic visual language are investigated extensively, with technical skills providing a solid foundation. The individual abilities of students are explored in a broad packet of subjects, which are offered in a coordinated manner, when possible. Field orientation to the discipline and its professional opportunities plays a central role in the programme. This orientation is provided in both theoretical and practical courses, as well as during field visits outside the Academy. The emphasis is on learning to study and structuring the individual work process. Students are encouraged to pose questions for themselves and attempt to find the answers. The process is supported by a coach and

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a professional practice programme. This phase creates the foundation for a professional attitude that will enable students to develop the authorship that they will need for their future careers after the Academy. At the end of the year, students will have gained sufficient insight from the programme in order to choose their profiles for the remainder of the programme. The motivation for this choice is reflected in a final presentation and in the composition of the portfolio. The course descriptions on the website describe the content, teaching methods, instructional forms and assessment of the programme components. The following study components are covered in the first two semesters: ++ Career orientation ++ Acquisition of professional practice and study skills ++ Image Development ++ Photojournalism, Conceptual documentary photography, Photography Fiction (concentrating on people) , Photography Fiction (concentrating on mise-en-scène and space) ++ Photographic Technical Skills ++ Digital Workflow and Skills ++ Art/Photography History and Reflection ++ Research and Discourse ++ Graphic Design Main Phase/Year 2 Proficiency & in-depth research

are also introduced to specific options for applying their work in the following, highly diverse, markets: ++ Print media (e.g. newspapers, magazines, books) ++ Various electronic and social media ++ Autonomous museum space and other spatial presentations Within these three frameworks, both specialisations focus on the following: ++ Conceptual photography: images are regarded as guides to and/or translations of ideas, texts, thoughts and experiences ++ Autonomous photography: photographers investigate their personal artistic goals and possibilities The second year is also divided into semesters, each of which is sub-divided into two thematic blocks (when possible). When necessary, the themes are adapted to the chosen specialisation or to the markets mentioned above. The course descriptions on the website describe the content, teaching methods, instructional forms and assessment of the programme components. The project week in Semester 4 involves a week abroad, in which each student works on a project. The following fundamental course components apply to both study profiles:

Full-time/Part-time: Semesters 3 and 4 In this phase, students engage in more extensive and substantive research into the world of photography and the professional practice of their chosen specialisations in Documentary or Fiction photography (the latter specialisation is available only full-time). Considerable attention is devoted to the competencies required for the practice of the specialisation, with the social functioning and the development of social skills as key concepts. Extensive discussion is also provided with regard to the ethical side of the profession. In the Documentary field, photography focuses on the acquisition of background information (research) on a diverse range of topics before the actual act of photographing. In contrast, Fiction photography emphasises the creation of concepts and the pursuit of proper visual execution, in combination with sophisticated technical execution. Students regularly work together in multidisciplinary teams. An important motivation is to change the attitude of involved third parties. Students

++ Genre Photography specific to the selected profile ++ Autonomous Photography ++ Photography Technical Skills ++ Image and Concept Development ++ Professional Practice Skills ++ Audio-visual Media, AV and Film Theory (as an elective after an introduction block) ++ Graphic Design ++ Image Development focusing on spatial presentation ++ Interactive Media Design and Media Theory (as an elective after an introduction block) ++ Art/Photography History and Reflection ++ Sociology ++ Communication The Fiction specialisation concentrates on ‘staging people’ and ‘mise-en-scène’, as applied in fashion/lifestyle or commercial photography. The Documentary specialisation focuses on photojournalism and on documentary and conceptual documentary photography.

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Main Phase/Year 3 Professionalisation & presentation Full-time/Part-time: Semesters 5 and 6 Full-time The third year focuses on the use of research and skills to achieve professionalisation. Previously acquired knowledge and skills are placed in relation to the field and professional practice. Students choose to engage with the world outside the Academy from their own personal viewpoints. The portfolio is based on this approach, and a thematic, project-based semester offers students the opportunity to test and define their positions within the professional world. The components photojournalism and conceptual documentary photography are specific to the Documentary specialisation, and they are supported by a course in sociology. The Fiction specialisation offers the sub-fields of miseen-scène and staging people. Students substantiate their choices for one of these fields in a related project description developed during a research period. Special attention is paid to visual investigation (i.e. ‘artistic research’) and the student’s ability to work with a variety of visual strategies. The presentation of the work to the outside world is another prominent goal. Students work independently and make highly individual choices. The realisation of the described plans and study content within the central project is accomplished in close consultation with the coach, fellow students and the team of lecturers, as is any participation in practice projects. The programme includes a number of elements for students from all specialisations: ++ Professional Practice Skills ++ Art, Photography History and Reflection ++ Audiovisual Media, AV (as an elective in the second year) ++ Interactive Media Design (as an elective in the second year) ++ Graphic Design for publication ++ Image Development aimed at spatial presentation In the sixth semester, students complete one or two internships. These highly diverse experiences are related to the specialisation and at least one of the markets mentioned above. Many students choose international internships within a

field of well-known and established photographers. During their internships, students learn to work in teams, with formulated assignments, within a time limit and in partnership with clients. They also gain valuable networking experience. Moreover, the internships enable students to test their expectations regarding their own possible specialisations in the field. At different points during the internship, students return to the Academy to discuss their experiences with the internship supervisor and to receive information about the internship report. At these times, students also have the opportunity to exchange experiences with fellow students (second-year students are also present in these meetings as preparation for their choices in the following year) . The internship supervisor writes a report, which constitutes part of the evaluation. Additional general information about the internship is provided in Section 6.1.9. Part-time The part-time programme does not include an internship period. Part-time students must therefore initiate their own career orientation independently, albeit as part of the programme. In the sixth semester, students enter the examination track, in addition to taking several foundation courses. Based on the orientation to professional practice, each student also prepares a properly substantiated choice of specialisation in relation to the discipline. The following goals for this phase of the programme are intended to ensure that students: ++ have composed a study plan (professional profile), with an updated accompanying argumentation ++ have achieved the study objectives of the projects and programme components associated with this phase ++ have demonstrated that they have acquired the qualities, skills and insights needed to claim a position within the field of photography ++ have added depth to their research ++ have exhibited an independent study attitude ++ have demonstrated interest in all aspects of the work and design process and expressed interest in all aspects of the profession ++ are capable of completing the final phase of the programme successfully ++ have explored and experienced the field

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++ have demonstrated preparation as professional photographer

2.6.4 Professional objectives Propaedeutic year Exploration and visual development

Main Phase + final phase Profiling and positioning Full-time/Part-time: Semesters 7 and 8 This phase is characterised by ‘profiling’. The conclusion of the internship/career orientation period is the prelude to the final year of study. At this point, each student writes another study plan with a revised professional profile: ++ Photojournalistic / Conceptual Documentary / Fiction Photography (staging people) / Fiction Photography (miseen-scène), related to the written professional profile ++ assignment or commission, referring to the client profile chosen ++ project of the student’s choice, relating to the selected profile and presented in two of the presentation options/platforms: one corresponding to the methods of professional practice and one focusing on the student’s possibilities for use (interdisciplinary) ++ thesis, in which students further expand and explain the research for their projects ++ portfolio ++ career preparation (including a business plan) ++ submission of work to an international photo festival (IST) or participation in a prestigious competition Final examination The programme concludes with a oneday examination, during which each student presents work prepared specifically for the exam, along with a well-designed thesis and portfolio. The professional profile, business plan and project descriptions provide information about the work presented. Each student is allocated a space for installing the presentation beginning at least four days in advance. On the examination day, students have the opportunity to explain and justify their work. The examination committee poses additional questions. After the examination, graduating students focus on a group exhibition that is open to the public and accompanied by a catalogue. The examination committee consists of the head of department and an external assessor, in addition to a representation of supervising lecturers from the final year. The external assessor is an expert in the field of photography.

Full-time/Part-time: Semesters 1 and 2 The propaedeutic year concludes with an examination during which students are assessed according to their suitability for the discipline. Students present and substantiate their work and demonstrate its accents. The work prepared for theory courses is part of the examination. Other factors considered include the students’ study attitude, and particularly their commitment and level of independence in the work process. The vision and depth that students have demonstrated in both the process and the ultimate outcome are important in passing the exam, as well as for the selection of their specialisations. Students must be deemed capable of completing the programme within the specified period and subsequently working as independent photographers. The following objectives are intended to ensure that students: ++ learn to study and organise the work and design process, including the acquisition of knowledge, understanding and skills related to the employment of substantive and formal visual means, and to apply the acquired knowledge, understanding and skills in order to improve assignments ++ develop an inquisitive, examining and self-critical attitude, taking initiative regarding the work, verbal and written communication skills and demonstrating reflective and analytical ability ++ acquire theoretical knowledge and insight regarding the study content of the project ++ acquire technical skills related to photographic tools and techniques, as well as 2D tools and techniques (e.g. drawing, painting and graphic techniques) ++ gain insight into the desired professional field (i.e. editorial, commercial or otherwise)

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Competencies for the propaedeutic year Students are expected to master the following competencies during this phase of the programme: ++ Students create work that explores new directions arising from the experiences and insights gained throughout the programme. ++ Students are able to discuss their own work and review its effectiveness and quality. ++ Students are willing to make new discoveries and able acquire new knowledge, insights and skills regarding visual and theoretical aspects, as well as in the photographic field. ++ Students are able to develop and implement their own working processes and to document and archive their work. ++ Students are able to justify their choices to use and implement certain sources, materials and/or visual solutions. ++ Students demonstrate broad interest in sociological and cultural developments, in addition to recognising different approaches in photography. ++ Students are able to realise their own goals while adjusting to others. ++ Students are able to substantiate their choice of specialisation. Artistic technical domain The development of a photographer/ image maker commences at the start of the programme. A professional photographer is not simply someone who takes pictures. Professional photographers share many characteristics with other visual artists. The general visual development of students therefore takes first priority in the curriculum. Attention is also paid to specific visual aspects related to the medium. The focal point is the work process, with the goal of developing concepts. The development of digital skills is the same importance as is the development of skills with regard to photographic tools and techniques. Theoretical domain In the propaedeutic year, all students are taught general art and cultural history and academic skills. Students also participate in a programme covering the history of and reflection on art and photography, thus acquiring an extensive frame of reference. They visit exhibitions and museums throughout the year, where they analyse and reflect on the work of others, both verbally and in writing. Debating skills on various topics are developed in the Career

Orientation course. Students are expected to write reports in various courses. Professional social domain Professional development takes place throughout the year, primarily through self-study. Students are required to visit exhibitions on their own, creating and maintaining a personal archive of reviews, book reviews and general information relating to the profession. In the Career Orientation module, these activities are related to the attitudes needed in order to work in the field and to meet to the demands of the discipline. At least two project weeks each year are reserved for investigating the professional field. During one of these weeks, students visit photographers, editors, agencies and bureaus. In the other project week, students engage in fieldwork or visit a photo festival. Within the Academy, guest lectures are organised regularly, in relation to current events in the field. Students are encouraged to participate in lectures and workshops in the field. Main Phase/Year 2 Proficiency and in-depth research Full-time/Part-time: Semesters 3 and 4 The primary objective of the first part of the main phase is to provide students with a clear understanding of the field and the professional practice within the specialisation of Documentary or Fiction. To this end, the programme is expanded in both breadth and depth. At the end of the academic year, students are expected to apply their full professional competence to the creative process, demonstrating a command of the actual profession as well as of their own professional attitudes. The execution of assignments is therefore assessed according to the requirements of the field. Competencies for Year 2 Students are expected to master the following competencies during this phase of the programme: ++ Students are able to research and develop their own ideas in a methodical and well-organised manner, drawing upon their artistic ambitions as photographers. ++ Students are able to evaluate their own images and those of others with regard to content and to visual and communicative qualities, in addition to justifying their own photographic choices.

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++ Students know how to apply research in order to acquire new knowledge, skills and insights, using the criticism from others to continue developing their own work. ++ Students employ an inspiring way of working, managing their working processes efficiently in terms of time and priorities. ++ Students are able to interpret assignments, debriefing them verbally and visually for specific goals and target groups. ++ Students research social and cultural sources in order to develop and identify a clear set of inquiries in their own work; they are able to identify the goal and audience for their photography. ++ Students are able to engage in collaborations, putting their talents to use within them. Artistic technical domain In the second year, the focal point of general visual development shifts to the replication and interpretation of methods. Students gain insight into the coherence of content and form by learning to control the creative process. Concept development is examined in several different courses in order to create understanding of the working methods (e.g. by analysing assignments, conducting substantive research, developing ideas and developing and implementing images). Students also have the opportunity to broaden their work areas with elective courses in Audio Visual Media and Interactive Media Design, which support research into the possibilities of the artistic process. Theoretical domain Art/Photography History and Reflection are taught throughout the year. In addition to the fixed course content, students are encouraged to extend the framework on their own by conducting research related to the practical course and/or projects. The building of a personal file is indispensable in this research process. Students are also asked to substantiate their opinions. Assessment is based on debates, an examination and a paper. In the courses Film Theory and Media Theory, which are chosen in conjunction with the electives Audio Visual Media and Interactive Media Design, the frame of reference is widened and compared to that of photography.

Professional social domain Assignments in the curriculum proceed from the demands of functioning in and influencing the profession (i.e. the professional field) , which also constitute guidelines for assessment. The criteria are specified according to the working methods used in the field. In addition, practical courses in the specialisations are supported by courses in communications and sociology, which focus on the start of the assignment, objectives, target audience and its consequences. Main Phase/Year 3 Professionalisation and presentation Full-time/Part-time: Semesters 5 and 6 The entire year is dedicated to career preparation. Students must now demonstrate their ability to meet the requirement of making unique contributions to the field, in addition to meeting the standards of the outside world. The objectives of this study year are for students to exhibit their own work and function within the professional field outside the academy. Over the course of the year, the internship is completed, after which the written professional profile is assessed and adjusted. The written report, with conclusions about the internship period, provides the starting point for the final year, in which students are expected to bring this final phase to a successful conclusion. At the end of the third year, the course reviews and collective assessment are merged into a single comprehensive assessment. Competencies for Year 3 Students are expected to master the following competencies during this phase of the programme: ++ Students are able to formulate ideas and define their goals, in addition to engaging in research in order to develop and implement their visual concepts. ++ Students are able to adopt a position and relate their own work to developments within the discipline that are relevant to the cultural and societal context. ++ Students have developed an authentic vision on photography, to which they are able to add depth. ++ Students are able to find the proper balance between their journalistic and market-oriented activities and those of a more logistical, general and technical nature.

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++ Students are able to present and explain their work and working methods convincingly, while keeping their goals and the target group clearly in view. ++ Students are able to make connections between their own work and that of others, as well as between their work and particular audiences. They are also capable of using their work to react appropriately to their target audiences. ++ Students are able to operate in a goaloriented manner within working situations, taking different roles and with different responsibilities and interests, in addition to applying their individual talents to reach common goals. Artistic technical domain Students explore the medium and determine their own positions. Attention centres on the students’ individual projects and the distinguishing features of the execution of assignments. Authorship is evident in the breadth of the work and portfolio. Students demonstrate their ability to use the contexts and settings in which the creative work can manifest itself (e.g. exhibitions; magazines, books and other print media; interactively and on the web). Concept development is specifically aimed at the outside world. Whether working on job assignments or on individual projects, students are expected to demonstrate awareness of the outside world and the ability to take advantage of such insight. Theoretical domain In the course of the year, the student’s theoretical knowledge expands further. The history of and reflection on art and photography are specifically applied to further development in the critical review of the medium in relation to the students’ individual positions in the field. The visual art and cultural world continue to play an important role in this regard, and the courses in communication and sociology help students to determine their positions. Students are assessed according to debates, oral presentations and a written paper. Professional social domain Throughout the entire year, the curriculum is guided by the professional social domain. The outside world is brought into the Academy through assignments based on professional assignments. Students present work in professional settings, and they are assessed accordingly. The assembling of a portfolio is of great importance in preparation for the internship,

which offers students the opportunity to experience working in a professional environment. In addition, the completed assignments and projects are assessed according to project proposals and plans, budgets, funding and the ability to meet deadlines. Main Phase + final phase Profiling and positioning Full-time/Part-time: Semesters 7 and 8 In the final phase, students prove their abilities by applying their professional skills to position themselves within the field. In this way, they demonstrate their views on the photographic visual language, in addition to their ability to provide an artistic interpretation of the work and to manifest themselves in such a way that they acquire a starting position within their chosen fields while influencing these fields as well. The examination project is presented in a professional manner, including descriptions, budget and funding. Students must also create support for their examination projects outside the Academy by publishing at least one part of the work or by finding a commissioning party or sponsors for their projects. Work on the examination is performed throughout the entire year. The competencies for the final phase correspond to the final qualifications of the programme. Creative ability ++ Students are able to develop, implement and contextualise distinctive imagery in a meaningful way, drawing on their artistic ambitions and the results of their research. ++ Students form their points of departure based on their personal artistic visions, placing them in a broader cultural and social perspective. ++ Students use artistic and technical problems to develop comprehensive solutions, and they demonstrate their ability to use knowledge of and insight into the ways in which images, shapes, materials, proportions and colours evoke experiences and transfer meanings. Students also find relevant resources with which to photograph in an effective manner. ++ Students employ methods that question the concept (and/or process) on several occasions, and they use these findings to arrive at a better design.

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++ In their work, students demonstrate their ability to transfer meanings and cause experiences. Capacity for critical reflection ++ Students are able to reflect on, analyse, interpret and judge their own work and that of others, thinking through the results in order to implement them positively in their own work. ++ Students evaluate results based on communicative effectiveness and artistic value, justifying and overseeing the implications of choices and decisions. ++ Students demonstrate awareness of different views existing within the field. ++ Students demonstrate the ability to investigate all matters that are important for a design. ++ Students extend their knowledge of traditions and theories related to the discipline and of various visions on and approaches to their chosen professions based on both historical and contemporary philosophical insights (especially ethics and aesthetics) that are of potential importance to photographers. Capacity for growth and innovation ++ Students are able to develop the depth and breadth of their visions, work and working methods through a continuing process of research, thereby contributing to the discipline and to society. ++ Students demonstrate a desire to develop their personal artistic visions further. ++ Students demonstrate the ambition to excel. ++ Students demonstrate a critical and inquiring attitude regarding their work. Each student is able to develop this further into a body of work and an individual position. ++ Students are able to acquire new knowledge, insights and skills concerning techniques, legislation, processing and application possibilities, as well as public and professional approaches. ++ Students use criticism from others as a source of further development. Organisational ability ++ Students are able to arrange inspiring and functional working situations and organise their research, work and practice. ++ Students develop their own work processes, and they are capable of seeing how various aspects of the medium are interconnected within the discipline.

++ Students make business arrangements, with the ultimate goal of working independently as photographers. ++ Students are capable of managing the work process and finding a balance between substantive research, photography, logistics, facilitating and public activities. ++ Students know how to locate possible expertise through colleagues or specialists from other disciplines and how to collaborate with them. ++ Students know how to document and archive their work. Communicative ability ++ Students are able to present their visions, research and work convincingly, engaging in dialogue about it with clients and other interested parties. ++ Students are capable of obtaining and interpreting job assignments. ++ Students demonstrate the ambition to publish and exhibit their work and proclaim their own opinions. ++ Students have an overview of the market and the mass media. ++ Students are capable of finding support for their work. ++ Students communicate about their work orally, visually and in writing. ++ Students make and maintain contacts that are relevant to their own networks. External awareness ++ Students are capable of relating their authorship to the artistic and societal context. ++ Students have a vision on the role and position of their discipline, and they are able to relate their work and convictions to those of others, as well as to developments in the cultural and social contexts. ++ In their work, students focus on the user and acquire knowledge necessary to adapt appropriately to particular groups of users. ++ Students are able to research all aspects relevant to their work. ++ Students study the work and visions of their peers, both nationally and internationally. ++ Students place their own work in the perspective of traditions and theories related to the field. ++ Students recognise a wide range of views in relation to the profession of photographer from both the historical and the contemporary perspective.

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++ Students are inspired by a range of cultural and social sources, and they are able to recognise and identify them in their own work. ++ Students reflect on the function of the discipline in society. Capacity for collaboration ++ Students are capable of making independent artistic contributions to communal products or processes. ++ Students are capable of guiding collaborative efforts and providing content and quality. ++ Students are able to achieve their goals while working with others. ++ Students are capable of utilising their talents and abilities in collaborative efforts. ++ Students are able to employ different roles, responsibilities and interests effectively and respectfully in the process of photographing. Artistic technical domain After having engaged in extensive exploration of the professional field, students use the final phase to sharpen and specify their own visual signatures, proceeding from specialisation and profiling within the medium. Students consciously strive to locate the boundaries of the discipline, moving beyond them if possible. This is particularly important with regard to the presentation of their work. The experience of the work plays an important role in the development of the communication concepts. Theoretical domain The thesis is the culmination of the research conducted for the practical work. In the thesis, students establish their work and their position as makers within the broader context of the discipline. In the thesis, students demonstrate their ability to engage both the historical and current situations of the medium, in addition to the situation of culture in general. The determination of standpoints is crucial in this regard. Professional social domain The activities of the examination are placed in the context of professional practice and developed further. This means that special attention is paid to all matters related to the entrepreneurship of the photographer. One part of the examination includes a project in which students demonstrate their ability to place the work in the context of the discipline. In addition to the examination projects, students

are expected to write business plans and generate publicity for their examination projects. The content of the final stage of the part-time programme corresponds to that of the full-time programme. The projects are adapted to fit into three semesters. The objectives associated with the final phase of the programme are the same as the final qualifications and the associated competencies. 2.6.5 Organisation of the department* The photography department has jointheads: both are responsible for the department’s policy and all aspects related to this policy. The team of lecturers reflects the content of the programme and its professional structure. The coordinator is responsible for the day-to-day organisation of the department. Coaches are the first point of contact for matters related to study planning and problems arising with regard to the study. Departmental communication takes place through the student portal of the KABK website, which contains all information regarding the study programme. The homepage of the student portal has a blackboard for daily announcements. With a few exceptions, all of the lectures have their own professional practices, working either independently or in a team. Because of the diversity in experience and expertise, students are confronted with numerous aspects of and approaches to the discipline. Guest lectures are organised to provide specific knowledge of the professional field. Heads of department ++ Lotte Sprengers ++ Rob Hornstra Coordinator Full-Time ++ Marlène Kromhout M.Kromhout@kabk.nl Coordinator Part-Time ++ Raimond Wouda r.wouda@kabk.nl Coordinator Internship ++ Lotte Sprengers Staff ++ Anna Abrahams ++ Vincent van Baar ++ Ellen Dosse ++ Theo van Dusseldorp ++ Jan Frederik Groot

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++ Thijs groot Wassink ++ Johan Gustavsson ++ Sebastiaan Hanekroot ++ Rob Hornstra ++ Judith van IJken ++ Anja de Jong ++ Ton van Kints ++ Ben Krehwinkel ++ Ola Lanko ++ Ilse Leenders ++ Anneleen Louwes ++ Deen van Meer ++ Hans van der Meer ++ Krista van der Niet ++ Kim Nuijen ++ Pawel Pokutycki ++ Nancy Schoenmakers ++ Lotte Sprengers ++ Ewoud Traast ++ Ari Versluis ++ Loek van Vliet ++ Simon Wald-Lasowski ++ Donald Weber ++ Raimond Wouda Staff of Lecturers in Theory ++ Elke van Eeden ++ Ingrid Grootes ++ Ellie Smolenaars ++ Martijn Verhoeven ++ Henriëtte Waal Guest Lecturers ++ Simon Bainbridge (external assessor June 2014-2015) ++ Kim Knoppers (external assessor 2012-2013, 2013-2014) ++ Paul Reas (external assessor 2013-2014, January 2014-2015) ++ Gerrit Scheurs (external assessor 2008-2009, 2009-2010) ++ Wim van Sinderen (external assessor January 20082009, 2009-2010) ++ Bart Sorgedrager (external assessor 2008-2009, 2009-2010) ++ Ruud Visschedijk (external assessor 2010-2011, 2011-2012, 2013) ++ Harvey Benge ++ Lars Boering ++ Koos Breukel ++ Sarah Carlier ++ Joerg Colberg ++ Anton Corbijn ++ Ad van Denderen ++ Hans Eijkelboom ++ Simone Engelen ++ Miklos Gaal

++ David Goldblatt ++ Brian Griffin ++ Vincent van Gurp ++ Ken Grant ++ Eddo Hartmann ++ Jacqueline Hassink ++ Pieter Hugo ++ Hans Kemna ++ Erik Kessels ++ Geert van Kesteren ++ Sjoerd Knibbeler ++ Annelies Kuiper ++ Ruben Lundgren ++ Susan Meiselas ++ Corinne Noordenbos ++ Monica Nouwen ++ Erwin Olaf ++ Martin Parr ++ Andrew Phelps ++ Louise te Poele ++ Willem Popelier ++ Leonie Hampton-Purchas ++ Eddo Hartmann ++ Paul Reas ++ Elza-Jo van Reenen ++ Roel Santvoort ++ Scheltens/Abbenes ++ Dayanita Singh ++ Michl Sommer ++ Bart Sorgedrager ++ Sterre Sprengers ++ SYB ++ Frido Troost ++ Marcel van der Vlugt ++ Bas Vroege ++ Hannes Wallrafen ++ Munem Wasif ++ WassinkLundgren ++ Henk Wildschut ++ Donovan Wylie ++ Miao Xiaochung ++ Louis Zaal ++ Jasper Zwartjes Workshop Photography ++ Frans de Grood ++ Andrew Valkenburg

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Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

competencies Propaedeutic Year

Main Phase, Year 2

Creative ability

You create work that explores new directions arising from the experiences and insights gained throughout the programme.

You are able to research and develop your own ideas in a methodical and well organised manner, drawing upon your artistic ambitions as photographers.

Capacity for critical reflection

You are able to discuss your own work and review its effectiveness and quality.

You are able to evaluate your own images and those of others with regard to content and to visual and communicative qualities, in addition to justifying your own photographic choices.

Capacity for growth and innovation

You are willing to make new discoveries and able acquire new knowledge, insights and skills regarding visual and theoretical aspects, as well as in the photographic field.

You know how to apply research in order to acquire new knowledge, skills and insights, using the criticism from others to continue developing your own work.

Organisational ability

You are able to develop and implement your own working processes and to document and archive your work.

You employ an inspiring way of working, managing your working processes efficiently in terms of time and priorities.

Communicative ability

You are able to justify your choices to use and implement certain sources, materials and/or visual solutions.

You are able to interpret assignments, debriefing them verbally and visually for specific goals and target groups.

Environmental orientation

You demonstrate broad interest in sociocultural developments, in addition to recognising different approaches in photography.

You research social and cultural sources in order to develop and identify a clear set of inquiries in your own work; they are able to identify the goal and audience for your photography.

Capacity for collaboration

You are able to realise your own goals while adjusting to others.

You are able to engage in collaborations, putting your talents to use within them.

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photogr aphy Main Phase, Year 3

Main Phase, Year 4

Creative ability

You are able to formulate ideas and define your goals, in addition to engaging in research in order to develop and implement your visual concepts.

You are able to develop, implement and contextualise distinctive imagery in a meaningful way, drawing on your artistic ambitions and the results of your research.

Capacity for critical reflection

You are able to adopt a position and relate your own work to developments within the discipline that are relevant to the cultural and societal context.

You are able to reflect on, analyse, interpret and judge your own work and that of others, thinking through the results in order to implement them positively in your own work.

Capacity for growth and innovation

You develop an authentic vision on photography, to which they are able to add depth.

You are able to develop the depth and breadth of your visions, work and working methods through a continuing process of research, thereby contributing to your disciplines and to society.

Organisational ability

You are able to find the proper balance between your journalistic and marketoriented activities and those of a more logistical, general and technical nature.

You are able to arrange inspiring and functional working situations and organise your research, work and practice.

Communicative ability

You are able to present and explain your work and working methods convincingly, while keeping your goals and the target group clearly in view.

You are able to present your visions, research and work convincingly, engaging in dialogue about it with clients and other interested parties.

Environmental orientation

You are able to make connections between your own work and that of others, as well as between your work and particular audiences. They are also capable of using your work to react appropriately to your target audiences.

You are capable of relating your authorship to the artistic and societal context.

Capacity for collaboration

You are able to operate in a goal-oriented manner within working situations, taking different roles and with different responsibilities and interests, in addition to applying your individual talents to reach common goals.

You are capable of making independent artistic contributions to communal products or processes.

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credit points overvie w Photography full-time documentary (part 1)

Year

Semester

2 2

3 4

Photojournalism

PhJour

Photography Fiction People

PhFicP

Documentary Photography

PhDoc

Photography Fiction Mise-en-scène

PhFicS

Photography Technical Skills, Technical Skills Lab

PhSk, PhSkL

Photography Documentary 1

PhDoc 1

Photography Documentary 2

PhDoc 2

Autonomous Photography

PhAut

Image Development (presentation in the 3rd & 4th year)

Digital Workflow & Skills, Digital Lab

DIGI, DIGIL

Graphic design

ABPPW: multi disciplinary projectweek

ABPPW

Audiovisual/film or Interactive Media Design

AV or IMD

Final year project(s) 1 (assignment)

EX1

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3 2

2 10

Final year project(s) 2 (per EX2 sonal profiling on 2 platforms)

Subtotal Artistic & Technical Skills

Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

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Year Semester

Art/Photography History and Reflection

APhH

Research and Discourse

R&D

Sociology

SOC

Film Theory or Media Theory (in combination with av or imd)

Fth or Mediath

Studium Generale

Thesis

Thes

Subtotal Theoretical domain

Programmed Professional PPSprog Practice Skills (nww, fieldtrip ao)

Integrated Professional Practice Skills

PPS

Internship: preperation, internship and report (*)

Subtotal Social & Professional domain

IST / Personal Programming & Projects

Subtotal IST

Total

IST

240

Career Orientation

(*) PHpt1 Personal archive, activities outside study program supported by the program PPS PHpt2 Orientation on the workfield PHpt3 Exhibition project PhPt4 Orientation on the workfield as a replacement for an internship. Taking part in Full Time PPS workshops supported by PPS classes without EC

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Year

Semester

2 2

3 4

Photojournalism

PhJour

Photography Fiction People

PhFicP

Documentary Photography

PhDoc

Photography Fiction Mise-en-scène

PhFicS

Photography Technical Skills, Technical Skills Lab

PhSk, PhSkL

Photography Fiction 1

PhFic 1

Photography Fiction 2

PhFic 2

Autonomous Photography

PhAut

Image Development (presentation in the 3rd & 4th year)

Digital Workflow & Skills, Digital Lab

DIGI, DIGIL

Graphic design

ABPPW: multi disciplinary projectweek

ABPPW

Audiovisual/film or Interactive Media Design

AV or IMD

Final year project(s) 1 (assignment)

EX1

112

3 2

2 10

Final year project(s) 2 (per EX2 sonal profiling on 2 platforms)

Subtotal Artistic & Technical Skills

Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

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photogr aphy Photography full-time fiction (part 2)

Year Semester

Art/Photography History and Reflection

APhH

Research and Discourse

R&D

Communication

COM

Film Theory or Media Theory (in combination with av or imd)

Fth or Mediath

Studium Generale

Thesis

Thes

Subtotal Theoretical domain

Programmed Professional PPSprog Practice Skills (nww, fieldtrip ao)

Integrated Professional Practice Skills

PPS

Internship: preperation, internship and report (*)

Subtotal Social & Professional domain

IST / Personal Programming & Projects

Subtotal IST

Total

IST

240

Career Orientation

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credit points overvie w Photography part-time documentary (part 1)

Year Semester

Photography Technical Skills, Technical Skills Lab

PhSk, PhSkL

Digital Workflow & Skills, Digital Lab

DIGI, DIGIL

Autonomous Photography

PhAut

Photojournalism

PhJour

Documentary Photography

PhDoc

Image Development (presentation in the 3rd & 4th year)

Graphic design

Final year project(s) 1 (assignment)

EX1

Final year project(s) 2 (per足sonal profiling on 2 platforms)

EX2

Subtotal Artistic & Technical Skills

112

4 4 4

2 10

APhH

Research and Discourse

R&D

Sociology

SOC

Film Theory or Media Theory (in combination with av or imd)

Fth or Mediath

Thesis

Thes

4 8

Art/Photography History and Reflection

Subtotal Theoretical domain

Interactive Media Design (in IMD combination w/ Media Theory) Audiovisual/film (in combination with Film Theory)

Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

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Year Semester

2 2

PPS

Internship: preperation, internship and report (*)

EVC (Elswhere Acquired Competences)

EVC

IST

240

Integrated Professional Practice Skills

Total

PPS prog

Subtotal IST

Programmed Professional Practice Skills (fieldtrip ao)

IST / Personal Programming & Projects

Career Orientation (also through selfstudy)

Subtotal Social & Professional domain

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2.7 Textile & Fashion

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2.7 Textile & Fashion 2.7.1 General description of the discipline The Bachelor course Textile & Fashion consists of two fully-fledged study programmes: Textile Design and Fashion Design. “L’art de capter l’air du temps.” –Coco Chanel The art of the designer could be described as ‘the art of capturing the spirit of the times’. Both the textile designer and the fashion designer must possess, develop and learn to refine this talent. If we look at history, the function of textile was traditionally limited to protection. Nevertheless, besides a purely functional purpose, weavers also managed to incorporate the spirit of the times. Cloths, carpets and fabrics, for example, reflected the history of a community or culture, its important events, status, wealth, vision, aesthetics and origin. In this sense, textile can be regarded as a canvas, reflecting traditions and the spirit of the time. The rich history of textile is therefore an important source of inspiration for both textile and fashion designers. The phenomenon of fashion, as we know it today, emerged much later. The real breakthrough occurred in the 19th century with the emergence of the bourgeoisie and individualism, which became a prominent theme in contemporary culture due to the Enlightenment. Charles Frederick Worth was the first dressmaker to present himself as an artist by signing his name to his work on a label sewn into the garment. He also decided to bring out a new collection every year, thereby introducing the phenomenon of constantly changing fashion trends. Later, at the beginning of the 20th century, Paul Poiret, who also surrounded himself with artists, continued to push the boundaries of fashion. Thanks to these pioneers, fashion was raised to a higher level and acquired artistic as well as purely functional value. Both disciplines, fashion and textile, originated from craftsmanship. The tailor’s and the weaver’s crafts remain the essential technical foundation from which our designers-to-be develop their unique, artistic style and express their creativity. Current state of the discipline Nothing reflects the times quite as truly as fashion and everything related to it.

Designers therefore need to be particularly sensitive to signs of transition. They must develop a talent for sensing future developments and responding to changes in society in a personal and visual way. They must find their own form of expression – one that is relevant within the realm of fashion or the world of textile. This is done by reflecting on fashion and textile, by analysing existing concepts regarding ethics and aesthetics, and by adopting the flexible attitude needed to survive in a constantly changing environment in order to make a statement nationally and internationally, and to keep reinventing themselves. To arrive at an individual visual language, designers must reach beyond the limits of the discipline in search of innovative forms and textures. Today’s designers must therefore immerse themselves in every form of art and culture from which inspiration could be derived, as well as be capable of thinking and acting in an interdisciplinary way. They must be able to develop their own voice in a globalised fashion or design industry – a voice that makes a difference. 2.7.2 Study profile Contemporary professional practice: The professional profile Textile and fashion designers develop a special skill, a visionary perspective that allows them to capture the spirit of the times better than anyone else. To cultivate this sensitivity, KABK’s study programme devotes much attention to reflection and research. The time in which we live as well as the past, the arts and the social context are important. Designers should by nature be interested in the new and unfamiliar. Rather than limiting themselves to their own domain, an interest in other disciplines such as art, sociology, anthropology, semiotics, psychology and visual culture is required, allowing them to draw artistic, practical and theoretical knowledge from these sources in order to develop a unique vision and create authentic work in the form of a collection. Of course, designers will also familiarise themselves with the textile and fashion world to determine their own role and place in the industry. The Textile & Fashion domain is very diverse and calls for a disciplined approach and attitude. It encompasses not only creation but also visualisation, environment, execution, presentation,

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communication and professional behaviour. Designers must be able to evolve and grow, and develop a strong vision that makes a difference. Whether they opt for their own label or work in teams for large fashion houses, it is imperative that they master their craft perfectly. It is also important that designers are broadly developed, so that they are in tune with society and are able to create their own vision of it. Sound professional knowledge, coupled with relevant creativity, innovation and accurate experimentation, is absolutely central to our programme. Fashion designers The focus of Fashion Design is on the necessary and specific skills of the craft. Alongside the importance of craftsmanship, most attention is devoted to innovation, experimentation, creativity and relevance. The emphasis is on artistic authenticity. Students are encouraged to push their boundaries and develop their personalities as fully as they can. Finally, the programme includes everything that forms part of the spectrum of fashion, such as photography, style, image development, presentation, communication, space and time. The ultimate goal: addressing fashion in the broadest sense of the word. Textile designers Textile Design offers a very broad spectrum of professional opportunities. These opportunities will all be explored during the programme, giving students the freedom to decide what kind of designers they want to be: autonomous designers, interior designers, industry or product development designers, or designers for fashion collections, to name a few possibilities. It goes without saying that when it comes to textile, the development and processing of materials plays a crucial role. In the programme, this knowledge is linked to ultimate creativity. The freedom to experiment with various disciplines during the four-year course will allow students to make interesting – as opposed to obvious – choices, develop a strongly content-oriented signature style, and discover their identity as a textile designer. Description of the programme The objective of the study programme is to train students to be independent and professional designers. We guide their individual development process in a semiprofessional context.

What is unique about KABK is that the Fashion Design and Textile Design courses are integrated into one study programme. However, each specialisation has a separate approach and trajectory, allowing students to graduate in either Fashion or Textile. This ensures interaction and unique opportunities for creative cross-pollination, which gives this course a specific identity. In 2003, the study programme of KABK’s Textile & Fashion department was completely rewritten following the model of the fashion department of the Royal Academy of Fine Arts in Antwerp, which regards creativity, innovation and relevance as key capabilities. KABK shares this philosophy and has applied it to its study programme in The Hague. Complex professional knowledge forms the basis with which future fashion or textile designers launch themselves into further endeavours in the discipline to create the most relevant collection or project possible. Designing a collection or creating a textile project therefore plays a central role in the programme. Students are encouraged to develop their personal vision, style and creative signature. Finding a relevant balance between fashion on the one hand, and the textile aspects of their work on the other, is essential. After the first joint semester in the propaedeutic year, the textile and fashion specialisations separate into two different programmes. Students are required to choose one of these programmes. Each programme is characterised by extensive and intensive research, supported by theoretical subjects designed to provide students with the required content-based skills. Courses such as Art/Fashion/Philosophy and Textile, Design and Costume History form an important part of the curriculum and are included to stimulate the development of a relevant and personal creative interpretation. From the second year, a historical costume or object, and in the third year, an ethnic costume or item, will be given as study assignment. This assignment is seen as an important analysis and reflection exercise, and forms an inspiring basis for the development of the student’s own professional collection. Another important course in the programme is Drawing. Through model drawing students are taught to examine, to analyse and to think and design threedimensionally. The ultimate goal here is to develop an authentic visual language. Fashion drawing gives students the

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opportunity to develop their artistic talents and qualities as designers while teaching them to design and communicate. Finally, technical skills are essential in order for the students to be able to express all that creativity and to create an innovative and experimental, high-quality collection. Hence the focus on the technical aspects of the métier. In the textile programme a central place is dedicated to exploring the three main technical skills: weaving, knitting and printing. The fashion programme focuses on experimental pattern studies, modelling, tailoring and finishing. Final qualifications for Textile & Fashion Graduates are expected to meet the final qualifications formulated by KABK, which are listed in the competencies table at the end of this chapter. Diploma Graduates are awarded the Bachelor of Design (Bdesign) degree in either Textile Design or Fashion Design. This qualifies them for postgraduate programmes in the Netherlands or abroad. Postgraduate studies After obtaining the Bachelor degree in fashion or textile design, graduates may enrol in a Master programme in either fashion or textile design (Mdesign). For fashion designers, these postgraduate programmes allow them to focus on collections, accessories and specialisations. Textile designers focus on the interior, the industry, product development and concept design. 2.7.3 Study programme overview: full-time The Textile & Fashion department only offers a full-time, four-year programme. The first year is the propaedeutic year, which is followed by the main phase. After the second and third years, the final year is completed with an internship, a thesis and a fashion collection or textile project. The propaedeutic phase can be regarded as an orientation year in which the students, during the first semester, explore challenges in both disciplines with regard to form, 3D, materials and techniques. With the exception of the propaedeutic year, in which the design assignments are mostly experimental in nature, the following three years are fully devoted to the development of a professional collec-

tion or project. The designs are assessed based on the professional standard. To mimic a real-life professional environment, the work of students is evaluated on the basis of fittings and the feedback of teachers, each of whom are experts in their field. Attention is paid to quality, the entire work process, volumes, materials, drawings, execution, as well as to samples and essential research. The final year culminates in a fashion show for the fashion designers and in installations for the textile designers. Each academic year is divided into clusters which each represent a specific domain in the programme and become more refined and distinctive with each study year. These clusters are: ++ Design I: textile design, fashion design ++ Design II: technical design (textile) , technical design (fashion) ++ Visualisation: visual development, photography ++ Drawing: model drawing, 2D forms and colour studies, fashion drawing ++ Theory: art history, fashion, textile and design history, thesis ++ Other: internship, Individual Study Track Individual Study Track (IST) The Individual Study Track is a one-day, weekly programme in which students develop their own highly individualised programmes, in which anything is possible as long as it is related to their own artistic research. 2.7.4 Educational and professional objectives The assignments in each study year are clearly aligned to serve a collection or graduation project. They are designed to guide the students in their search for a personal style and creative signature. In addition, guest lectures and workshops are organised about specific professional domains. Artistic technical domain Propaedeutic year Orientation to the professional field In the propaedeutic year the focus is on the disciplines of Textile Design and Fashion Design, enabling students to orient themselves prior to choosing one of these directions in the second semester.

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Then a foundation is laid for a professional and international vision and development. Knowledge and the mastery of materials, techniques and conceptualisation are developed throughout the programme and, from the first year, form one of the most important pillars for expressing their creativity. In the propaedeutic year, creativity is stimulated and encouraged in students by allowing them to experiment freely, giving them the opportunity to discover and explore their creative personalities as thoroughly as possible. Textile students explore the various possibilities and disciplines that the world of textile has to offer. Fashion students experiment with forms, expressions, techniques and a wide range of materials, exploring innovative ideas and the interaction between fashion and the human body. The propaedeutic phase offers a wide range of supporting subjects. Knowledge of textile, various textile processing techniques and experimental formal studies, together with image development and drawing, are the basis for elaborating on a concept and arriving at a design process. At the end of this year, the experimental designs are presented in combination with the outcome of the clusters. For the fashion designers, this is a skirt, a dress and an experimental creation; for the textile designers, a reversible kimono, a personal textile archive and an experimental design. All first-year students follow classes in pattern drawing and technical subjects such as knitting, weaving and printing. This gives them a useful repertoire of skills upon which to draw in their further studies, generating added value for both disciplines.

which creating a historical costume in fact is, the assignment is expanded to include self-selected sources of inspiration, which are used to create a relevant, contemporary design and interpretation. At the end of the study year, the fashion students present the results of all clusters, their replica of a historical costume and a coherent collection of four outfits inspired by it.

Year 2 Historical and social research

Fashion Design After having explored the history of the historical costume, third-year students conduct research into the many different types of ethnic groups. Each fashion student chooses a folkloristic or ethnic costume for their collection as the point of departure for an extensive study. Insights gained into ethnic, technical and social characteristics, supplemented by new sources of inspiration, are used to design a relevant, contemporary collection. At the end of the third year, the students present the results of all clusters, their replica of an ethnic costume and a collection consisting of six silhouettes.

Fashion Design For second-year students of fashion, an intensive study of a historical costume forms the starting point for the development of an individual collection. Students choose a historical costume and use this period as a guideline, source of inspiration and research base from which to design a contemporary, personal and authentic interpretation. This is an exercise in analysis and research into sociological and historical contexts, techniques, materials, colour and texture. Based on the information gathered, the students then develop a replica that reflects the original as faithfully as possible. After this research phase,

Textile Design Textile students also choose a historical object, figure or material as the starting point for their research into context, materials and techniques. They, too, make a replica of their selected object. Using the information obtained about materials, colours, techniques and social context, supplemented by new sources of inspiration, the students are expected to present their work in the form of an installation that makes a contemporary, adequate and innovative statement. Like the propaedeutic year, the second year offers students the freedom and opportunity to experiment with a range of basic techniques, including knitting, weaving, printing and patterns, and to explore different textile disciplines as a career option, such as interior or fashion. Students may decide to move in the direction of sustainable or innovative textiles, or they may choose an autonomous approach. At the end of this study year, the students present the results of all clusters, their historical textile replica and the contemporary three-dimensional interpretation of the design. Year 3 Delving into the diversity of ethnic groups

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Textile Design Textile students study an ethnic or folkloristic textile or object to learn about a culture which serves as a source of inspiration for an individual collection. Their research includes analysing historical, cultural and anthropological data, conducting technical research and studying materials, colours, techniques and textures. The students experiment with various techniques in their search for alternative ways to produce a replica of the selected textile or object. Personal horizons are expanded by drawing inspiration from other sources in order to arrive at a relevant interpretation. The aim of the assignment is to incorporate all this research material in a contemporary and innovative textile project which includes various contrasts, structures, movements, varieties and forms. At the end of the third year, the students present the results of all clusters, their replica of an ethnic textile or object, and their contemporary textile project with a three-dimensional translation. Graduation year Individual collection Fashion Design In the final phase of the programme, during the graduation year, students are free to choose a theme of their own. The emphasis during this phase is mainly on the students’ individual and autonomous creation process and their personality as a future designer. The theme and the source of inspiration serve as a guide to arrive at a relevant contemporary interpretation, via their personal blueprint and creative signature. All acquired interdisciplinary skills will be utilised during this stage of the programme and the graduates will develop partnerships with photographers, graphic designers, fashion agencies, businesses and communications officers. In their thesis, students reflect on their own work, the relevance of their designer role and critically reflect on their learning path. The fashion designers must have completed all clusters by this phase, and are expected to present their thesis and a collection of 10 silhouettes. Textile Design The textile designers are also free to choose a theme and a textile discipline for their graduation project. This project must be of high quality and be an expression of the graduate’s creative personality. The final project must be a three-dimen-

sional installation. The textile design, entire research process and personal experiment with different textile techniques will be evaluated. Like the fashion students, the textile students work in an interdisciplinary manner to achieve their project goals and are expected to present the final result in a visual way. The textile designers must have completed all clusters by this phase, and are expected to present their thesis and a three-dimensional textile project. Walk-through and concept discussion The final result, the fashion collection or textile installation, is presented to a team of lecturers with their own professional practices from the first year onwards. For the fashion designers, the presentation includes a number of fittings; for the textile designers, it takes the form of an installation. The fashion designers will be evaluated based the skills they have developed and which are necessary for the métier, such as insight into formal studies, cut, pattern knowledge, moulage, drapery, modelling, knowledge of machinery and materials, converting two-dimensional images into three-dimensional forms working from a fashion drawing, sewing techniques and finishing. For textile designers, knowledge of textiles is of paramount importance. Students are expected to master all the techniques and finishes, and must be able to apply them to their creation or design, which of course must reflect their unique vision and personal creative style. Supporting courses Visual development This course focuses on the development of a unique visual language. Students learn how to create images and make them concrete through the use of collage, photography and drawing. A personal style or ‘signature’ is obtained through intensive research, image analysis and drawing. Students learn to turn experimentation, creativity, innovation, reflection, knowledge, intuition, emotions or passion into a visual language that is unique to them. This process is also useful in developing their own artistic vision and will give them the tools to communicate with the outside world, including the professional world, through these images. This visual language will be used in a later stage to create a house style,

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collection books, websites and portfolios for the purpose of internships, the press, magazines, competitions, job applications and individual projects. Photography Through photography, the students first learn to observe, and later also to visualise. The visual culture is an important source of inspiration and offers students a framework for developing their own contemporary images.

tion to surroundings, society, behaviour and standards in relation to the fashion trends. Students also develop a critical attitude towards fashion trends and fashion in general. They are provided with a chronological overview of western costume and clothing history and design and they conduct research on the relationship between lifestyle, crafts and techniques.

Thesis Upon entering the final year, students have knowledge of the most important Drawing developments in art and design. They Drawing is an important component of the are able to reflect, undertake independacademic study programme and many ent research and present their findings aspects of this discipline are covered, orally and in writing. In this study compoboth in the Textile Design and Fashion nent, each student is individually superDesign programme. The ultimate ‘goal’ vised in the completion of the programme for each field is the development of a per- with a thesis that is relevant to the work, has substantial depth and that provides sonal style. In the model drawing lessons, the insight into the student’s views and opinfocus is on drawing from the nude and ions about art and design in a contempostill-lifes, through which students are rary and historical context. Students are taught about anatomy, proportions and also expected to provide a written expladrawing techniques. nation of their work for the final examiTwo-dimensional forms and colour nation, along with a core description of theory are topics in which themes such themes and point of views. as space, colour and line are explored. Fashion drawing helps the fashion Professional social domain students develop their own artistic expression and create a design from the drawProfessional development ing board. Textile students search for their The final assessment in the final phase own form of expression and learn to vis- also marks the achievement of the career ualise the design process by instruction preparation. and practice in observational drawing. The presentation of the textile and fashion collections is organised as an Theoretical domain independent exhibition of the graduate’s work in the city of the Hague. Students Art history complete the final presentation by adding All students at the Academy need a solid their own surroundings or contexts and theoretical base. In addition to knowledge, by directing the presentation themselves. this foundation rests upon insights into The members of the final examination such aspects as history, paradigms, the- committee evaluate the graduation canories and processes that are related to didates and their collections. The departthe students’ disciplines, as well as to ment’s exhibition also offers students the other disciplines that could help students opportunity to display their work to fashion develop as individuals and as designers. and textile professionals, the press and a A basic knowledge of art history and phi- large audience. losophy is essential to the meaningful The second phase of the presentarealisation of the professions of textile and tion evaluation focuses on the following fashion design within the general frame- aspects: work of artistic development. ++ synthesising the design procedure with Fashion, textile a personal signature (total collection and design theory of 10 outfits and a textile installation) Fashion theory addresses the rela- ++ developing a personal style (image) tionships between fashion and soci- ++ developing a general style (for Exposed: ety, between fashion and context and the textile and fashion exhibition at the between fashion and culture. Students end of the school year) are introduced to the social and sub- ++ completing the portfolio stantial functions and relevance of fashion. The course constitutes an orienta138

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++ realise a magazine in collaboration with external agencies (graphic design department/agencies, model agencies, photographers or department), advertising, printing ++ preparing the individual presentation and reception ++ preparing the installation for Exposed and the general graduation show ++ internship Assignments Propaedeutic year Unlimited creativity in combination with thorough technical research and formal studies are the basis for the first-year assignments. The first semester includes: ++ Designing and conducting preliminary studies for creating a cotton skirt: study of form, material and expression. ++ Designing and conducting preliminary studies for a textile work with a personal signature. The second semester includes: Fashion Design: ++ Designing and conducting preliminary studies for a dress in an experimental material of the student’s choice. ++ Experiment in which at least three different materials are used for one silhouette. Textile Design: ++ Reversible kimono for which different techniques (e.g. knitting, weaving and printing) are used. Study programme components ++ Textile and fashion design ++ Technical textile and fashion design: weaving, knitting, printing ++ Visualisation: visual development ++ Drawing: model drawing, fashion drawing, 2D forms and colour studies ++ Theory: introduction to general art history, introduction to science, costume and design theory Year 2 ++ Study of a historical costume, figure or object and the creation of a replica using all the information obtained. This study is an exercise in form, technique, context and style. The replica should be made from white cotton and reflect the original as faithfully as possible.

++ Designing, drawing and creating a collection of four fashion outfits or a textile installation. Research and presentation form part of the process. The starting point is a historical perspective and a freely chosen source of inspiration. The Textile programme also includes colour studies. Study programme components ++ Design I: textile design or fashion design ++ Design II: technical design textile, and technical design fashion, draping ++ Visualisation: visual development, photography ++ Drawing: model drawing and 2D forms and colour studies, or model drawing and fashion drawing – technical drawing ++ Theory: art history, fashion theory ++ Individual Study Track. Year 3 ++ Research into and creation of a replica of an ethnic costume and/or object (including preliminary studies) . The replica should reflect the original as faithfully as possible, both in terms of material use and colour use. The costume will be presented in an appropriate atmosphere, setting and casting. ++ The purpose of this assignment is to arrive at a contemporary and authentic interpretation. For Textile, the focus this year is on texture. Study programme components ++ Design I: textile or fashion design ++ Design II: technical design textile and technical design fashion, draping ++ Visualisation: visual development, photography ++ Drawing: model drawing and 2D forms, colour studies, or model drawing and fashion drawing, technical drawing ++ Theory: art history, fashion theory, business plan writing ++ Individual Study Track Year 4 ++ Creation of a final collection working from a freely chosen, well substantiated theme. For the fashion designers, the graduation project comprises a collection of ten silhouettes. For the textile designers, the graduation project is a textile project with a three-dimensional translation.

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++ Design, realisation from start to finish, and presentation of a collection of ten fashion outfits with appropriate casting, including intensive research and drawings. Or a textile project with a three-dimensional translation, in combination with an interesting experiment and textile design. In the final year, textile graduates will also make a magazine and organise an exhibition with installations of their own work. Fashion graduates will organise a fashion show that resembles those in the professional fashion world. Study programme components ++ Design I: textile or fashion design ++ Design II: technical design textile and technical design fashion, draping ++ Visualisation: visual development, photography, portfolio, magazine ++ Drawing: model drawing ++ Theory: thesis ++ Other: Individual Study Track, internship

2.7.5 Organisation of the department The head of department is responsible for the department’s policy and all aspects related to this policy. The team of lecturers reflects the content of the programme and its professional structure. Many of the lecturers have an international background and their own professional practices in which they work independently or in teams. The diversity of the team of lecturers ensures that students are confronted with a wide range of aspects and approaches relating to the profession. Specific practical knowledge is also offered through guest lectures. Head of department ++ Jurgi Persoons j.persoons@kabk.nl Coordinator ++ Gerrit Uittenbogaard g.uittenbogaard@kabk.nl ++ Sanne Jansen s.jansen@kabk.nl

Credit points overview NOTE: for the most current overview of credit points please visit: www.kabk.nl > studies > textile & fashion

Internship coordinator ++ Gerrit Uittenbogaard g.uittenbogaard@kabk.nl Team of lecturers ++ Els de Baan ++ Anoek van Beek ++ Hil Driessen ++ Jan Jan van Essche ++ Chris Fransen ++ Hilde Frunt ++ Desiree Hammen ++ Eric Hirdes ++ Mirjam Ingram ++ Elisa van Joolen ++ Nico Laan ++ Natasja Martens ++ Jurgi Persoons ++ Joost Post ++ Peter de Potter ++ Laut Rosenbaum ++ Wim Ros ++ Neeltje Schoenmaker ++ Gerrit Uittenbogaard ++ Bob Verhelst ++ Roy Verschuren ++ Robert Volmer ++ Ellen Vos ++ Marina Yee

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Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

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competencies Propaedeutic Year

Main Phase, Year 2

Creative ability

You are able to develop designs, images or spatial works in which they explore new directions, based on the insights and experiences they have gained in the course of the programme.

You are able to work on design problems, drawing upon your own ideas and artistic ambitions and according to a personal method.

Capacity for critical reflection

You are able to reflect on your own work and evaluate its effectiveness and quality.

You are able to reflect on your own work and that of others, evaluating its effectiveness and quality.

Capacity for growth and innovation

You are able to acquire new knowledge, skills and insights on a theoretical and practical level.

You are able to apply newly acquired knowledge, skills and insights to the development of your own work.

Organisational ability

You are able to develop your own work processes, and they are capable of documenting and archiving your work.

You are able to adopt an inspiring manner of working and manage your work processes effectively in terms of time management and prioritisation.

Communicative ability

You are able to support your choices with regard to sources, materials and/or design solutions.

You are able to interpret assignments and provide debriefings in words and images.

Environmental orientation

You have broad interest in social and cultural developments, and they are able to recognise different visions on design.

You find inspiration in social and cultural developments, and they are able to identify them in your own work. They are also able to identify the target group for your work.

Capacity for collaboration

You are able to realise your goals in consultation with others.

You are able to engage in collaborative partnerships with others, and they are able to employ your talents in collaborative projects.

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Main Phase, Year 4

Creative ability

You are able to formulate design problems and apply research in order to develop design solutions.

Capacity for critical reflection

You are able to relate your work to developments within the field and within a cultural and social context, and to take a position in this regard.

You are able to consider, analyse, explain and assess your own work and that of others, and are capable of abstracting the outcomes for the benefit of your own work.

Capacity for growth and innovation

You develop personal visions on design based on an open attitude.

Organisational ability

You are able to find balance between subjects, facilitation and production-aimed activities.

You are able to create an inspiring and functional working environment and organise your research, work and practice effectively.

Communicative ability

You are able to present and explain your work and methods in a convincing manner.

You are able to present your vision, research and work, engaging in dialogue about it with clients and other interested parties.

Environmental orientation

You are able to make connections between your own work and that of others, and between your work and the public. You are able to adapt your work appropriately to your target group.

You are able to relate your own design practice to the artistic and social context.

Capacity for collaboration

You are able to effectively operate in different roles and with different responsibilities within the design process.

You are able to make an independent artistic contribution to collaborative products or processes.

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credit points overvie w Fashion

Year Semester

Textile and Fashion Design

Fashion Design

Technical Aspects and Skills

Draping

Introduction to Textiles and Weaving

Knitting

Print and Dessin

Model Drawing

Fashion Drawing

Technical Drawing

Visual Development

2D Forms and Colour Studies

Photography

Fashion and Textile History

Art / Fashion Filosophy

1 3

Studium Generale

ABPPW

Research and Discourse

1 3

IST

Thesis

Internship

Graduation Project

Business Plan Writing

Total

Note that although classes are scheduled for all subjects in semester 8, they are all supporting the Graduation Project. Therefore, the associated workload is included in the Graduation Project. Note: 5EC will be deducted (put on hold) from the obtained study credits in case of an insufficient collective grade. Please note that the credit points overview is subject to change. For the most current information visit www.kabk.nl.

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Year Semester

Textile and Fashion Design

Fashion Design

Technical Aspects and Skills

(Introduction to) Textiles and Weaving

Knitting

Print and Dessin

Model Drawing

Fashion Drawing

Visual Development

Concept and Perception

Textiles and Space

2 1

2D Forms and Colour Studies

Photography

Fashion and Textile History

Art / Fashion Filosophy

Studium Generale

ABPPW

Research and Discourse

1 3

IST

Thesis

Internship

Graduation Project

Business Plan Writing

Total

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3. Preparatory Education

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3.1 Preparatory Courses

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3.1 Preparatory courses The Royal Academy of Art (KABK) in The Hague offers the following options to prospective students wishing to prepare themselves for one of the regular study programmes at the Academy: ++ School for Young Talent ++ Preparatory year ++ Orientation course ++ Combined education ++ Kids Club In addition, several secondary schools participate in partnership projects with the Academy, which allow pupils of these schools to take classes at the academy as part of the regular art curriculum. Whenever possible, the Academy provides the art and visual education classes (KUBV; formerly the third level of cultural and artistic education, or CKV 3) in the upper levels and fulfils the examination requirements established for this course. Such partnerships have been concluded with the following schools:

the routes that are best suited to them. The KABK offers the following preparatory courses: ++ Kids Club (Years 7 and 8 of primary education: ages 10-12) ++ Partnership arrangements with secondary schools (Segbroek College in The Hague, Bonaventura College in Leiden, Rijnlands Lyceum in Wassenaar and Zandvliet College in The Hague) ++ School for Young Talent (our own secondary school pupils of HAS, HAVO and VWO) ++ Combined education, in which secondary pupils take classes within the art plans or the School for Young Talent ++ Preparatory Year (full-time for one year after secondary education) ++ Orientation Course (Saturday Course) Participation in one of the Preparatory Courses is subject to admission. Applicants should bring as much different work as possible to the admission interview. Appointments can be made through the Student Administration office.

++ Segbroek College, The Hague ++ Bonaventura College, Leiden ++ Rijnlands Lyceum, Wassenaar ++ Zandvliet College, The Hague

More information Chief Coordinator for Preparatory Courses

Efforts are currently underway to expand the range of art programmes offered and the coverage within the surrounding area. Several schools in Zoetermeer and Alphen aan de Rijn are currently in consultation with the KABK regarding the possibility of joining the preparatory courses. General information The KABK offers a wide range of preparatory courses. All are aimed at bringing people into contact with art education and offering them programmes that correspond to their specific needs and levels. Selection and orientation are key terms in this regard. On the one hand, the Academy wishes to offer talented people the opportunity to enhance their qualifications, the ultimate goal being for them to be able to progress to professional art education. Secondly, the preparatory courses offer participants the opportunity to investigate whether a study programme at the Academy and the prospect of a career as an artist or designer are a viable option for them. The possibility of transferring between the various preparatory courses gives participants as many opportunities as possible to follow

++ Zanne Zwart z.zwart@kabk.nl Coordinator of Preparatory Year ++ Nieke Koek voortraject@kabk.nl Admission consultation hours: by appointment, admission consultation hours for pupils and parents: by appointment. 3.1.1 School for Young Talent The School for Young Talent (SYT) is a school established by the University of the Arts, The Hague, for pupils in primary education (Years 7 and 8) and secondary education. The school offers programmes at three levels of the Dutch school system: HAS, HAVO, and VWO. The school is open to pupils who would like to progress to the KABK, the Royal Conservatoire or the Conservatoire’s Dance Department. The SYT is a small-scale programme in which individual attention for pupils plays a central role. The education is offered in the framework of the HAVO and VWO subject clusters Culture and Society. Other

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profiles or subject choices are possible through the Academy’s intensive partnership with the Rijnlands Lyceum in Wassenaar. An administrative partnership exists between the SYT and the Haagsche Schoolvereniging and the Rijnlands Lyceum in Wassenaar. The schedule is arranged in such a way that pupils taking the art component take classes at the Academy at least four times a week. The fixed school subjects are taught in secondary school building housed within the Royal Conservatoire. In this building, the pupils in the visual art group take combined classes with pupils of dance and music. Participation A two-part admissions procedure applies for pupils wishing to participate in the combined classes at the SYT and the KABK. Although pupils in Year 8 of primary school can undergo the admissions process, pupils can only enter in the art department of the SYT once they have started secondary school. Candidates are assessed to determine whether their artistic level is sufficient for the classes at the Academy. In the case of a positive assessment, an interview follows with the director of the SYT in order to determine whether the applicant’s academic level is sufficient and whether it corresponds to the educational programme offered. If both components receive a positive assessment, the applicant can be placed in the KABK/SYT. Interim admission (i.e. in all years and at all levels) to the SYT is possible. In practice, this does not apply to the examination year. Interim admissions require consultation with the educational programme that the student has been following up to that point. Many individual-level variants are possible, that can result in a regular HAVO or VWO secondary-school diploma in addition to preparation for the Academy. For the 2015/2016 academic year, the tuition fees for the SYT are set at € 1,750. This does not include costs for materials and excursions. For additional information, please see the separate brochure from the School for Young Talent. See also: ++ www.svjt.nl ++ www.koncon.nl Pupils who have been admitted for the programmes in visual arts take classes at the Royal KABK in The Hague, which is located at 10 minutes’ walking distance from the Conservatoire. Classes offered in

the initial phase of secondary school education introduce pupils to various materials and techniques and teach them to realise and elaborate their own ideas, in addition to other opportunities. This provides students with a good foundation for the secondary phase, where they make well-considered choices and enter a more individually oriented track, in preparation for a subsequent study programme in art education. In the examination year, each pupil builds up a broad portfolio specifically aimed at admission to one of the study programmes of the KABK. Courses included in the curriculum of the art component include Drawing/ Painting, Photography, Graphic Techniques, 3D, Concept Development, Theory, Interdisciplinary and Art Theory, in addition to supplementary modules that provide orientation with regard to the various specialisations offered at the KABK. Students also have the opportunity to work independently within the Academy and to use various facilities, including the library and the wood, metal, multimedia, 3d printing, photography, graphics and textiles workshops. Customised curricula are possible, in consultation, provided that the overall range of education allows for this. Pupils attend the KABK for at least three half-day periods each week. They are supervised by lecturers who are familiar with both secondary education and the training provided at the Academy. All the lecturers are practising artists themselves. Collective assessments are conducted twice a year. For the ‘Christmas’ and ‘Summer’ assessments, individual pupils create displays of their work from the past semester in designated locations within the Academy building. The team of lecturers views these presentations jointly, asks the pupil questions, and issues an assessment. If the Christmas assessment is unsatisfactory, the participant has the time remaining until the next assessment in which to improve. In most cases, if the final assessment of the school year is unsatisfactory, the participant will not be allowed to continue the study programme. In special cases, participants may be allowed to retake the art component, to perform a task or to receive a conditional pass for the art component. The curriculum devotes considerable attention to excursions, cultural trips and exhibitions. There are also many projects in which the pupils participate. Participants can also use the facilities offered by the Academy, subject to the rules regarding safety relative to their age. A separate

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classroom area is reserved exclusively for use by pupils of the School for Young Talent. The ‘SYT Workshop’ is launched in the 2014/2015 academic year. This classroom space has the form of one large communal workshop. Additional information is available on the website and in the BK newsletters at www.svjt.nl. Study variants Pupils can participate in the programme from the first year of secondary education. Pupils who are even younger can take a selection of subjects at the Academy in combination with the programme provided by their own school. It is also possible for pupils to transfer in later years. Pupils who have completed the theoretical track of VMBO at another secondary school can apply for admission to the School for Young Talent to complete the HAVO curriculum in combination with the visual arts programme. Pupils who attained the HAS traject and took a State Examination at VMBO theoretic level, can follow a special programme by contract and take several HAVO subjects. This contract is rewarded a sufficient level for the pupil to do admittance for a Bachelor study at the KABK. Special combined learning track It is possible to combine secondary education at the KABK with an external study programme. This is usually arranged on a case-by-case basis, because the schedules do not always mesh. In theory, it should be possible to follow at least part of the curriculum followed by pupils of the School for Young Talent. Participation in this preparatory track is subject to an admissions procedure. Where possible, the applicant’s own school will be consulted, in order to determine to what extent participation in the preparatory track can be combined with the regular school curriculum. This form of participation is offered in exchange for a fee, based on the number of classes/half-day periods taken. Pupils taking final examinations at the School for Young Talent in the visual arts programme receive a separate certificate for the art component. After earning their HAVO diploma, a pupil can apply for admission to the KABK. The following KABK study programmes are offered at the level of higher professional education (HBO): Fine Arts, Photography, Graphic Design, Interior Architecture and Furniture Design, Textile and Fashion, Interactive/Media/Design and Inter-faculty ArtScience. A separate admissions pro-

cedure is required for these programmes, linked to the final examination for the visual work. These admissions are usually organised jointly with students in the Preparatory Year. Admissions Pupils who want to participate in the combined classes offered by the School for Young Talent and the KABK must undergo an extensive admissions procedure. Interim admission to the School for Young Talent is possible. To apply for admission, the pupil must contact the Student Administration office at the KABK (+31 (0)70-3154770) to make an appointment. The pupil is asked to bring a portfolio (i.e. a folder composed of original work created by the student) to this appointment. They can also bring a laptop to display videos, photographs or other digital products. Pupils are expected to use this work to demonstrate what they have been doing recently. The work will be examined for evidence of creative capacity, motivation, aptitude, ideation, uniqueness/originality and capacity for growth, in addition to diversity and the ability to work with materials and techniques. All of these aspects are discussed with the student during the interview. After the admissions interview, a decision will be taken on whether the pupil is eligible for admission or whether a second interview will be held, possibly with a follow-up assignment. If the pupil is eligible for admission, a second admissions interview will be held with the director of the school to look at the academic component. If this aspect is also satisfactory, the pupil can be given a place. For additional information about admissions procedures for the various study programmes, please visit the website www.kabk.nl. SYT Director ++ Jan van Bilsen Head of the SYT Visual Arts Department ++ Zanne Zwart voortraject@kabk.nl 3.1.2 Preparatory Year The Preparatory Year is aimed at motivated people who still lack sufficient preparation to be admitted to the regular study programme or feel a need for a broad orientation preparation before starting their regular studies at the Academy. The Pre-

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paratory Year prepares participants for all the study programmes offered by the KABK. The objectives of the Preparatory Year are orientation, selection and stimulation. Admissions If you want to participate in the Preparatory Year you need to undergo an admissions procedure to see if you can develop to be a part of the professional art programme and are motivated to fulfil the whole year. Your skills and knowledge according to the world of art are rated. Your work will be examined for creative capacity, motivation, talent, ideation, originality and capacity for growth (openness), in addition to diversity and the ability to work with different materials and techniques. This consists of an interview and a presentation of work. After the final assessment of the Preparatory Year, and depending on the study outcomes, students may be admitted to the regular study programme at the Academy. In addition to the possibility of applying for direct admission to the Preparatory Year, some students who have registered for the regular degree programme may also be advised to take the Preparatory Year first. The Preparatory Year is aimed at people who have already earned a VWO, HAVO or MBO 4 diploma. For applicants who do not yet meet this admission requirement, there is also an option of completing the required prior education through a contract with the School for Young Talent (SYT) , the Academy’s own secondary school. Information about this option is provided under the heading ‘Special Combined Learning Track’. Applicants can also take a special test to demonstrate that their academic capacity is equivalent to the HAVO level. We therefore advise all Preparatory Year participants who have not completed HAVO, VWO or MBO to take this test as soon as possible. If the outcome of this test is negative, the student is advised against further participation in this preparatory track and encouraged to seek another more suitable study programme outside the Academy. Additional information may be obtained in a consultation for the preparatory courses. Appointments for the admissions consultation hour can be made through the Student Administration office: +31 (0)70 315 47 70

Curriculum The curriculum consists of a diverse range of classes taught by lecturers affiliated with the KABK. The courses offered could be described as ‘observing and processing the world around you’, ‘observing and processing the art world’, ‘presentation’ and ‘disciplines’. These courses focus on communication skills and the capacity to transform experiences and observations into images. There is an emphasis on the study attitudes and mentality that are needed to study at the Academy. The year can be divided into three periods. The period before the Christmas vacation is characterised by a broad orientation and includes assignments with a wide scope, leaving space for individual interpretations and approaches. During the first period, students gain considerable experience viewing exhibitions, films and other cultural expressions, and formulating reactions to these. A subscription to the Filmhuis and Theater aan het Spui is included in the first period. The study programme demands full-time effort, autonomy and active participation from the students. After the first semester, students choose the directions they wish to pursue further. As a result, the second semester, which runs from January through March, has a more individual character and focuses more specifically on a particular subject area. Students are brought into contact with the Bachelor department of choice at the Academy. The third part of the programme consists of six weeks, starting from late March, during which students work in the Bachelor departments they have chosen, preparing themselves for the admissions procedure that will follow in late May. As the above overview shows, this programme has a tiered structure. Customised curricula are possible, in consultation, provided that the overall range of education allows for this. It is also possible to work in a variety of workshops, subject to the procedures and rules that apply there. A number of excursions and projects are also organised for students to take part in. Assessments Assessment takes place at two points in the programme. The first assessment is in December, and involves the head lecturers of the various Bachelor departments. The second takes place in late May. This final assessment forms the basis for a report, which also constitutes a certifi-

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cate of participation for the year. This final report is connected to an admissions procedure. Individual students present their work and select the department for which they would like to apply. A special committee from this department will then administer a separate admissions procedure. Students who are not admitted via this procedure have sufficient time to improve their portfolios in order to participate in the regular admissions round of the department in question. The Preparatory Year is successfully concluded when the student is admitted. During the year there are three rehearsal presentation days. Workspace We advise all students in the Preparatory Year to create their own workspaces/studios at home so that they can also work at their own pace there, with a sufficient variety of materials at hand. Materials The materials that are required are specified for each course. The Academy building houses a shop where materials may be purchased. The ultimate cost of materials will differ and are strongly dependent upon the choices and ideas of individual students. General information Participants in the Preparatory Year are not registered as regular students, and they do not receive financial assistance for students. The costs of participating in the Preparatory Year amount to € 2,000, including a fee of € 200 for the theatre and film subscription and the excursions. Parents may be eligible to receive additional benefits the form of child payments if no financial aid is available for a study programme. Information in this regard is available at www.duo.nl. Classes are held on three days, in order to allow students sufficient time during the week to create work and to visit cultural sites and events and, where relevant, for part-time employment to help support themselves. In addition to these class days, students are expected to be present on five presentation days, as well as for excursions, projects, a Saturday information day and the open day. Students who withdraw from the Preparatory Year after 1 November 2015 cannot claim a refund of the tuition fees or additional fees. To register for admission and for additional information, please call the KABK: +31 (0)70 315 47 70, or contact the Student Administration office to

make an appointment for an admissions consultation. Coordination ++ Zanne Zwart z.zwart@kabk.nl ++ Nieke Koek voortraject@kabk.nl 3.1.3 Partnership projects with secondary schools In order to improve coordination and pathways between secondary education and the degree programmes offered by the Academy, and to offer secondary school pupils the opportunity for a thorough preparation for such a study programme in professional art education at the KABK, the Academy has several partnerships with schools within and outside The Hague. Several other projects are currently being developed. Many secondary schools are focusing more and more on art and culture, as reflected in the establishment of schools with a specific culture profile. Many secondary students find it difficult to form a realistic view of studying within a professional art programme. In addition, the quality standards applied by most professional art programmes differ from the standards and curriculum of art subjects in secondary schools. Often, the curriculum of the art subjects is insufficiently oriented towards the development of talent. A number of the participating secondary schools’ art classes currently come to the Academy one afternoon a week, to take classes that supplement their own school curricula. Classes from both phases of secondary education are involved in this project. Where possible, classes at the Academy are incorporated into the regular school curriculum, thus making the study load part of the regular programme. From these programmes, pupils can transfer to more intensive forms of preparation, including the actual preparatory courses, the School for Young Talent and the Preparatory Year. In the near future, it will also be possible for pupils from external schools to take their KUBV examinations through the KABK. Structure and courses During the first three years of the ‘art plan,’ pupils are introduced to the various study programmes offered at the Academy. This allows them to acquire a broad foundation for the choices they make in the sec-

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ond phase. We conform to the following core objectives specified by the Ministry of Education for the first three years: 1. Core objective 48: Art production ‘By using elementary skills, pupils learn to investigate and apply the power of various artistic disciplines to express their own feelings, to document experiences, to give shape to their imagination and to realise communication’. Considerable attention is devoted to reflection in each class. All assignments call for students to use their own imagination, with guidance from the lecturers. In this way, pupils are encouraged to represent their own worlds in two-dimensional and three-dimensional objects and digital products. Pupils document ideas and experiences in blank notebooks known as ‘dummies’, which are later used to create preliminary studies and come up with objects for autonomous assignments. A dummy is a personal journal in which the pupil can work both during and outside of class hours. This book makes an important contribution to the realisation of this core objective. This core objective revolves around the production of art, which is what happens in every class, in the broadest sense of the term. 2. Core objective 49: Presentation of original work ‘Pupils learn to present their own artistic work to third parties, both individually and as part of a group’. The presentation of original work regularly takes place within each separate class, as well as upon completion of a block of classes within a single discipline. In addition, pupils learn to discuss their work within their own groups and to familiarise themselves sufficiently with the relevant concepts to explain their stories as well as possible. At the end of the school year, all work is presented jointly to an audience made up of all interested parties. The collective exhibition, which is prepared by the pupils, provides an opportunity to view and discuss the work. 3. Core objective 50: Learning to look at and listen to art ‘Based on a certain level of background knowledge, pupils learn to look at visual art, to listen to music and to watch and listen to theatrical, dance and film performances’. The art plan devotes considerable attention to excursions in which looking at art plays a central role. In addi-

tion to separate excursions planned by individual groups within each discipline, a collective excursion with all the pupils is always planned as well. During these excursions, pupils experience art and culture in person, which helps them to understand and appreciate art. Each excursion is accompanied by an assignment and pupils report on the excursions in their dummies. In addition, exhibitions are often held in the gallery of the Academy building, which pupils are free to visit. Each discipline also pays attention to exhibitions within the discipline that have a particular relevance to the subject matter of the classes, allowing pupils to take the initiative to attend these exhibitions outside of these classes. 4. Core objective 51: Reporting on experiences ‘Assisted by visual or auditory resources, pupils learn to report on their participation in artistic activities (as both observers and participants)’. In their dummies, pupils keep a record of their own experiences with art and culture. These reports receive attention and discussion during the classes. Pupils learn to express their experiences with the artistic expressions of others, including those of professional artists, both orally and in writing. The development of individual opinions is of great importance in this regard. The development of a good vocabulary with which to communicate about art is taught in a light-hearted manner. 5. Core objective 52: Reflection on artistic work ‘Students learn to reflect orally and in writing on their own work and the work of others, including artists’. Within the art plan, students learn to verbalise their opinions of things and what they have learned during the creative process. The art plan is intended for students with an above-average interest in art. Within this plan at the KABK, they are introduced to the various study programmes that the Academy has to offer. We aim to offer these students a curriculum that is as good and diverse as possible and that achieves the core objectives stated above. We hope that this will provide students with an incentive to continue within the world of art. Our art plan provides a solid base for this ambition. Subject package The subjects that are offered this year are as follows: Visual Art, Graphic Design,

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Interior Architecture, ArtScience, Textile and Fashion, Graphics and Photography. These subjects are offered in modules of approximately six classes. Partnership The partnership currently consists of the following schools: ++ Segbroek College: first-year, secondyear and third-year classes ‘Segbroek Art’. The upper level includes the subject Art and Visual Education (KUBV) see also www.kunstopsegbroek.nl ++ Bonaventura College Leiden: first-year, second-year and third-year classes and upper level ‘Visual Art and Design Plan’, also known as ‘Art Plan’ ++ Rijnlands Lyceum Wassenaar: firstyear, second-year and third-year classes, and upper level ‘Visual Art and Design Plan’ also known as ‘Art Class’ ++ Zandvliet College The Hague: first-year, second-year and third-year classes, and upper level ‘Visual Art and Design Plan’, also known as ‘Art Class’ The KABK also strives to achieve better coordination with senior secondary vocational education (MBO). Possibilities include the development of continuing learning tracks (professional column). Admissions An admissions procedure is required in order to participate in one of these art plans. This admissions procedure operates through the schools, in cooperation with the lecturers of the KABK. Please inquire at specific schools regarding the procedure and admissions requirements. Coordination ++ Zanne Zwart voortraject@kabk.nl 3.1.4 Combined Education At the KABK, it is possible to combine art courses with secondary education. This is usually arranged on a case-by-case basis, given that the schedules do not always correspond to each other. In theory, it should be possible to follow at least a part of the same curriculum followed by students of the School for Young Talent. An admissions procedure is required for participation in this preparatory track. Where possible, the applicant’s own school will be consulted, in order to determine the extent to which participation in the preparatory track can be fit into the regular

school curriculum. A fee is required for this form of participation, based on the number of classes/half-day periods taken. After completing HAVO, a student may apply for admission to the KABK. A separate admissions procedure is required for these programmes, in combination with the final examination for the visual work. Admissions An extensive admissions procedure applies for participation in the combined classes at the School for Young Talent and the KABK. Interim admission to the School for Young Talent is possible. In order to be admitted, the student must contact the Student Administration office at the KABK (+31 (0)70 315 47 70) to make an appointment for consultation. For this consultation, the student brings a portfolio (i.e. a folder composed of original work created by the student). Students may also bring laptop computers in order to display videos, photographs or other digital products. Students are expected to use this work to demonstrate what they have done recently. The work will be examined for creative capacity, motivation, talent, ideation, uniqueness/originality and capacity for growth, in addition to diversity and the ability to work with materials and techniques. All of these aspects are discussed with the student during the interview. After the admissions interview, a decision will be taken concerning whether the student is eligible for admission or whether a second interview will be held, possibly with a follow-up assignment. If the student is eligible for admission, a second admissions interview will be held with the director of the school in order to examine the school component. If this component is also satisfactory, the student can be given a place. ‘Speccie’ Pupils who are following a special combined learning track are sometimes referred to as ‘speccies’. Because the schedules of the Academy and those of the students’ own schools vary from year to year, we request that ‘speccies’ contact the coordinator at the beginning of each academic year in order to agree upon a schedule for that year. In this way we can prevent a ‘speccie’ from following the Drawing/Painting course on Thursday afternoon for a whole year, and then taking the same course on Wednesday afternoon the following year, to name an example. It is possible to take either one or two courses each week.

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Coordination ++ Zanne Zwart voortraject@kabk.nl 3.1.5 Orientation Course The Orientation Course is primarily intended for those who are considering entering a study programme at the Academy. This course introduces students to the mentality, working methods and study attitudes required for a programme at the Academy. The course takes place over 14 Saturdays (including one day excursion). First course: 26 Sep. 2015 – 30 Jan. 2016 from 10.00 a.m. – 3.00 p.m. (break from 12.30 until 1.00 p.m.) Second course: 20 Feb. 2016 – 4 Jun. 2016 from 10.00 a.m. – 3.00 p.m. (break from 12.30 until 1.00 p.m.)

lection of drawings, sketches, designs, models, images, photographs, paintings, 3d, works in textile/wood/metal, movies and other works that individual students have created on their own initiative. The addition of a visual journal in which students record their sources of inspiration and their ideas, plans, experiences and insights is also important. Please contact the undersigned if you have questions about this. ++ The questionnaire. Students should take this with them to the work day. ++ The work day and the admissions interview. Students receive assignments and work under the supervision of various lecturers at the KABK for one day. During this day, the student and a member of the admissions committee discuss the results, along with the portfolio. The work day and the subsequent admissions interview for the first course of the 2015/2016 academic year will be held on:

The Orientation Course at the KABK offers students the opportunity to develop themselves and familiarise themselves with the various study programmes. The emphasis lies on both process-based working methods and the discovery and development of the students’ own artistic ambitions. Societal orientation plays an important role in this regard. Students can expect a voyage of discovery that challenges them to develop an inquisitive, visual attitude. The techniques and exercises that are offered are tools to this end; they do not constitute ends in themselves. The emphasis is more on the process than it is on the final product. Students regularly receive homework assignments that reinforce this process. During the classes, students develop their own portfolios that demonstrate what they are capable of, but also what inspires them: the source of their ideas and the artists with whom they feel an affinity (i.e. their ‘artistic families’). To create a better overview of the subject area at the end of the cycle of classes, it is important to address societal orientation in addition to the classes. The course is taught by lecturers from the Academy. Admissions Participation in the course is subject to an admissions procedure. This admissions procedure consists of several components: ++ Presentation of a portfolio. This is a col-

12 September 2015 10.00 a.m. – 4.00 p.m. (all registrations from before 11 September 2015) The work day and the subsequent admissions interview for the second course of the 2015/2016 academic year will be held on: 6 February 2016 10.00 a.m. – 4.00 p.m. (all registrations from after 11 September 2015) Registration and tuition Registration is possible only using the registration form on the KABK website. Tuition for the 2015/2016 academic year amounts to € 550 (including the registration fee and a day excursion) per course. The amount must be paid in advance for the entire course. No tuition will be refunded in case of illness, absence or premature withdrawal from the course. After registering using the admissions form, students are automatically notified of the admissions day and the question form. Students must provide their own materials for the classes. A shop located within the Academy building has compiled a package especially for participants in this course. This package can be purchased at a reduced price. For questions or additional information, please contact:

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Chief Coordinator for Preparatory Tracks ++ Zanne Zwart z.zwart@kabk.nl

to build their admissions portfolios.

Coordinator ++ Willem Goedegebuure w.goedegebuure@kabk.nl If you would like to make an appointment to discuss the preparatory courses during the dedicated consultation hour, or you have a question according the online registration for the admission, please contact the Student Administration office: +31 (0)70 315 47 70 3.1.6 Other activities Within the European Exchange framework, an exchange project has been established within the preparatory courses with the Instituto Statale d’Arte/ Lyceo Bruno Munari in Vittorio Veneto, Italy. Like the School for Young Talent, this school combines secondary education with higher art education. The Academy also participates in various projects in The Hague that are aimed at introducing young children to Visual Arts and Design. Activities include Kunstbende contests and projects by Nest, the Rewire festival, the TodaysArt festival and a range of galleries and museums. The preparation of exhibitions and expositions in galleries and other locations forms part of the curriculum. In addition, throughout the entire year, information days are held at secondary schools in the region, providing intensive information for prospective students of the KABK. In collaboration with the Faculty of Arts, a unique art-education model is being developed, which will be elaborated further in the coming years.

When, how and where? The Kids Club meets every Friday afternoon from 4.30 to 6.00 p.m. in a classroom of the KABK at Prinsessegracht 4 in The Hague. Admission is open, which means children can choose to attend only once, every week or every other week. New participants should use the following e-mail address to let the team know that they would like to attend, so they can check whether they belong to the right target group and if there is space available. Attendance costs are € 37.50 for 5 sessions (€ 7.50 per session), including materials, drinks and a treat. This fivesession-card is available at the reception desk. Exhibition All works that are created within a sixmonth period are stored at the Academy. Exhibitions in which all of the works are displayed are held at the end of each period, once in December and once in June. For many children this is their first exhibition. Anyone can attend these exhibitions, and all works are taken home at the end. Materials The cost of a class includes materials. This means you do not need to carry around pots of paint. We attempt to use a different material in each class. For example, during this six-month period, we have used paint, paper, clay, charcoal, wire, plaster, fabric, ink, sheets, potatoes, etching pens, etching paper, an etching press, wood, plastic bags and other materials. First-time participants receive a letter containing an overview of which materials will be used in which weeks. Participants are obviously allowed to bring any materials from home that they would like to use.

Coordination Coordinator and lecturer ++ Zanne Zwart voortraject@kabk.nl

++ Zanne Zwart z.zwart@kabk.nl

Kids Club The Kids Club is a group of children from primary school classes 7 and 8 (ages ranging from 10 to 12 years) who would like to do more with art than they are offered at their own primary schools. The Kids Club includes children who are considering applying for admission to the School for Young Talent or one of the art plan schools. In a classroom situation, these students demonstrate what they can do and work on assignments in order 161

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4.1 Master Artistic Research

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Master Artistic Research (Mmus)

alize these processes in relation to their own creative practice is an important part of the curriculum of the programme.

The Master Artistic Research (MAR) is a two-year interdisciplinary Master Trajectory for Research in the Arts, and is aimed at students working in the field of visual art and/or music. The programme is a collaboration between the Royal Academy of Art and the Royal Conservatory, both in The Hague. It was established at the Royal Academy (KABK) in 2009. Around the same time, the PhDarts, the first PhD in Fine Art in the Netherlands, came into being, as a collaboration between the Royal Academy of Art (KABK) and Leiden University. Both programmes play an important role in the developing conversation around artistic practice as research. The articulation of ‘artistic research’ as a demarcated activity has emerged out of an enquiry into what sort of knowledge art can be said to contain, or embody, and how this knowledge relates to more traditionally academic knowledge. Artistic research can be understood as making space for research in the arts by artists (as opposed to research about the arts by non-artists). Artistic research embraces the confusion of experience and the complex woven nature of our interactions with the world, and looks for ways to reveal the languages, concepts, and material responses we bring to that world-meeting in artistic and creative ways. Visual artists and musicians have always researched, without it being named as such, but the uniqueness of artistic research lies in its merged production of these materials within what could be understood as a visual, discursive, and social text or fabric - the many stranded accumulation and production of knowledge within artistic research practices blurs both academic and artistic boundaries. Students of the MAR are specifically taught a heightened self-reflexivity in relation to their artistic practice. Emphasis is placed on extending students’ research skills, including the ability to gather relevant material, to undertake close reading, listening, and looking, and to locate and understand connections within a matrix of research material. Reflective emphasis is also placed on how the materials of art practice transmit their meanings. The ‘materializing practices’ of creative activity are necessarily unpredictable, and in engagement with any artistic object or moment, semiotics, sensation, and affect are experienced together, by an embodied spectator. Finding ways to conceptu-

Master Artistic Research students carry out the following activities to fulfill their study point requirements for graduation: ++ Attend regular individual tutorials and group classes with practice, theory, and writing tutors. ++ Participate in course research groups with their peers. ++ Regularly present new works to tutors and fellow students to demonstrate their artistic evolution and the relationship between his/her research processes and artistic work. ++ Complete reflection papers in year 1 and an Artistic Research Statement paper in year 2. ++ Actively participate in guest workshops and theoretical seminars, and attend guest lectures. ++ Periodically exhibit or perform new work in MAR exhibitions and events and actively contribute to the organization and putting together of these events. General learning objectives: ++ The Master Artistic Research teaches students to critically reflect upon and analyze their artistic practice, in order to develop their artistic outputs to a level suitable for autonomous professional practice in the fields of music and/or visual art. ++ Students are led to explore an expanded field of practice, extending into new areas and further developing aspects of their practice, which may have received limited support due to the restrictions of their disciplinary backgrounds. ++ Students learn to position their practices within wider debates in their respective fields, and in relation to wider social and academic discourses. ++ Students are taught how to present their artistic work within the professional context through the putting together of exhibitions and events, with critical reflection and input from tutors and professionals in their field. ++ The Master Artistic Research teaches students discursive written and oral means to communicate their practice and disseminate their research to audiences within and outside of their field. The Musical Dimension of the course: Our course offers a research environment for expanded practice. It enables visual artists and musicians to explore

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the possibilities that come with engagement in each other’s fields. Some of our students’ practices already operate on the borderline between music and art. For these students it offers a chance for a deeper dialogue, for critical reflection on the significance of this position, and for a greater level of expertise in a field that has not formed their primary working background. Our guest programme includes practitioners working on this borderline, who share their expertise and insight into this way of working and the position it entails professionally with the students. The musical dimension of the course can allow further development of areas of art practice related to sound – such as the development of sound for installation art works, video, and film work. Conceptions of performance in relation to both music and visual art can be explored in new ways, including the creative potential of instruments and the voice, and the ideas and methodologies related to musical composition and performance. Students can participate in selected courses at the Conservatorium to increase their knowledge about specific areas. The Study Programme The research proposal of each individual student, submitted on application to the course, forms the point of departure for the two-year Master trajectory. This proposal outlines areas of specific interest for investigation as well as areas of practice that the student would like to further develop, extend or break open. This proposal is revisited and revised during the course of the study, and results typically in a series of artistic products alongside reflection papers on their practice, and in year 2, an Artistic Research Statement paper. The methodologies artistic research entails are as diverse as artistic practice itself, and include inter-personal dialogue; reading and discussing philosophical and art theoretical texts, artists’ writings and academic essays; gathering and working creatively with aural, visual, and physical materials; forming image-based, textual, musical, and sound archives; watching and making films, doing interviews, visiting exhibitions, attending performances, and carrying out collaborative experiments with people in other fields. An exploratory, focused approach to these activities and the continuous further development of lines of enquiry define them as research.

The study is conceived as a mix of pratical and theoretical research. It is understood that the status of what constitutes research or an artwork can be fluid, and students are encouraged to consider the many aspects of their course work as an integrated field of research, and to develop, strengthen and reflect on the matrix of relationships between practice and theory in their work through ongoing dialogue with their tutors and fellow students. One important focus of the core teaching curriculum is to encourage reflection on the form each practice takes, on how the needs of the research might be most fully articulated in specific artistic/musical products. Students are provided with a working space and have access to the extensive workshop facilities of the Royal Academy and the Royal Conservatorium. (For details, please see the KABK website.) During the course students learn to develop critical reflection in relation to their own work and their areas of interest, to analyze and explore ideas and findings, and to communicate these with others through speech and on paper. In the first year, the research trajectory is documented and explored through research reflection papers, in which students reflect on and analyze their unfolding process and their relationship with the strands of external input they have worked with over two semesters (including texts they have studied and other materials from their core tutors, research groups, and visitors to the course). These reports provide insight into the departure points, methods, and outcomes of the artistic process and form an important basis for dialogue with tutors. In the second year, students complete a single Artistic Research Statement, which will bring reflection on their final artistic presentation together with considered analysis of texts and other external source materials studied over the year. This statement will embody how these materials relate, or form part of the greater whole that is the student’s artistic research practice. All students participate in one artistic research group per year. An invited external tutor leads this group in the specialized study of a particular area of interest. The research groups for 2015/16 are ‘Art + Politics,’ led by Maria Hlavajova, and taking place partly at BAK, Utrecht, and ‘Between Thought and Action - The Dynamics of performance,’ led by Francesco Bernardelli. The research groups follow a programme of lectures, seminars, and workshops. Each research group is

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supported by guest lectures and/or studio visits by practitioners and theorists. Each student will select one of the set texts from their research group as a special object of study, and complete a written text in relation to it as part of their reflection paper (year 1) or Artistic Research Statement (year 2). Each semester there is an additional programme of guests: artists, curators and theorists, specifically selected to support the interests of the current students. In the second year, students take part in professional practice skills workshops, and curatorial workshops, both of which help them prepare a professional final presentation. Each year, the MAR also organizes student excursions, to visit sites of special interest, or to take part in international workshopping events with students from other schools. We try to make these excursions as affordable as possible, but we cannot finance student travel and accomodation, so we offer them as important optional extras to the core curriculum. During the course of the academic year, a number of exhibitions and events are organized during which students can practice presenting their work at a professional level. These events are guided by core tutors and sometimes by a curator, or other expert from the field. These are important developmental moments within the course structure, and students are asked to critically reflect on the process and outcomes of these events, treating them as a valuable learning opportunity as well as a means to disseminate their work to a wider public. These exhibitions and events take place within the galleries and auditorium of the Royal Academy of Art, at exhibition spaces in The Hague, and if appropriate, other public spaces. The Master Artistic Research has a close working relationship with the Academy of Creative and Performing Arts, fostering the studentsâ&#x20AC;&#x2122; involvement in a wider artistic research community and introducing Master students to discourse at PhD level. The Master Artistic Research in The Hague also collaborates in organizing an annual exchange with students of the Master Artistic Research at the University of Amsterdam with a view to further extending this research community. Students are also occasionally invited to attend and/or participate in conferences or events related to artistic research.

Master Artistic Research Study Programme Core Practice and Research, years 1 and 2 The primary goal of core practice and research is the development of the studentâ&#x20AC;&#x2122;s artistic practice, including their research trajectory, and their capacity for critical reflection in relation to this. This is the backbone of the curriculum, and is taught by two core tutors each year, one specialized in studio practice and one in theoretical issues. Students also have regular meetings with the head of dept on all aspects of this module. Through regular meetings with each tutor, either in groups, or on an individual basis, students are guided and supported through the development of their creative ideas, their theoretical research, and how these support and enrich each other. The research proposal of each individual student, submitted on application to the course, forms the point of departure for the core teaching curriculum. Students are also taught how to present their artistic work within a professional context through participation in end of semester exhibitions and events, either within the galleries and auditorium of the Royal Academy of Art, the performance spaces of the Conservatorium, or at external venues. Critical reflection on these presentation moments forms an important part of the curriculum. Through both studio practice and written reflection papers, students are supported in the exploration of an expanded field of practice. They will advance their methodologies of critical thinking and how to develop their artistic outputs to a level suitable for autonomous professional practice in the fields of visual art, performance and/or music. Artistic Research Groups, years 1 and 2 Each student participates in one artistic research group per year, split over two semesters. The research groups are organized and led by invited specialists in their fields. These specialists present their research trajectories in the autumn semester, and students choose which group to follow for that year. The groups explore their topic in depth, through reading, lectures, seminars, making work -individually and/or collaboratively, visiting relevant exhibitions and performances. The research group leader may invite guests to be part of the programme, or take students to specific

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locations or events. The dynamic of these research groups changes from year to year. Within the general programme of each group, there will always be one (or more) practice led workshop. There should also be a research group outcome, to be determined by the group leader. Research groups 2015-16 are: Art + Politics, led by Maria Hlavajova, Director of BAK, Utrecht, and Between Thought and Action: Dynamics of Performance, led by Francesco Bernardelli, freelance critic and curator, Turin. Introduction to Artistic Research The primary goal of this three-day seminar and workshop is to introduce some of the possibilities of ‘artistic research’ as a means of engagement and production, and as a discursive field. A mix of lectures, group discussions, and workshop activities will be organized to stimulate an exchange of perspectives on the broad subject of artistic research. Visiting Artist Programme – ‘A Day with…’ In addition to our core teaching programme, an important part of the course is delivered by the input of our visiting artists. This is a constantly developing programme of guests to the dept, invited in response to the particular needs of each student.

Exchange with University of Amsterdam (UvA) MAR dept. Students will follow a short research trajectory alongside fellow Artistic Research students from the University of Amsterdam MAR. Working with tutors and specially invited guests, students will develop and test new ideas in relation to the lectures, site visits, and workshops. Core Practice and Research – Graduation Project Much of semester 4 is taken up with the making and presentation of the student’s final graduation project. The plan for this final presentation of work will be agreed with core tutors at the beginning of the semester. The student will work throughout the semester to develop and realize this plan as fully and creatively as possible. The Artistic Research Statement, the student’s year 2 theoretical paper, is completed in semester 4. In the preparation and presentation of a body of work for the final exam, and the presentation of their final research paper, the student will bring their two-year artistic research trajectory to a creative resolution.

Writing Workshop The writing workshop will consider the role of writing in research, and as a material of artistic practice. Students will be invited to write on the spot, as well as to reflect on their use of writing in their practice. Attention will be paid to creative, artistic and academic forms of writing. The writing workshop introduces students to the potential of writing for the dissemination of areas of the artist’s practice to both public and professional worlds. Students receive individual and group guidance on the process of writing.

Professional Practice - Skills Workshop A workshop will be given specially for year 2 students to explore issues around professional art practice, and offer practical advice on the documentation of work, funding and exhibition applications, and how to write for these. Both a gallerist and an event organizer will be invited as guest speakers, in order to offer insight into the workings of the professional field. The professional practice workshop aims help students ready themselves for a professional career in the arts, and offers guidance on the personal, digital, and written presentation of their work and ideas so that they will leave the course better equipped to engage with the professional art/music worlds.

Close Reading Workshop Understanding the many ways an object can be understood to contain or embody knowledge, how an artistic object (or performance) functions, how theoretical training actually helps us to see/hear – these are important skills and will be specifically addressed in this workshop specially for the first year students. The workshop will consider specific objects, key texts, and work through exercises in ‘reading’ specific objects.

Curatorial Workshop Curatorial guidance for year 2 students in the lead up to and installation of the final graduation exhibition will come from a professional curator. This will take the form of individual and group talks in both the studio and gallery space. The curatorial workshop explores the formal presentation issues of each student’s work, and how to come to bring the work to its fullest possible resolution. Through the making of the final exhibition, it

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will also look at the group dynamic of exhibition making, the many factors and considerations that need to be brought into play. Application The Master programme is officially registered to the Royal Conservatoire as a research path within the ArtScience Interfaculty. In practical terms, this means that students are officially registered at the Royal Conservatoire, even if their study directions are in the visual arts. Upon completion of the programme, students are awarded the Master of Music degree. Admission to the Master programme requires a Bachelor in one of the disciplines of the arts from a Dutch university of applied sciences (HBO/Hogeschool) or an equivalent Bachelor of Arts degree earned abroad. Prospective students are also required to demonstrate affinity for theoretical research, artistic reflection or both. The working language of the Master programme is English, and proficiency in both speaking and writing is required. Applications and letters of motivation should be written in English. Once these entrance requirements have been met, applicants are judged according to the following: a portfolio of artistic work; a research proposal and/ or study plan that clearly demonstrates an understanding of and affinity with research. Interviews are held following an initial pre-selection of potential students. How to apply Please visit our website and submit the following documents and materials to mar@koncon.nl before 1 April 2016: ++ completed application form ++ portfolio in PDF format (If the portfolio is too large to send by e-mail, it can be sent on CD-ROM or DVD by post to the address below or by using WeTransfer or a similar service) In addition, please submit these documents by post to the address below: ++ a photocopy of your diplomas ++ a photocopy of the relevant pages of your valid passport (showing passport number and expiry date) or EU/EEA National Identity Card ++ recent passport photo (3×4 cm; please write your name on the back. Please send only original photos. Photocopies are not accepted) ++ optional: portfolio (only if the portfolio is too large to be sent by e-mail, see above)

Incomplete applications will not be accepted. All documents sent by post should be in our possession by 1 April 2016. Address Master Artistic Research Postbus 11670 2502 AR The Hague Contact mar@koncon.nl 4.1.2 Staff * Head of department ++ Janice McNab Coordinator ++ Weronika Zielinska Lecturers ++ Jasper Coppes ++ Yael Davids ++ Dr. Sher Doruff ++ Frank Mandersloot ++ Katarina Zdjelar Recent guests include: ++ Babak Affrassiabi ++ James Beckett ++ Frederique Bergholtz/ IICD ++ Jelle Bouwhuis/ SMBA ++ Libia Castro & Olafur Olafsson ++ Clare Butcher ++ Francesco Bernardelli ++ Mladen Dollar ++ Maria Hlavajova/ BAK ++ Nancy de Freitas ++ Bram Ieven ++ Angela Jerardi ++ Rob Johanessma ++ Prof. Frans-Willem Korsten ++ Bruno Listopad ++ Aernout Mik ++ Wendelien van Oldenborgh ++ Maria Pask ++ Benjamin Seror ++ Simon Starling ++ Steven ten Thije ++ Vincent Vulsma ++ Thijs Witty ++ Arnisa Zeqo/ Rongwrong Gallery ++ 1646 Additional information For more information and an overview of credit points please visit:

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4.2 Master ArtScience 4.2.1 The Master ArtScience programme The ArtScience Interfaculty is an interdisciplinary department situated between and embedded within both the Royal Academy of Art and the Royal Conservatoire. Classes include scientific and theoretical knowledge, sensory perception, interdisciplinary composition, hands-on production, performance training, collaborative projects and critical thinking. We focus largely on individual coaching. ArtScience allows students to code and create never-before heard sounds and never-before seen images, to establish immersive environments, to design new forms of interaction with their audiences and explore media that have never before been used by artists. Most importantly, students are invited to re-invent art, as needed in this century. The Interfaculty offers a two-year interdisciplinary Master. At ArtScience students and teachers are developing new forms of interdisciplinary art, and they investigate and shape the intersection between artistic concepts and recent developments in science and technology. The ArtScience programme is offered fully in English. Participants in the Master’s programme of the ArtScience Interfaculty are admitted on the basis of a research proposal. Depending on the research topic the student chooses two personal coaches. Together they draw up a studyand research plan that will include course modules, projects and labs offered within the ArtScience Interfaculty and elective courses from the Royal Conservatoire, Royal Academy of Art, Leiden University or other institutions. In regular Master Meetings students are trained to present their work and contribute to each other’s research. Twice a year, the students present their individual work to the core group of ArtScience teachers. Goals of the programme The Master’s programme is geared towards students who have obtained a Bachelor’s degree in a creative field and who have started an independent artistic practice. During the Master’s study they will pursue a two-year personal research project in order to to develop or transform their own artistic domain within the arts and sciences. Depending on the research proposal and the background of the student a study and research plan is con-

ceived, enabling the student to acquire the necessary skills, research methods and conceptual background. During their studies, Master students will enhance their creative practise, critical thinking and organisational skills. The students are challenged to develop a range of professional competencies regarding three domains: a. the artistic-technical domain b. the professional world c. the theoretical domain Within each of these domains students are expected to develop competencies within these areas: 1. creativity 2. critical reflection 3. growth and innovation 4. organisational skills 5. communication 6. contextual awareness 7. collaboration These competencies are the basis of the evaluation by the teachers at the end of each course module as well as at the presentations of individual projects at the end of each semester. 4.2.2 Structure of the programme The open curriculum and the study plan The Master’s programme ArtScience, like the Bachelor’s programme, is based on the concept of the ‘open curriculum’. The coaches will assist the student in making choices on courses to follow within or outside the Interfaculty in relation to the student’s research project. The ArtScience Interfaculty offers five forms of instruction: research projects, labs, individual coaching, theoretical courses and workshop-style courses. These activities are open to Master as well as Bachelor students. There are seven different ArtScience labs, each of which is a combination of a laboratory, a production facility and a working ensemble of teachers, students, alumni and guests. Each lab is also a platform to offer coaching and space for projects by individual students, and a channel for the accumulation, documentation and dissemination of their research results and artworks. The aim is to gradually integrate the research proposals of the Master students with this new lab structure

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where possible, and work towards a situation where Bachelor students assist in research projects. Part of the study trajectory can consist of courses outside of the Interfaculty. Likely choices are courses offered elswhere at the Conservatoire, the Academy and the MediaTechnology Master of Leiden University, but other choices in Leiden or at other universities are also possible. In the past, students have followed courses in Sonology, Singing, Percussion, Photography, Print Making, Art History, Philosophy, Electronics, Sociology, Bio-informatics, Art and Genomics and Medical Anatomy. We would like to encourage students to explore other possibilities and surprise us. Self-study and coaching Every Master student has two teachers who coach the individual work, reflect on it together with the student, offer a context for it, suggest literature and other sources and often assist in solving practical problems. A considerable amount of time within the Master’s programme is reserved for individual work and selfstudy. Master Meetings Master Meetings are held approximately twice a month. They are gatherings of all Master students under the guidance of Arthur Elsenaar and Eric Kluitenberg. These meetings focus on students presenting their research results in spoken and written form and on discussing matters of methodology. Students will be helped to develop a critical context for their projects and to structure their research process. Presentations and evaluations Collective presentations of individual projects are organised at the end of eich semester. The mid-term presentations in December/January concentrate more on the research process. In June, students are expected to show a finished artistic work that will be evaluated in the context of the research, with the general competences for the Master’s programme in mind. At the end of May the graduates of the Bachelor’s and the Master’s organise a public preview of the final exam projects. The remaining month from the preview to the exam can be used for rehearsals, fine-tuning and other enhancements on the basis of experiences from the public preview.

4.2.3 Admission to the Master’s programme of the ArtScience Interfaculty Students are admitted to the Master’s programme ArtScience on the basis of their previous artistic work and a research proposal. Only candidates with a Bachelor’s degree in the arts or sciences can apply. In order to be admitted to the entrance examination we ask you to send us a letter of motivation, a research plan, a curriculum vitae (resume), a portfolio and a number of official documents. Also all candidates should submit their response to the assignment described below. All written materials should be in Dutch or English. For the most up to date information regarding the dates for entrance exams, please refer to: www.interfaculty.nl. All candidates are asked to fill in the online admission form on www.kabk.nl or www.koncon.nl. After this, candidates are invited to contact the study coordinator (coordinator@interfaculty.nl). Candidates will then be invited to send the materials we ask for an application, as described below, in order to be invited for an interview. European candidates are expected to by physically present at this interview, with candidates outside of Europe we will propose a Skype meeting. Letter of motivation In the letter of motivation we ask you to give an overview of where you stand now in your artistic activities and to describe your vision for the future. The letter should cover the following points: ++ Please give us some background to your artistic past; explain the motivation behind the choices for and during your artistic education and development so far. ++ Please describe the artistic disciplines you have been involved or interested in so far. ++ Please describe the main topics you are interested in concerning art, science and culture. For instance this can include specific art forms, subcultures, genres, styles, artists that inspire you, philosophical ideas, scientific research topics, developments in society etc. ++ Please give an outline of what you hope to achieve during your studies at the ArtScience Interfaculty. ++ Please describe how you think you will be able to contribute to the learning environment at the Interfaculty and to the arts after you completed your studies.

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++ Please describe the artistic niche you imagine you will develop during your studies. ++ Please ask any questions you might have about the ArtScience Interfaculty. Research Proposal In your research proposal we ask you to give an overview of where you stand now in your artistic activities, to propose a research project and to indicate how doing this research would change your artistic future. You are free to choose a text format that suits your proposal and background, but it should be between two and four pages A4 of text long. The text should cover the following points: ++ Please give us some background to your artistic past; briefly explain the motivation behind getting involved in art and behind the artistic choices you have made so far. ++ Please describe the artistic disciplines you have been involved or interested in so far. ++ Please give a clear description of your research topic and the fields this topic relates to. ++ Please explain your motivation for choosing this research topic. How do you think doing this research will transform your work? ++ Please indicate how your research topic is related to the ArtScience curriculum. ++ Please make a first choice for two ArtScience teachers who could coach you in your research (you can look at the Faculty Biographies on the website or in the ArtScience study guide). ++ Please describe two concrete projects you would like to realise as part of this research proposal. ++ Please indicate the materials and facilities you will need for your research. ++ Please give an outline of what you hope to achieve during your studies at the ArtScience Interfaculty. ++ Please describe how you think you will be able to contribute to the learning environment at the Interfaculty. Curriculum Vitae (resume) This should cover:

Portfolio Your portfolio should give of a good overview of your past artworks and/or artistic activities. We’re interested in all art forms (including music, visual art, interdisciplinary art, media art, theater, film, literature, etc). While the documentation should include copies and/or documentation of your works we also expect you to write short texts describing the individual works, illustrated with photos, drawings, reviews, etc. In the case of time-based documentation (audio / video / etc.) we ask you to indicate one piece (or part) that you absolutely want to be viewed or listened to by the admission committee. Digital documentation should run on both Mac and PC. You are requested to use common file formats: jpeg, gif, tiff, pdf, mp3, wav, aiff, flv, quicktime (mov), avi, txt, rtf, word (doc/docx/odt), powerpoint (ppt/pptx/odp). Official documents Candidates should fill in the online admission form through the websites of the KABK or KC. A copy of the candidate’s passport, a visa (when applicable) , a copy of relevant diplomas, two passport photos, and email address should be included with the materials sent for the entrance exam.

++ your previous education ++ your artistic past (see also portfolio) ++ work experience ++ languages

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4.2.4 Staff * Heads of department ++ Edwin van der Heide ++ Taconis Stolk Coordinator ++ Leonie Zweekhorst Lecturers ++ Cocky Eek ++ Arthur Elsenaar ++ Edwin van der Heide ++ Kasper van der Horst ++ Michiel Pijpe ++ Robert Pravda ++ Taconis Stolk Guest lecturers ++ Pieter van Boheemen ++ Lex van den Broek ++ Evelina Domnitch ++ Lucas Evers ++ Bernard Foing ++ Dmitri Gelfand ++ Marcus Graf ++ Roel Heremans ++ Gideon Kiers ++ Eric Kluitenberg ++ Katinka Marac ++ Ine Poppe ++ Frank Theys ++ Lucas van der Velden ++ Caro Verbeek Additional information For more information and an overview of credit points please visit: www.interfaculty.nl

Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

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4.3 Master Interior Architecture (INSIDE)

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4.3 Master Interior Architecture (INSIDE) Cultural and social challenges in Interior Architecture INSIDE is a two-year, Master programme in Interior Architecture taught in English at the Royal Academy of Art (KABK) in The Hague. The programme targets the cultural and social challenges in Interior Architecture in a world that is constantly changing. Large-scale interiors, the relationship between private and public space, sustainability and a greater demand for social cohesion are all topics that call for new perspectives on interior architecture. At INSIDE, we challenge and view the world from inside out, in order to become INSIDE architects. The content of INSIDE is based on issues that confront designers, clients and users of interior architecture. Through research, conceptualisation and spatial design, sustainable, humane solutions for real-world problems are developed and presented. 4.3.1 Description of the study programme The curriculum of the Master programme in Interior Architecture at the KABK is based on two principles. First, it is based on the analysis of research and design processes. Second, it builds on the principle of ‘learning by doing’. Taken together, these two principles produce a curriculum that is divided into phases, each addressing specific phases of research and design processes: observation, knowledge gathering, planning, research by design, conceptualisation, design and repeated presentation and evaluation. These aspects are addressed in all parts of the curriculum, and they form the criteria according to which the work of students is assessed. The study programme comprises five parts. The heart of INSIDE is formed by the three studios – INTER, URBAN and SPACE – which together account for about 40% of the entire study load of the programme. In connection to the studios, students participate in the research track FLOWS, investigating the development of sustainable design methods in contemporary interior architecture. The STUDIO programme is further supported by THEORY, a theoretical backbone, which trains students with regard to their reflection on and position within the field of interior architecture, along

with a SKILLS programme that offers students hands-on experience through intensive workshops. Finally, the TRAVEL programme allows students to observe and reflect on the discipline, cultural phenomena and social topics. Structure The total study load for the programme is 120 EC, distributed equally across two years, each of which is divided into two 20-week semesters. Year 1 The first year focuses on introducing students to the INSIDE approach of interior architecture. Through working in the STUDIOS, the FLOWS, the TRAVEL and the THEORY and SKILLS programmes, students become familiar with all phases of researching and designing for the changing world: observation, knowledge gathering, planning, research, design, presentation and evaluation. Students participate in all three STUDIO types tutored by research and design teams from architecture offices like OMA, Superuse, MVRDV and Doepel Strijkers during the first year. The other courses run throughout the year, changing their focus to connect to the STUDIOS for each semester or block. Year 2 The second year is completely focussed on the graduation of the students. During the first three months of the second year students participate in a GRADUATION STUDIO, where they will be coached by the INSIDE teachers to develop their personal graduation plans. Starting from the second half of the third semester students work individually on the development of their graduation project guided and coached by the THEORY and FLOWS teachers and the STUDIO teacher of their choice. In the fourth semester, the knowledge and skills that the students have acquired in the first three semesters culminate in a final presentation of their personal graduation project that integrates all of the above-mentioned phases of research and design.

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4.3.2 Staff * Head of department ++ Hans Venhuizen h.venhuizen@kabk.nl Coordinator ++ Marja van der Burgh marja@enterinside.nl The team of internationally orientated architects, designers and theoreticians ++ Jan Jongert (Superuse) ++ OMA (Chris van Duijn, Mark Veldman) ++ Eline Strijkers (Doepel Strijkers) ++ MVRDV (Fokke Moerel, Aser Giménez Ortega, Mick van Gemert) ++ Anne Hoogewoning ++ Louise Schouwenberg Other people involved in the programme ++ ZUS (Kristian Koreman) ++ REFUNC (Denis Oudendijk & Jan Körbes) ++ Lucas Verweij ++ Gert Dumbar ++ Erik Jutten ++ Vincent de Rijk ++ Leeke Reinders ++ Jeroen van Mastrigt-Ide Additional information For more information and an overview of credit points please visit: www.enterinside.nl

Please note that the list of lecturers and staff is subject to change. For the most current information, please visit www.kabk.nl.

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4.4 Master Type & Media

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4.4 Master Type & Media

4.4.2 Admission to the Master’s programme of Type & Media

4.4.1 General description of the discipline In the Type & Media studio, students work for a year in a small group of 12, under the supervision and guidance of an expert and enthusiastic faculty. The design of typefaces, like any other creative discipline, is a process. The first semester consists of a series of assignments that focus on the foundation of letter forms, drawing and digitisation. The eye and hand are trained in different ways. For instance: writing letters with different tools, letter carving in stone and by drawing letters based on prescribed parameters. Contrast research studies of basic form principles are applied to a whole typeface. The revival assignment consists of a thesis on the origin and production of a historic typeface and a digital revival. Non-Latin glyph structures are explored by drawing Cyrillic, Greek, Arabic. Coding and tool development with Drawbot and Robofab let the designer control the workflow of the type design practice. In the second semester these skills are used to define, design and produce a new typeface. This can be for a specific context or environment (e.g. ‘type on screen’) or application (‘type for newsprint’) but generally the projects are conceptually very diverse. The development and research for the typeface is documented and presented with a process book and a presentation. While some Type & Media alumni have gone on to build a career in the design and production of non-Latin typefaces, the emphasis of the course (and the resources and faculty) is on Latin. Discussions with leading type designers, typographers and graphic designers — each with different views — provide theoretical depth. Various excursions to libraries, special collections and conferences are organised, such as the annual conferences of the Association Typographique International and Typo Berlin. The Master programme is also involved in the organisation of the triennial Gerrit Noordzij Award and the Robothon conference. Students of Type & Media play an important role in the activities.

If you are interested in applying for the Master programme in Design Type & Media, please make an appointment with the course coordinator. You must be a graduate of an art or design academy, write and speak English at the appropriate level and have sufficient practical experience in typography. You are expected to be familiar with the developments in the field of type design. Your digital portfolio needs to demonstrate your motivation and interest in typography and type design but also give insight into your design process. 4.4.3 Staff * Head of department ++ Erik van Blokland Team of lecturers ++ Erik van Blokland (professor of type design) ++ Paul van der Laan (professor of type design) ++ Peter Verheul (professor of type design) Coordinator ++ Marja van der Burgh Guest lecturers ++ Françoise Berserik ++ Peter Bil’ak ++ Frank Blokland ++ Petr van Blokland ++ Just van Rossum ++ Fred Smeijers ++ Jan Willem Stas Additional information For more information and an overview of credit points please visit: new.typemedia.org

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5. Post Graduate Course

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5.1 PGC Industrial Design

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5.1 Post Graduate Course Industrial Design 5.1.1 General description of the discipline ++ You want to further investigate and hone your position in the design field. ++ You will receive input from professionals from the entire field who contribute international experience. ++ You will work in a nurturing environment on new creative discoveries and be given time to expand on them. Industrial Design at the KABK ID is a part-time course for professionals who would like to learn more about both product design and the process of creating as a craft. Concept, skills, culture and industry are presented in the appropriate proportions. From its inception in 1950, many prominent names have been associated with the postgraduate course in ID. Designers including Gerrit Rietveld, Frans de La Haye and Renny Ramakers were either lecturers or students. ID is the oldest recognised course in the field of design and industrial design in the Netherlands. The curriculum provides a realistic view of the field because it is taught by lecturers with a full-time design practice. Guest lecturers are invited on the basis of their particular expertise and skills. The range of professional backgrounds represented by the students from the Netherlands and abroad is likewise valuable. 5.1.2 Description of the study programme

Real artist In this block, you will explore your personality and the context in which you create your work. You will gain a clear overview of the world of galleries, museums, cultural events, institutes, grants and awards, magazines, presentations and in-house productions. You will develop a personal opinion as an independent designer and become aware of your position in relation to curators, journalists and opinion makers. Cool industry You will immerse yourself in the question of how design is embedded in the process side of product design. Marketing, corporate identity, technical expertise, customer relations, tenders and acquisition all play a role. You will also frequently work in an international context; after all, clients, manufacturers and consumers are by no means confined to the Netherlands. What does that entail? Presentation Freehand drawing You will learn freehand drawing and the basics for 2D design drawing using various techniques and materials, working individually on different assignments that are an extension of your design assignments. Computer skills Just like drawing competency, having computer skills will expand your expressive capabilities as a designer. You will focus on the basics of various software packages and rendering techniques.

The programme consists of six blocks, each of which lasts six months. You will receive a certificate for the individual blocks and an overall diploma. Subjects Industry & culture You will explore how the industry and culture of designing interlock. This involves sophisticated combinations of different disciplines and skills: industrial design, building prototypes, applied art, mechanics, marketing, manufacturing everything from limited batches to mass production, the consumer market, retail and business to business. You will learn your way around Milan and Frankfurt, where the most important trade fairs are held, and the ID programmes offered by Delft University of Technology and Eindhoven University of Technology.

Personal skills, contemplation and culture Personal skills Designers must be able to do more than produce good designs; they must also be able to communicate with myriad individuals and stakeholders and convey their personal conviction. These classes will help you develop your personal skills, communication skills (verbal and written), consultant skills, negotiation techniques and smart project management.

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Contemplation You will learn to see your position as designer in the social and theoretical context of the field. You will also become aware of your personal vision of design in this context. By engaging in discussion you will increase each other’s ability to reflect. Culture bearers You will become familiar with the cultural and commercial embedding of design. The guest lecturers are recognised authorities in the cultural, political and corporate sectors. From their unique perspective they will provide insight into the context in which design functions and designers have a role, giving you an upto-date view of design today. Who should apply? This postgraduate course is intended for design graduates and design professionals who wish to delve deeper into their field. The course offers the perfect opportunity to hone your expertise and skills in conjunction with pursuing your career. For starters, both the schedule, which is divided into six-month semesters, and the condensed curriculum beautifully accommodate a professional practice.

5.1.3 Staff* Head of department ++ Ernst Bergmans Coordinator ++ Jacob de Baan Lecturers ++ Jacob de Baan ++ Erlynne Bakkers ++ Alfred van Elk ++ Jantje Fleischhut ++ Maaike Roozenburg ++ Roselien Steur Guest lecturers ++ Erik Tempelman ++ Mark de Weijer ++ Bas Sanders ++ Heather Leslie ++ Nicole Uniquole ++ Joris Castermans ++ Theo van Dusseldorp ++ Maartje de Haan ++ Sam van Haaster ++ Siem Haffmans ++ Frans de La Haye ++ Ineke Heerkens ++ Milou Ket ++ Josée Koene ++ Wilfred Löwensteyn ++ Hans Menkveld ++ Bruno Ninaber ++ Ingeborg de Roode ++ Loes Wagemans ++ Jólan van der Wiel ++ Romy Kuhne

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6. PhD Doctoral Programme

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6.1 PhDArts

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6.1 PhDArts The PhDArts programme is a high-level international doctorate programme in visual art and design. PhD candidates follow individual research trajectories. An appropriate team of supervisors is sought for each doctoral student. The PhD candidates also participate in the doctoral study programme, which consists of lectures, seminars, trainings and workshops. The PhDArts programme is a collaborative effort of the Leiden University Academy of Creative and Performing Arts and the Royal Academy of Art (KABK) in The Hague. The PhDArts programme is a platform for artists who regard theoretical reflection and artistic practice as intrinsically related and complementary. Together with a team of supervisors, staff members and guest teachers, the doctoral candidates in the PhDArts programme form an inspiring and challenging research environment. A unique programme in the Netherlands, PhDArts creates new possibilities for art and its practitioners by questioning and breaking down existing boundaries between art theory and art practice. About PhDArts Artist/designers-as-researchers take the initiative to make statements about their thinking processes and the production of their work. Researchers allow others to participate in this research process, entering into discussion with them, opening themselves up to critique. Researchers seek discussion within the public domain. Without public discussion and the exchange with peers the research lacks its reason for existence. When this exchange takes place in an academic context (e.g. within the framework of research for a PhD), certain conditions apply. For example, the research should yield fresh insights, not merely into the researcher’s personal work, but into art or design in the broader sense as well. Supervision plays a crucial part in the critical evaluation of contribution to the artistic domain. Oral presentations and written text play an important part in the research in various ways. The researcher needs to invent a language that enables them to communicate with others and that enables the evaluation of the research. Also, the researcher needs to devise a viable research methodology.

PhDArts doctorate Artistic research or research in and through art is an inseparable part of the art or design practice of the researcher. This research has no predetermined goal, nor does it take place according to predetermined general procedures. The outcome of the research is open. This openness is a condition for conducting research in art and design. There is a unique relationship between the artist/designer, the research method and the outcome of the research. This research is made possible by the artistry of the artist and, conversely, the artist develops artistry through the research. The outcome is therefore an artistic product, combined with a discursive product (i.e. the dissertation), which does justice to the artistic product. The ultimate outcome of this type of research, which is speculative by nature, cannot be restricted to any particular form. Therefore PhDArts does not specify a fixed ratio between the written dissertation and the artistic production. Certain conditions apply to the PhDArts doctorate. First, a high level of artistry/design is a prerequisite for acceptance into the PhD programme. Each applicant should have a clear research theme, as well as a research plan. In addition, the context of the research should be clearly described. The research should offer new insights, not only into to the work of the maker, but also into the field of art and design in the broader sense. The research should contribute to knowledge about art/ design, as well as to the international discourse in the field of research. Researchers are expected to be in the vanguard of their fields of research. The research must take place in an appropriate research environment. Experimentation is an important part of both the process and the result. Critical engagement is inseparably related to the research theme and its results. The final product will be communicated both visually and in writing, and thought and reflection must be clearly manifested in several ways. First, a discursive text will provide insight into the departure points, methods and results of the research. Second, the work itself will be deliberative, containing reflection as an integral component. Research that fulfils these conditions will be innovative and relevant to contemporary developments in the world of art and design.

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At the end of the PhDArts trajectory, the work will be presented to a committee of experts for evaluation. As part of their research, doctoral students attend the doctoral study programme, including the various assessments. Students participate both actively and passively in conferences (e.g. by preparing lectures, papers, conference reports) and events. They periodically exhibit new work in order to explicate the artistic development and the relationship between their research and their artistic work. In addition to this, students publish writings on their work, development and research. Coordinator ++ Judith Westerveld Contact ++ info@phdarts.eu Additional information For more information please visit: www.phdarts.eu

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7. Research Domains

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7. Research Domains 7.1 What is a research domain? Research domains (in Dutch: lectoraten) are the research groups of universities of applied sciences, whose purpose is to make connections in socially relevant areas between education, practice and practice-based research. Each research domain is led by the appointed professor and consists of a number of visual artists, designers and theorists from various disciplines. In addition, contact is maintained with people who are active in the relevant field of practice or who conduct relevant research. People both inside and outside the academy can contribute to the research of a research domain. Sometimes students also work on (research) projects in the context of their study programme. Research domains share knowledge with companies and institutions, conduct applied research and develop new knowledge in co-production. They maintain partnerships with companies and institutions at the local, regional, national and international levels. The University of the Arts (the Royal Academy of Art and the Royal Conservatoire) gives a high priority to artistic research. There is a partnership that is unique in the Netherlands between the University of the Arts and Leiden University, which takes the form of the Academy of Creative and Performing Arts (see PhDArts). At Master’s level, the University of the Arts runs an artistic research project, in which the Royal Academy of Art (KABK) and the Royal Conservatoire (KC) work together. Two university research domains are devoted to artistic research: the Henk Borgdorff research domain (KC) and the Janneke Wesseling researc domain (KABK). 7.2 Lectorate in Art Theory & Practice Janneke Wesseling is head of the Lectorate Art Theory & Practice at the KABK and co-director of PhDArts, the PhD programme in visual art and design at the Academy of Creative and Performing Arts (ACPA) of Leiden University. Wesseling also writes as art critic for the daily Dutch newspaper NRC Handelsblad. The Lectorate Art Theory & Practice investigates ways in which art and theory can be brought together in art education. To this end, the lectorate has established the Art Research Programme, consisting of interdisciplinary and thematic courses

for Bachelor students. In collaboration with the various departments of the KABK, Wesseling organises interdisciplinary pilot projects that integrate different approaches from art practice and art theory. The lectorate also collaborates with various partners to organise symposiums, workshops and lectures in the area of artistic research. Research in art currently plays a major role in art education. This is due to the fact that both artists and theorists are paying increasing attention to the theoretical aspects of artistic practice, as well as to the cognitive function of art works: art as a way of gaining knowledge about reality. The practice of contemporary artists is, in many cases, characterised by continuous and critical (self-)reflection and research. The introduction of the BachelorMaster structure at universities and universities of applied science on a European level also calls for reflection on aspects of research in art practices. Wesseling’s lectorate has an initiating role in the interaction between art education and research. Lector ++ Janneke Wesseling Coordinator ++ Lotte Betting 7.3 Research in Arts Dr. Henk Borgdorff has been professor in Research in the Arts at the University of the Arts in The Hague since September 2010. The focus of Borgdorff’s own research is on the political and theoretical rationale of artistic research. This is research where the making of art (creating, designing, composing, performing) is central to the research process, and the outcomes of the research are also artworks and art practices (images, compositions, installations, performances). Research Catalogue In The Hague Borgdorff has co-founded the ‘Research Catalogue’, an international online multi-medial database and workspace for the archiving and exposition of artistic research. This Research Catalogue is employed by the Royal Conservatoire as a platform for the collaboration between Master and PhD students and their supervisors and for the publication and dissemination of the research outcomes of students and faculty.

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Society for Artistic Research Borgdorff represents The Hague in the Society for Artistic Research (SAR), which he co-founded in March 2010, and serves as an editor of the Journal for Artistic Research. In April 2015, Borgdorff was appointed President of the Executive Board of SAR. Other activities Borgdorff is member of the Committee for Research of the Vereniging Hogescholen (Netherlands Association of Universities of Applied Science), the international Quality Advisory Board of Konstnärliga Forskarskolan (the national school for artistic research in Sweden) , and the Steering Group of TAhTO, the doctoral programme for artistic research in Helsinki, Finland. Borgdorff regularly acts as a reviewer for several funding agencies and research councils in Europe and is member of the expert panel for Cultures and Cultural Production of the European Research Council, Social Sciences and Humanities, Consolidator Grant. Research Group Royal Conservatoire At the Royal Conservatoire the research group Research in the Arts, chaired by Borgdorff, constitutes a link between the Bachelor, Master and PhD levels. Borgdorff initiates, facilitates and promotes permanent or ad hoc research at each of these levels tailored to the specific discipline. By conducting research in the framework of the research group teachers contribute to the research culture at the conservatoire, which also stimulates students to acquire an inquisitive attitude. Teachers are facilitated in supervising research by students, and some teachers decide to study a PhD. The research group also arranges for the results of research to be circulated, externally by giving lectures and presentations, through publications and by organising seminars, and internally by actively participating at relevant meetings. Research results are disseminated to the wider public via the website of the Royal Conservatoire. Henk Borgdorff occasionally gives seminars for the doctoral programmes DocArtes (music) and PhDArts (visual arts and design) and for the Master programme Artistic Research at the KABK. Professor ++ Henk Borgdorff For more information please visit: www.kabk.nl > research department 216

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8. General Study Information

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8.1 Educational Structure

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8.1 Educational structure

The following competencies are addressed in the programmes:

The purpose of the study programmes at the Royal Academy of Art (KABK) is to prepare students for the profession of artist or designer. The educational programmes have been designed to make this feasible. The educational structure consists of the propaedeutic year and the main phase, which is divided into the main study phase and the final phase. Programmes at the KABK are designed according to the principles of competence-based education. The programmes offered can be seen as a foreshadowing of professional practice. We pay close attention to career orientation and preparation. Important to these aspects is the expectation that students will take on increasing levels of responsibility for their studies throughout the years of the programme. This is particularly explicit in the case of the Individual Study Track. Students are also introduced to a wide range of different teaching formats. The internship is a very important part of career preparation. 8.1.1 Competencies & domains Competencies Competencies (i.e. abilities) indicate the coherent set of knowledge, skills, attitudes and other personal qualities of individuals that enable them to perform tasks adequately and successfully, as well as to find and apply solutions in specific work situations. Students are considered competent or suitable for particular jobs or assignments when they are able to integrate the appropriate knowledge, skills and attitudes effectively in successful behaviour in specific situations. In other words, in addition to knowing how and why something must happen, students must also demonstrate their ability to make it happen. Competence-based art education is characterised by an integral approach to knowledge, skills and attitudes. It is an educational form with a high degree of self-study, aimed at the future careers of the students. The emphasis on the personal development of the students and their talents results in flexible education with a variety of study tracks. Within the programmes, the professional field is always represented by teachers who are active as artists or designers in addition to their teaching practice. Advisers and guest lecturers from various disciplines are frequently invited.

++ Creative ability ++ Capacity for critical reflection ++ Capacity for growth and innovation ++ Organisational ability ++ Communicative ability ++ External awareness ++ Capacity for collaboration Creative ability, capacity for critical reflection and capacity for growth and innovation are the key competencies for art education. External awareness is equally relevant, as it stresses the importance of current developments in professional practice. The capacity for critical reflection and external awareness are strongly interrelated, differing primarily in perspective (i.e. internal and external) . The remaining competencies are organisational and communicative ability and capacity for collaboration. Domains The competencies can be divided into three more or less overlapping areas (domains). The division focuses more on difference in emphasis within the domains than it does on any sharp demarcation. In recent years, we have been working towards a further integration of these domains in our education, and this process will continue. Therefore, many courses are no longer clearly positioned in one of these domains but cover two or even all three of them. Artistic technical domain In the artistic technical domain, students develop their specific creative abilities and their capacity for critical reflection. These abilities or competencies are considered most typical and important for students graduating in the field of visual arts. All art and design courses develop the students’ abilities in this area. This domain also includes the capacity for growth and innovation, referring to the potential expansion of the artistic or design practices of students (i.e. their personal interpretations of the professional situation) in depth and development. Theoretical domain The making of art and design is intellectual work. Art and design are judged according to artistic objectives for their relevance to national and international standards of professional practice. This means that knowledge of the theory of the

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profession is a necessary component of the skill set of any artist or designer. This theory covers several areas: historical and contemporary art history, art theory and art history related to the discipline. The socialisation of the art and design process also requires knowledge derived from other disciplines, including philosophy, media history and communication science. In this regard, we distinguish art theory as including art history, philosophy, art observation and artists’ theories, in addition to special workshops and lectures guided by art theory teachers. The practical teachers contribute by providing grounding for their insights on theoretical arguments. The history, background and departure points of the various disciplines are further discussed and analysed in their respective theory courses.

++ s upervision of papers and the final thesis The seminars include discussions, analyses and debates based on contemporary and historical visual material, exhibitions and texts, presentations on theoretical subjects and personal statements. Practical education Practical classes are designed in several different ways: ++ S upervision and instruction for the entire group, usually during the first weeks of a course. ++ C ollective work discussions and progress meetings between teachers and students. ++ S tudio-based supervision, in which teachers visit students at their work sites or studios in order to discuss their work on location (This can take place either individually or in a group. Many fourth-year students of the Fine Arts department have their own work sites within the Academy. Students in the departments of Textiles & Fashion and Interior Architecture departments work in shared studio spaces). ++ Workshop-based supervision, in which students work both independently and with assistance in a workshop, under the supervision of workshop managers. ++ Work discussions, in which teachers discuss the work of individual students, often in a group setting, thus allowing students to learn from each other. ++ D igital supervision, particularly in Graphic Design and Interactive/Media/ Design, in which students can be supervised online when face-to-face contact is not crucial.

Professional domain This field involves almost all competencies: capacity for critical reflection, capacity for growth and innovation, organisational and communicative ability and capacity for collaboration, as well as external awareness. Art and design have always had a strong foothold in society, and they are created through interaction with the social developments in almost every area. In almost all study components, therefore, students are provided with examples of how things work in the practice of an artist or designer. The business element forms a part of the career preparation, including such skills as presenting work, dealing with budgets and interacting with clients. In the descriptions of the various disciplines, the heading ‘professional domain’ focuses on the business-related aspects of preparation for professional practice. We would like to ensure that students are able to function appropriately as artists or designers after – or even durInternship and other participaing – their education, whether independtion in the professional field ently, as part of a partnership (e.g. artists’ Students complete internships with cominitiatives), working at a design bureau or panies and institutions, as well as with in some combination of these settings. independent artists, designers and photographers. Because fewer internships 8.1.2 Teaching formats are available in Fine Arts and ArtScience, students participate in external producStudents encounter a variety of teaching tions and projects. formats during their studies at the KABK. Special activities Theory education Visiting exhibitions, project weeks, Theory education is provided in various excursions and workshops ways: In addition to, and integrated with, the curriculum, several activities are organised ++ lectures ++ seminars each year. The organisation of these spe++ work discussions cial activities (e.g. workshops, projects, 224

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excursions and project weeks) is predominantly the responsibility of the various departments. The activities are therefore often discipline-related. In some cases, project weeks and excursions have a very specific purpose (e.g. a visit to a fashion trade fair), while in other cases, they have a much broader character (e.g. a visit to Berlin or the Venice Biennale). Many of the latter type of activities are also open to students from non-organising departments. The travel and accommodation costs associated with the excursions and project weeks are covered by the participants. Contributions from the School Fund are possible, and they are always made collectively. Students may submit proposals to the head of the department for excursions, project weeks or workshops. Self-study Students work independently on their art or design work for a large part of the programme. This work can take place both in the Academy and at home. 8.1.3 Individual Study Track

General procedures Each student draws up an IST plan using the IST form. The plan describes the proposed activities, motivation and learning objectives, and should be discussed with the coach. In the conversation with the coach, the IST plan is evaluated to determine whether it can truly add breadth or depth to the study programme. Once the plan has been approved, it can be started. Once the activity or activities have been carried out, a formal external evaluation is conducted (e.g. in the case of minors and electives). Students are also asked to assess the learning results and the learning process. The coach provides a final assessment. Practical information Beginning in the second year, full-time students are exempt from compulsory study components on Wednesdays, which are reserved for individual scheduling to deepen and specialise the curriculum. To this end, introductory courses and electives are scheduled for Wednesdays. Part-time students are also allowed space in their schedules for the IST.

The Individual Study Track (IST) is part of the main phase of the Bachelor’s programmes, and of the Master’s programme in ArtScience. The IST focuses on the discovery and development of the fascinations and preferences of students, as well as on their personal artistic attitudes. It is important for students to discover their personal possibilities and ambitions. Competence-based education requires students to learn to set their own learning objectives (e.g. for self-study) . The IST plan offers an excellent opportunity for students to customise their studies.

IST and internships The credits reserved for the IST in the internship semester can be used either for the internship or for the continuation of a minor.

The Individual Study Track can include the following:

Credit allocation IST The work carried out within the framework of the Individual Study Track is not always part of the collective assessment. For example, this is the case when the IST involves a minor or elective at Leiden University. In such situations, students are assessed externally. The coach provides a Credit Statement (a form that is available at the Student Administration office). After the final evaluation and signing by the coach, the credits are added to the collective assessment form. The credits are allocated after the collective assessment.

++ taking one or more electives or introductory courses at the KABK ++ taking one or more elective courses outside of the KABK ++ participating in external projects ++ conducting practice-based or theoretical research ++ enrolling in a minor at the Academy of Creative and Performing Arts ++ e ngaging in various organisational activities for the KABK

IST credits (EC) The Individual Study Track does not start until after the propaedeutic year, and 12 EC are allocated to the IST in each subsequent year. In all, this amounts to 36 EC in three years. For an overview of the relevant credits, please refer to the appropriate discipline.

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8.1.4 Internationalisation The KABK strives to provide an international learning environment for its students, first, by creating an international climate in the building, and second, by the encouraging temporary tracks abroad in the form of: ++ study abroad programmes ++ internships ++ postgraduate programmes The advantage of a temporary track abroad is that it brings students into contact with different cultural and living environments and teaching methods. In addition, students learn to function in an international context, which will benefit their future careers. Through a variety of mobility programs, the European Union (EU), the Dutch government and several foundations offer many scholarships each year for students to follow part of their programmes, internships or research abroad. In most cases, the foreign residency takes place in the third year of the programme. The length of stay varies from three months to a full academic year. The Erasmus exchange has a maximum length of six months. Temporary study abroad A well-developed study plan forms the foundation for the application to study abroad. Students can obtain advice and information about academies abroad from the International Office and the head teacher. The head of department makes the final decision concerning the study period abroad. For foreign study abroad programmes taking place in Europe, students are eligible for the Lifelong Learning Erasmus scholarship. For additional information on the KABK’s European partners, the application process, the application form and the amount of the scholarship, please visit www.kabk.nl or the International Office of the KABK. Application deadlines are listed on the websites of the institutions. The KABK has established relationships with art schools both within and outside of Europe, including in: ++ Tirana, Albania ++ Jerusalem, Israel ++ Tokyo, Japan ++ Beijing, China ++ Minneapolis, United States ++ Bangalore, India ++ New Delhi, India ++ Seoul, South Korea

The current list of partner institutions is available on the KABK website. Cumulus The KABK is a member of the international network of leading art schools ‘Cumulus International Association of Universities and Colleges of Art, Design and Media’. This membership provides students with the opportunity to study temporarily at one of the member schools, and it has significantly expanded the international offerings available to KABK students. An overview of associated art schools is available at www.cumulusassociation.org. Internship Please also read the general information on internships (Section 8.1.6). Internships can take place both in and outside Europe. For questions about internship positions, students should contact their own department. The KABK offers scholarships for internships abroad through various sources, including the Lifelong Learning Erasmus Programme of the EU. For additional information on the criteria, the application process and the amount of the scholarship, please visit www.kabk.nl or the International Office of the KABK. After graduation Postgraduate programme Several high-quality postgraduate programmes are available for students wishing to continue their studies abroad after graduation. Timely preparation is required. Most admission procedures for foreign postgraduate programmes begin in January. This means that students should start their orientation to the available programmes at the beginning of the examination year. The following websites can assist students in their search: International Association of Universities and Colleges of Art, Design and Media ++ w ww.cumulusassociation.org European League of Institutes of the Arts ++ www.elia-artschools.org/members/index Association of Independent Colleges of Art and Design (US) ++ www.aicad.org International Directory of Design ++ www.penrose-press.com/idd/edu

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Funds and scholarships Studying at a postgraduate institute abroad is a costly proposition. It is not unusual for students to need an average €30,000 for one academic year, in order to cover tuition fees, travel and accommodation. Students can apply to several foundations for scholarships. Simultaneous applications to different foundations are allowed. Possible foundations include the following:

tion is performed by an internal selection committee of the University of the Arts, The Hague. The selection committee proposes a number of candidates (predetermined by the VSB Fund) to the Board of the University of the Arts, The Hague. Additional information on criteria and procedures is available at the International Office or on the website: www.vsbfonds.nl/beurzen

++ VSB Fund scholarship programme www.vsbfonds.nl/beurzen

8.1.5 Career orientation and preparation

++ Cultural Agreements www.nuffic.nl/cultureleverdragen ++ Fulbright Scholar Program (for US) www.fulbright.nl ++ Institute for International Education (for US) www.fundingusstudy.org ++ Mondriaan Fonds www.mondriaanfonds.nl/en/about/ ++ Additional foundations are listed at www.beursopener.nl The following tips are important when applying for scholarships: ++ M ake sure that the application looks presentable and that it is free of language errors. ++ Provide arguments for your plans in a well-written cover letter. ++ In the application, state whether you have already been admitted to the institution of your choice. VSB Fund Scholarship Students graduating from a Bachelor’s programme between 1 March 2014 and 31 December 2015 and wishing to pursue further studies or conduct research abroad after graduation are eligible for VSB Fund Scholarships. Continuing programmes should last a minimum of three and a maximum of 24 consecutive months, and they must be completed within that period. The grant can amount to a maximum of €10,000. The scholarship is not intended for internships, and applicants cannot be older than 29 years at the start of the programme. The application form is available on the website of the VSB Fund. All applications can be submitted to the International Office of the KABK, along with original documents. The first written and oral selec-

During the course of the study programme, students increasingly approach the level of a starting professional, thereby contributing to the further professionalisation of their own work in their chosen professions or occupations. The educational programmes of the Academy can be seen as a foreshadowing of future professional practice. Students encounter this practice in various forms throughout their years of study, and they master its various components. The process begins with an introduction to professional practice in the courses, which are taught by artists and designers, almost all of whom have their own professional careers. The link with the professional field is made even more explicit through internal projects, through work presentations in internal and external exhibitions and through lectures and workshops. The link is made externally during visits to (and participation in) exhibitions and events. During the course of their studies, students gain knowledge and experience through career orientation and, later, through career preparation. The ability of students to function independently becomes increasingly important. In the main phase, we offer the course Writing a Business Plan. Career orientation/field orientation during the propaedeutic year Especially in the first year, career orientation is important for both the student and the Academy. Both the KABK and the student must be able to determine whether the student has enrolled in the right programme. Students visit exhibitions, designers and artists, both in groups and on their own, and they prepare reports on these visits. This process also serves as training in written expression skills, and it provides students with the opportunity to reflect further in an oral presentation. This type of career orientation is part of the study programme of each department.

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Career preparation in the main phase In the main phase, students become increasingly independent, possessing more technical and artistic skills and greater conceptual and theoretical knowledge. Students are eager to become artists or designers, and their professional careers are approaching. Participation in workshops and projects or productions is a method for intensifying career preparation. Each department employs methods that are best suited to the discipline. Examples of methods used to prepare students for their professions and to teach them how to present themselves as designers or artists include the following: ++ case study: practical education involving a series of fictitious assignments (sometimes simulations) that teach students to cope with authentic practical problems (in the case) that reflect realworld assignments ++ d ocumentation of original work in a portfolio (digital or otherwise) ++ digital recording of project, production and workshop reports ++ describing the work presented at the collective assessment and giving an oral explanation of the work Career preparation in the final exam track/final phase Even in the earliest phases of the programme, but explicitly in the final phase, students demonstrate their ability to work independently as professionals. They are therefore supervised from this perspective. The final thesis and final examination project are two elements in which students can make artistic statements. In the fourth year, full-time students of Interior Architecture and Furniture Design and full-time students of Textile and Fashion work at their internships. 8.1.6 Internship The internship is part of the career preparation for the profession of artist or designer. During their internships, students experience the working conditions, methods, techniques and limitations of their future professional fields. They are thus an important part of the career preparation. The KABK attaches considerable value to the internship, regarding a strong relationship with the professional field as an essential part of the programme. Internships are not yet compulsory for part-time students. Given the difficulty of arranging internships in their fields, full-

time students of the Fine Arts and ArtScience departments work on external projects in lieu of internships. The ability of students to function as aspiring artists or designers during their internships is an important addition to the programme. The process by which students, clients and teachers define learning objectives prior to their internships and assess their achievements at the end allows for the evaluation of what students have achieved thus far. By working in the professional field, students also have the opportunity to develop important contacts. Work placements do not qualify as internships unless on-site supervision is available. For students participating in projects in lieu of internships, the KABK arranges regular supervision. The KABK guarantees the effective contribution of an internship to the programme based on the internship guidelines for the interim and final assessments. Guidelines have also been created for communication with internship companies. Each department has an internship coordinator, who is often the internship supervisor as well. Numerous websites contain information and tips for students with regard to internships. The KABK website provides an overview of several useful sites. Internship objectives The internship must offer the student the opportunity to demonstrate insight into situations that are typical of the future profession, as well as the ability to act appropriately, based on this insight. Students formulate their own learning objectives for their internships, which are intended to prepare them for their future careers. During their internships, students must therefore: ++ b ecome familiar with the profession and their future careers ++ acquire the professional skills and professional attitude expected of starting professionals (designers/artists) ++ learn to participate in the working/business world ++ learn to integrate theory and practice ++ discover their own qualities and learning objectives ++ explore possible specialisations ++ network: establish contacts in order to minimise the transition to the professional field ++ o btain an understanding of and gain experience in the field under professional conditions

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++ gain experience in professional manufacturing methods and techniques ++ w here applicable, learn to work in teams and with clients and meet production deadlines, in addition to performing acquisitions, preparing quotations and managing budgets Internship supervision ++ I nternships are supervised by the department coordinator, who maintains contact with the internship company throughout the internship, in accordance with pre-defined arrangements. ++ T he internship company has a contact person, with whom the internship supervisor holds discussions as needed throughout the internship, in addition to a final conversation. ++ If the internship takes place abroad, contact is usually maintained by email or telephone. ++ T he KABK supervisor contacts the internship company and the student at least once during the internship. ++ The department can organise a collective internship meeting halfway through the internship period. ++ T he coordinator always visits new internship companies in the presence of the student. If desired, contact with established internship companies is maintained by telephone. ++ In the event of problems, the internship company and/or the student should contact the coordinator. ++ T he coordinator is responsible for processing the internship contract. Organisation of the internship The internship brochure provides detailed information about the internship procedure. It also contains an internship contract and the interim and final assessment forms. The principles underlying the internship policy and contract are also included in English. The interim and final assessment forms are available in Dutch and English, and can be obtained from the Student Administration office. An internship must comprise at least half a semester, with a maximum of one semester. During the actual internship period, sufficient time is devoted to the preparation of an oral or written interim report. Participation in the mid-internship return days, completion of the timesheet, the preparation and signing of the overview of activities by the student and the internship company, and the preparation of the internship report are inextricably linked to the internship. No separate

credits are allocated for writing the report. Internships should include the following steps (please refer to the internship brochure for additional information): ++ creation of an internship work plan ++ locating an internship or internship replacement activity ++ application ++ preparation of an internship contract ++ writing an interim report ++ p articipation in a return day (where applicable) ++ a mid-term review with the external internship supervisor ++ a final assessment from the internship company ++ writing a final report ++ creation of a visual presentation about the internship period (where applicable) For situations in which internships are difficult to obtain (e.g. Fine Arts), the internship is replaced with other activities (see the section on Internship Replacement Activities below). Starting conditions Before a student can start an internship, the internship plan must be approved and prior study components must be completed. In exceptional cases, the head of department may authorise an internship before completion of the prior programme. Necessary preparations must have been made during the period preceding the internship (e.g. by attending the internship return days held halfway through each internship period). Students are also advised to consult the internship brochure. Internship replacement activities It is more difficult to find internship positions for students of the Fine Arts and ArtScience departments than it is for design students. Occasionally, individual students work in the studios of or participate in projects with artists, but such positions are very limited. One solution to this problem involves a non-continuous period (e.g. one or two days per week). Institutions including Stroom Den Haag, the GEM, the Museum of Contemporary Art, the Gemeentemuseum and various artists’ initiatives provide a proper context for conducting research on more general issues (e.g. on the operation of the process of making art available to the public within the professional field) . Many Fine Arts students participate in external

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projects or the organisation of exhibitions in lieu of the internship. Students of the interfaculty ArtScience department work on various productions and projects (e.g. the SonicArt Festival). This department prefers to approach education, research and production as an integrated whole. The head of department appoints a supervisor for each internship replacement activity. The rules regarding credit allocation and the conclusion of these activities are the same as those applying to regular internships. The writing of a report on the replacement activity is compulsory.

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8.2 Academy-wide Education

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8.2 Academy-wide education

8.2.3 Entrepreneurship

In addition to their departmental programmes students participate in academy-wide courses. From the first year, collaboration between students from different departments and disciplines is hence actively encouraged. Some components of academywide education are part of the compulsory programmes. In these cases, the specific courses are included in the departmental credit overviews. In other cases academywide programmes may refer to elective subjects. Courses and subjects organised at an academy-wide level are described below. 8.2.1 Research & Discourse The first-year course that relates making to thinking and gets students into contact with all departments within the academy. During the whole first year they look at different aspects of artistic practice and research. The practice of an artist or designer is all about making, but is there any making without thinking? This programme asks questions, discusses visions and both visually and mentally invites students to get informed about the contemporary discourse of the Arts. They explore their position in the fields of art and design and learn how to speak or write about this position. The Research & Discourse programme consists of Research seminars and Discourse lectures. It is a compulsory part of the first year of the Bachelor’s programmes. Details are published on the KABK website: www.kabk.nl/researchanddiscourse 8.2.2 Propaedeutic Project Week

In the world of professional designers and artists it is all about realising projects and ideas. To do this, choices are made and decisions are taken. But one needs more! You may have a very strong concept but how do you realise this idea? How do you get to work on projects as artists or designers? How do you apply for a grant? What do you do if your artwork will be exhibited in a museum? How do you organise a performance? How do you make a budget and what do you include in an offer? How do you start cooperation with a partner or other organisations? And what do you include in a press release? To answer all these questions you need certain skills and you should know how the business-side of the professional world looks like. The entrepreneurship course enables the professional practice of art and realise ideas. Entrepreneurship is an interdisciplinary course where students are prepared for the business-side of the professional practice. With a broad academic programme we work on the development of knowledge and skills in the areas of project management, business development and entrepreneurship. The students learn how to organise and shape the practical and financial parts of their own design or art companies/studios. The central themes vary from budget control, budget en project planning to acquisition, being able to sell yourself and presenting the ideas. Ellen Schindler, partner/business director of design studio Kossman. dejong, will teach this course in cooperation with teachers from the different departments giving seminars. This course is compulsory for students of the 3rd and 4th year depending on the department/ programme they follow. 8.2.4 Labs

The Propaedeutic Project Week is an academy-wide project week for all firstyear students. This week is about working across the boundaries of the different disciplines in art education. The aim is to promote collaboration and strengthen connections between the different departments. The KABK strives to stimulate an inspiring ‘open culture’, in which individual experience and skills, connect and collide. This project week is a compulsory part of the first year of the Bachelor’s programmes.

In order to further explore and deepen the research orientation of the programme and the students’ development in artistic research, we organise a number of ‘research labs’. The labs are experimental and, most of the time, researchbased interdisciplinary working groups, offered by one or more departments and/ or research domains. In the labs, the research orientation of the programmes is further explored and deepened by encouraging students to work together on particular themes with students and teachers from other disciplines.

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8.2.5 Studium Generale The activities of the Studium Generale (SG) are designed to broaden students’ knowledge and keep them up to date with regard to cultural and social developments. During the activities of the Studium Generale, all students of the KABK are invited to look beyond the boundaries of their own disciplines, in order to question the current events taking place in the world around them and to be confronted with ideas from other disciplines. This helps them to develop a critical way of looking at their own disciplines and to engage in conversation with other students. The exact content of the SG programme for 2015-2016 will be published on the website. The Studium Generale is a compulsory part of all Bachelor’s programmes; the semester/year in which it is included in the programme may differ between the departments. Participation in other semesters/years is encouraged. For additional information about the programme and participation, please visit: www.studiumgeneralekabk.nl 8.2.6 Activities of ’t Hart ’t Hart organises lectures, film and video screenings and discussions in the KABK. The association also provides discounts on special theatre and opera performances. Information is available in various locations, including the ’t Hart stand in the hall of the Academy. Many of the activities organised by ’t Hart are planned in collaboration with students. If you are interested in these activities, please contact Christie van der Haak: hart@kabk.nl. 8.2.7 Electives Students at the KABK may follow various electives during the main phase of their study programme. With the approval of their coaches, students may take these electives within the framework of the Individual Study Track.

Furthermore, the academy offers a range of special elective courses that are not part of the regular programmes. These elective courses vary from short skills training courses, in which students mainly learn new techniques, to full semester courses. Elective courses are open to students from all departments and can be included in the Individual Study Track if the department approves a student’s proposal to do so before the beginning of the course. External electives Through the Academy of Creative and Performing Arts, students may follow external electives at Leiden University or at the Royal Conservatoire. Current information about all the external electives is provided in the e-Prospectus: www.studiegids.leidenuniv.nl. More information about the enrolment procedure is provided at www.hum.leiden.edu/ creative-performing-arts Enrolment in an elective course at the Royal Conservatoire does not require registration as a guest student at Leiden University. In this case please contact R. Schneemann: acpa@hum.leidenuniv.nl. 8.2.8 Electives for students from Leiden University Through the Academy of Creative and Performing Arts, students from Leiden University may take electives at the Royal Academy of Art and the Royal Conservatoire. More information is provided on the website and in the e-Prospectus from Leiden University where students can register online: ++ www.studiegids.leidenuniv.nl/en (elective choices)

Internal electives As part of the IST, students are allowed and encouraged to take elective courses either within or outside the academy. The research labs mentioned above can serve as an elective course, for example. Another option is to take parts of a programme of another department as an elective. 236

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8.3 Assessment in Art Education

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Assessment in ar t education

8.3 Assessment in art education During their studies at the KABK, students are assessed in a specific, extensive and very thorough manner. The assessment methods used in art education differ from those used in other forms of higher education, in which students are usually assessed through examinations. The assessment methods applied at the KABK can be observed even during the admission process. For example, prior education is not the only decisive factor in the decision to accept prospective students to the KABK. Their creative abilities, motivation and ambition are assigned equal importance, as is their potential for talent development. The individual development of students places special demands on the method of assessment. Within the KABK, assessments are intended primarily for didactic purposes: they should provide students with insight into the progress of their development as artists or designers. In addition to addressing the form of the work, assessments focus on the strength of the concept, the way in which the result has been achieved, the process and the student’s theoretical knowledge. This analysis of the students’ work and designs is made during the individual reviews and collective assessments. The conclusions form the basis for discussions with individual students. These conversations are led by the coordinator or head of department, in order to clarify the specific issues at hand. Information on the various assessments, the composition of the different committees and their authoritative reach are specified in the Education and Examination Regulations (Section 7). It is particularly important for first-year students to read the rules on the propaedeutic assessment. In the department of Fine Arts, and in several years of the programmes in other departments, the individual reviews and collective assessments are combined into a single assessment. 8.3.1 Individual reviews Individual reviews aim to give students feedback on their achievements thus far and recommendations for next steps in their studies. The main focus, therefore, is not on grading and assessing, but on discussing with students how they are developing artistically, professionally and personally, and on that basis, giving the students useful guidance to get the most out of themselves.

8.3.2 Collective assessments The collective assessment evaluates the integral development of the students, as well as their processes, products and skills. In addition to its evaluative purpose, the assessment has the didactic objective of providing feedback to students with regard to their attitudes, their work and the way in which they have approached the work or assignment, as well as the strength of the concept and their theoretical knowledge. The collective assessment is based on the presentation of the student’s work, as well as on its developments in comparison with previous assessments, taking into account the feedback from the teachers of the various study components. Additional information is provided in the ‘Credit Allocation’ section. The competencies of visual communication/product/spatial designers and those of visual artists are described in their original form in the Educational Profiles of the OBK. The competencies for each academic year are specified in the curriculum descriptions of each department. 8.3.3 Registration and archiving ++ All collective assessments are signed by the head of department, on behalf of the assessment committee. ++ Each student receives a form, signed by the head of department, in which the result of the collective assessment is stated. ++ One copy of the form is kept in the student’s file at the Student Administration office. 8.3.4 Credits (EC) Study load is expressed in terms of European credits (EC). The European credit is a unit of measurement used to calculate the study load, which includes all the activities that a student undertakes within the framework of a specific study component. In addition to contact hours and classes, the measurement includes hours of independent study. One study year consists of 42 weeks of 40 hours, for a total of 1680 hours. One EC equals a study load of 28 hours. One year of a full-time programme thus consists of 60 EC (60 x 28 hours = 1680 hours). A Bachelor’s programme covers four years, each amounting to 60 EC. The propaedeutic phase comprises 60

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EC, with the main phase and final phase covering the remaining 180 EC. Students must obtain a sufficient number of EC each year in order to continue the programme, and they must receive all of the programme’s 240 EC in order to complete the Bachelor’s degree. The Master’s programme in Type and Media covers one year, amounting to 60 EC. The Master’s programme in Interior Architecture covers two years, amounting to 120 EC. Credit allocation The study load of the various components is expressed in EC. Individual reviews are followed by the collective assessment. This applies to both the full-time and parttime programmes. All study components in one semester have a combined study load of 30 EC. During the collective assessments, the assessment committee decides which components have been completed successfully or not, and awards credits for each of these components, or for clusters of strongly related components, accordingly. Therefore no grades are given or pass/fail decisions made during the individual reviews. Please note: Due to the different structure of the study programme in the ArtScience department, the allocation of credits takes place after the collective assessment that is linked to the final presentations of each semester. Credit allocation for international exchange KABK students participating in foreign exchange programmes receive their credits according to the system of the host institution. Many countries currently employ the EC system. For those that do not, a manner of converting the credits is formulated. The study load of the exchange programme is determined prior to the exchange by the policy officer for internationalisation, in cooperation with the head of department. Credits allocated by the host institution must be formally verified and registered by the assessment committee of the student’s department at the KABK. International exchange students studying at the KABK fall under the protocol of the Academy. Individual arrangements are made in the event that the credit systems differ.

Credit allocation for guest students Students from other institutions (e.g. Leiden University) who would like to take classes at the KABK require approval from their own institutions, as well as from the Academy. After a positive assessment, these students receive statements specifying the study load of the programme to be followed in EC. Credit allocation for internships Prior to the internship, each student draws up an internship plan. Interim and final evaluations are part of the internship, and each student is expected to make a presentation and write a report at the end of the internship. Credits are allocated once all conditions have been met. Please also refer to the internship brochure, which contains with extensive information on internships. Credit allocation for Individual Study Tracks Credits are reserved for the Individual Study Track (IST). The work carried out within the framework of the IST is not always addressed in the collective assessment (e.g. minors or electives at Leiden University). In such cases, the students are assessed by external parties. The plan is signed in advance by the coach, who subsequently issues a Credit Statement upon completion, if everything is in order. A standard form is available for this purpose. As with all other credits, any credits earned through activities in the IST are not allocated until after the collective assessment. Credit allocation for minors Pending positive final results, KABK students taking minors at Leiden University can use a maximum of 36 EC for their programmes. This is the space offered by the Individual Study Track. If the study load of a minor exceeds 36 EC, the additional credits earned are noted, but they are not counted towards the compulsory programme.

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8.4 Study and Progress Guidance

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8.4 Study and progress guidance

8.4.2 Student counsellor

The KABK distinguishes between guiding students in the content of their programme and artistic development, and supervising their study progress. The guidance of the student’s artistic development takes place continuously through constant discussions between students and teachers with regard to the work and work process. 8.4.1 Mentors and coaches Mentors and coaches monitor students’ study progress. Mentors guide students in the propaedeutic year, while coaches guide students in the higher years. Mentors meet with the student twice each year. At the end of the first semester, all full-time first-year students receive provisional interim recommendations concerning their study progress. A final, binding decision follows at the end of the second semester. The mentor is a teacher of the relevant discipline. The tasks of the mentor focus on the following: ++ discussing the student’s study progress ++ discussing the assessment of the first semester ++ discussing the assessment of the second semester ++ keeping a concise record of the date and content of the conversations Coaches are available to students in the main phase. The coach is a teacher of the relevant discipline. In some cases, the head of department assumes the role of coach. The tasks of the coach focus on the following:

The KABK has an independent student counsellor who supplies information of a more general nature. The student counsellor represents the individual interests of the students and is bound by an agreement of confidentiality. The counsellor may also mediate or make referrals to agencies or individuals outside the Academy. Third parties are contacted if necessary, but only with approval of the student. The counsellor provides information on and assists (if possible) with the following matters: ++ study grants and financial issues ++ applications for funding and grants ++ housing ++ problems in study progress due to illness ++ personal problems ++ professional procedures ++ adjustment difficulties, study motivation, study planning, performance anxiety, switching programmes ++ conflicts with teachers ++ information on de-registration ++ information on postgraduate programmes The KABK student counsellor is Paul Deneer. Paul Deneer is also a confidential contact person, along with Pauline Schep. Appointments can be made by email. ++ Paul Deneer p.deneer@koncon.nl ++ Pauline Schep p.schep@kabk.nl

++ discussing the student’s study progress ++ pre-approving the IST plan ++ assessing the IST plan after completion ++ recording and filing the students’ IST plans

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8.5 Quality Assurance

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8.5.2 Quality assurance at the KABK

Quality assurance refers to the totality of measures with which an institute systematically defines, monitors and improves the quality of education in the broadest sense of the term. 8.5.1 Accreditation Accreditation is a designation indicating that an educational programme meets the requirements set by the Minister of Education, Culture and Science. It is a condition for the recognition of diplomas, for the funding of the programmes and for grant applications. An external committee reviews and evaluates the programmes and reports to the Accreditation Organisation of the Netherlands and Flanders (NVAO). The designation is granted by the NVAO. A list of accredited programmes is available on the NVAO website: www.nvao.net Quality assurance is an important part of the accreditation process. It involves the continuous examination of the performance of both the education and the organisation. This is accomplished through interviews and evaluations (see below). If the outcomes of the assessments are negative, improvements will be made. The KABK Bachelor’s programmes and the Master’s programme in Type and Media were accredited in July 2015. The Bachelor’s programme in Autonomous Fine Arts (ArtScience and Fine Arts) was assessed as ‘good’, while the Bachelor’s programme in Design (Graphic Design, Interactive/Media/Design, Interior Architecture and Furniture Design, Photography and Fashion and Textile) and the Master’s programme in Type and Media were assessed as ‘excellent’. The Master’s programmes in ArtScience and Artistic Research were accredited in September 2013 as ‘excellent’ and were recognised for ‘internationalisation’ as a distinctive quality feature (as a specialisation in the Master’s programme in Music). The Master’s programme in Interior Architecture was accredited on June 8th 2010 and is due for accreditation by the end of 2015.

The staff, students, alumni and professionals of the different departments are actively involved in the internal quality assurance process of the KABK. Great importance is attached to solid quality in policy, both throughout the Academy and within the departments. The Academy considers opinions concerning the programmes and their results. This takes place internally with students and staff members, as well as externally with alumni, committee members, key figures in the art and design worlds, internship companies and art institutions from the professional field. At the KABK, quality assurance consists of the following: Satisfaction surveys Written or digital surveys are used to question students about their satisfaction with the educational programme in general, as well as with regard to specific parts of the programme. Aspects addressed in the surveys include the level of the course, assessments and the level of difficulty. The surveys are developed in close collaboration with the ICLON department at Leiden University, which also performs the automatic processing of the responses. Participation in national satisfaction surveys The KABK regularly participates in national satisfaction surveys, in order to ensure its compatibility with other institutions of higher education in the arts. Student panels/class representative meetings Within each course, meetings are scheduled regularly (at least once a year) between the head of department and the class representatives. The class representatives also meet at least once a year with the director of the KABK. Course Committee The Course Committee (in Dutch, Opleidingscommissie, or OC) plays an important role in the developments in the programmes and in quality assurance, by providing solicited and unsolicited advice on all matters concerning education. The committee is also involved in finding the best way to gather information on education. The Course Committee consists of students and teachers. The meeting dates are provided in the Academy calendar.

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Departmental meetings Teachers and the heads of departments meet regularly to discuss operations and the quality of the education. This information is then used in the further development of the programmes.

Exit surveys All students leaving the KABK without a diploma are also asked to complete a questionnaire. The information obtained through these surveys could be useful for the development of the education.

Study days The director, heads of departments and other staff members participate in study days several times each year, in order to discuss the current developments within the academy and to develop new ideas. External assessors Each year, renowned experts, artists and designers are involved in the final examinations as external assessors. They are asked about their experiences and findings in relation to the department. Departments use this information to develop their programmes. The assessors are also questioned about their findings in writing. Professional advisory committees A professional advisory committee has been established within each department, in order to ensure compatibility with the professional field. There is also a professional advisory committee for the academy as a whole. These committees consist of respected people from the professional field who advise the KABK and comment on the content of the programmes, the final objectives and the final level, as well as on developments in the field and the resulting demands for the education and organisation. Internship companies The companies at which students complete their internships are asked about their findings, with regard to the level of the students and their needs in the professional field. Alumni studies Since 2003, all alumni who have completed their studies successfully are asked about their experiences. This takes place about three months after graduation. For the first few years, these questionnaires were distributed by post. For the past few years, alumni have had the option of completing the questionnaire digitally. The response rate is high for this type of research, around 40%. In the near future, an additional survey will be conducted on the manner in which alumni are able to establish their own positions within the world of art and/or design. 252

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9. Education and Examination Regulation

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9. Education and Examination Regulations This part of the Education and Examination Regulations specifies the rules and provisions that apply to the education at the Royal Academy of Art (KABK) as a whole, in conformity with art. 7.13.2 a–u, of the Higher Education and Scientific Research Act (Hoger onderwijs en Wetenschappelijk onderzoek (WHW)) . It has been approved by the Board of Governors of the University of the Arts, The Hague, formerly the School of Visual Arts, Music and Dance. These regulations came into force on 1 September 1998, and they were modified in part by the Board of Governors (most recently in July 2015) for all programmes of study at the Royal Academy of Art. The general description of the education provided at the Academy and the concise description of the curriculum for the programmes in this Study Guide are an integral part of these regulations. These regulations apply to all cohorts of students of the programmes and courses referred to, and to the 2015– 2016 academic year. By way of exception to the above, if the 2015-2016 Education and Examination Regulations have not been completed as of 1 September 2015, the 2014-2015 Education and Examination Regulations shall remain in force until the 2015-2016 Education and Examination Regulations take effect.

++ Article 13: Determining the result and awarding credits ++ Article 14: Propaedeutic phase assessment/regulations (WHW art. 7.8; only applies to Bachelor’s programmes) ++ Artikel 15: Regulations concerning the recommendation on continuation of studies and rejection (WHW art. 7.8b; bachelor’s programmes only) ++ Article 16: Green light assessment ++ Article 17: Sequence of the assessments ++ Article 18: The assessment committees ++ Article 19: Semester assessments of the assessment committees ++ Article 20: Regulations for the semester and propaedeutic assessment committees ++ Article 21: Final assessment committee: Composition and working method ++ Article 22: Final examination regulations for the Royal Academy of Art Resits, exemptions, substitute activities ++ Article 23: Exemption ++ Article 24: Resits/retakes and compensation ++ Article 25: Substitute activities due to financial reasons ++ Announcement and registration of results; statements and certificates ++ Article 26: Registration and announcement of assessment results: Validity of results ++ Article 27: Declarations and certificates (WHW art. 7.11)

General ++ Article 1: Applicability of the regulations ++ Article 2: Definitions ++ Article 3: Degree programmes offered

Safekeeping ++ Article 28: Safekeeping

Admission ++ Article 4: Admissions

Irregularities during assesments/examinations ++ Article 29: Irregularities ++ Article 30: Misconduct

Duration and structure of the programmes ++ Article 5: Duration of the programmes ++ Article 6: Propaedeutic phase (WHW art.7.8) ++ Article 7: Admission to the main phase of the Bachelor’s programmes ++ Article 8: Main phase of the Bachelor’s programmes ++ Article 9: Structure of the Master’s programmes

Objection and appeal ++ Article 31: Regulations for objections and appeals Other provisions ++ Article 32: Copyright ++ Article 33: Tests and examinations (assessments) for students with disabilities ++ Article 34: Reference title ++ Article 35: Effective date

Assessments ++ Article 10: Semester assessment ++ Article 11: Individual reviews ++ Article 12: Collective assessments 257

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evaluation of the results of that investigation. We make the following distinctions:

Article 1 Applicability of the regulations These regulations apply to the education and examinations of the following programmes and courses of study: ++ Fine Art Bachelor’s programme (CROHO 39110), with the ArtScience and Fine Arts courses ++ D e s i g n B a c h e l o r ’ s p r o g r a m m e (CROHO 39111), comprising Photography, Graphic Design, Interior Architecture and Furniture Design, Textiles and Fashion, and Interactive/Media/ Design courses ++ Interior Architecture Master’s programme (CROHO 49238) ++ Type and Media Master’s programme (CROHO 49106) Article 2 Definitions Academic year: The period beginning on 1 September and terminating on 31 August of the subsequent calendar year: An academic year has two semesters. Academy for Creative and Performing Arts: This is a collaborative partnership between the University of the Arts, The Hague and the University of Leiden. Admissions committee: A committee established by the institution’s management, represented by the faculty director, to bear responsibility for assessing the attitude and suitability of prospective students for specific study programmes (WHW art. 7.26a). Admissions review: A review of the suitability of prospective students. Assessing: Assessing is an accepted term in higher art education that is equivalent to ‘administering examinations’ in regular higher education. (see WHW art. 7.10, para. 1). Assessment: A term in art education that is equivalent to the terms ‘interim examination’ and ‘examination’ in WHW art. 7.3, para. 3 and art. 7.10, para. 1. Assessments involve an investigation into the knowledge, insights and skills of the examinee, as well as the

++ in the Bachelor’s programmes: propaedeutic (first-year) phase assessment following semester 2 ++ semester assessment (comprising individual reviews for the separate study components and a collective assessment, or an integrated assessment where these are combined) ++ final assessment Assessment committee: Committees of examiners (or assessment committees) are established for the purpose of preparing and/or implementing examinations and parts of examinations, as referred to in WHW art. 7.12c, para. 1. The examiners are responsible for setting and assessing tests and examinations. Assessment committees are established for the propaedeutic and main phases of the Bachelor’s programmes and for the Master’s programmes, and are responsible for collective assessments. For the Bachelor’s programmes, the Academy establishes assessment committees for the propaedeutic assessment, the assessments in the subject study phase and the final assessment. For the Master’s programme, assessment committees are established for the semester assessments and for the final examination. These assessment committees have different powers, depending on their tasks. Articles 18, 19 and 21 of these regulations specify the composition of the assessment committees. Bachelor’s degree: Degree that can be earned after completing a four-year higher professional education (HBO) programme (or after completing a three-year university level (WO) programme) . An HBO Bachelor’s programme usually lasts four years, each worth a possible 60 ECTS. Board of Appeals for Examinations: The Board of Appeals, as referred to in WHW art. 7.60, can be reached through the Central Office of the University of the Arts. Board of Governors: The Board of Governors of the University of the Arts, The Hague is the competent authority, bearing responsibility for the education, organisation and management of the institution.

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Course: The Fine Art and Design programmes each have different courses that train students for a specific profession. Block/Period: This is half of a semester, with a maximum of four blocks/periods per academic year. Coach: A student counsellor for specialisation students, possibly with responsibility for coaching the Individual Study Track (IST). Committee of Examiners: See: assessment committee. Competence: Competence is the integral whole of knowledge, skills, attitudes and other personal qualities that individuals possess, which enable them to carry out tasks in an adequate way, to find solutions and to put them into effect in practising their profession. Component of a study programme: A component of a study programme is equivalent to that which is referred to in WHW art. 7.3 as a unit of study. It is a part of the educational programme, which concludes with an assessment. Degree programme: As referred to in WHW art. 7.3, a degree programme is a cohesive whole of educational units designed to achieve clearly defined objectives with regard to the knowledge, insight and skills that a person completing the programme is required to possess. Each degree programme concludes with an examination. The programmes at the Academy include several study programmes. EC/Credits: A measure of the hours of study: One European Credit is equal to a study load of 28 hours (self-study and lectures). The study load of a Bachelor’s degree HBO programme amounts to 240 study credits: 60 in the propaedeutic phase and 180 in the main phase. The study load of the Interior Architecture Master’s programme is 120 credits. The study load of the Type and Media Master’s programme is 60 credits ECTS: European Credit Transfer and Accumulation System: the European system for exchanging and accumulating credits.

Education and Examination Regulations: The Education and Examination Regulations consist of two parts: One part provides a general description of the teaching at the Academy and a concise description of the curriculum of the courses at the Academy and the Interfaculty ArtScience; the other part includes the rules and provisions. Both of these parts are included in the Study Guide. Final assessment / final examination: The final assessment of a programme, based on the final examination work – usually referred to as “final examination” in common parlance. Examination: A review of the candidate’s knowledge, insights and skills and the evaluation of the outcomes of this review. Examination Board: For the purpose of administering, organising and coordinating examinations, interim examinations and assessments, the Board of Governors of the institute has established an Examination Board for each programme or group of programmes offered by the institute in accordance with WHW art. 7.12. At least one member of this board must be a lecturer of the programme in question and at least one member must come from outside the programme. The Examination Board for Fine Art and Design is responsible for the examination procedures. The Examination Board: ++ safeguards the quality of the interim and final examinations (WHW art. 7.12.b, para. 1, sub a) ++ can provide invigilators with guidelines and instructions concerning the assessment and determination of the examination result (WHW art. 7.12.b, para. 1, sub b) ++ applies exceptional regulations, including those governing exemptions, and allows individual exceptions to the regulations in certain cases (WHW art. 7.12b, para. 1, sub d) ++ is empowered to take measures in the event that fraud is committed by a student (WHW art. 7.12b, para. 2) ++ appoints the invigilators, including the chair of a committee of invigilators (WHW art. 7.12c)

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++ awards the certificate once the student has taken the required examinations and once the Board of Governors has determined that the procedural requirements for awarding the certificate have been met (WHW art. 7.11). Examiner: A member of the Committee of Examiners, as referred to in WHW art. 7.12c: Individuals who teach within the relevant degree programme may be designated as examiners, as may experts from outside the programme. External students: Students enrolled at the University for the sole purpose of participating in the propaedeutic or final examination, or parts thereof. Faculty: Organisational unit: The University of the Arts, The Hague comprises two faculties: the Royal Conservatoire and the Royal Academy of Art. Additional units include the Interfaculty ArtScience and the Interfaculty School for Young Talent. Head: Official in charge of an educational unit or a study programme at the Academy. Individual Study Track: In the main phase of the Bachelor’s programmes (and also in the ArtScience Master’s programme) , study load is reserved for a study component with individually determined contents approved by the department. This is known as the Individual Study Track (IST) . This track allows students to realise their own ambitions and to focus on their own interests. IST credits from full-time internships and/or the final examination can be integrated into the internship/final examination assessment in a manner to be approved by the Head of the department of the course. Interfaculty: An Interfaculty is a partnership between the Conservatoire and the Academy. ArtScience and the School for Young Talent are Interfaculties. The ArtScience Bachelor’s programme provided by the ArtScience Interfaculty falls under the Fine Art Bachelor’s programme in the Central Registry of Higher Education Programmes (CROHO) . The ArtScience Master’s programme falls under the Music Master’s programme in CROHO.

Interim examination: An investigation (written, oral or other) into the knowledge, insights and the skills of the student, as well as the assessment of the results of that investigation. An interim examination is usually referred to as an ‘assessment’ in common parlance at the Academy. Main (subject) phase: The part of the Bachelor’s programme that follows the propaedeutic phase of the programme and is concluded with its final examination. Major-minor system: Within the framework of the IST and with the prior approval of the department, students of the Bachelor’s programmes may take a minor offered by the other higher education institutes within the applicable major-minor system. Students of the University of the Arts in The Hague may qualify for a minor at Leiden University after completing the propaedeutic phase. Conversely, Leiden University students can take a minor at one of the University’s faculties after being admitted there. Master’s programme: A one-year or two-year advanced degree programme (as a rule, subsequent to the completion of a Bachelor’s programme) at an institution of higher professional education or a university. Mentor: A counsellor who assists propaedeutic students in a bachelor programme with regard to progress in their studies. Participation Council: The Participation Council, as referred to in WHW art. 10.17: The council comprises elected representatives from various ranks within the institution: students, teaching staff from each faculty and general support and educational support staff. The University has a central council and two faculty councils, one for the Academy and one for the Conservatoire. Practical exercises: Carrying out assignments or creating designs, conducting research assignments, completing internships or participating in excursions and other necessary educational activities, with the goal of achieving the required skills.

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Propaedeutic assessment/ propaedeutic examination: The examination that concludes the propaedeutic phase of a bachelor programme: The examination takes the form of a propaedeutic assessment aimed at determining whether the student meets the requirements specified for the propaedeutic phase. Recommendation: A distinction is made between: ++ The propaedeutic recommendation: At the end of the propaedeutic or first year of a bachelor degree programme, a recommendation is made with regard to the continuation of the course of study. This recommendation is binding, and it may be negative. A negative binding recommendation means that the student will not be admitted to the main part of the course in question and that the student’s enrolment for that course will be terminated in conformity with WHW art. 7.8.b. ++ Interim propaedeutic recommendation: After the first semester in Year 1 for full-time students and after the second semester for part-time students under the previous arrangements, a provisional non-binding recommendation is made. This provisional recommendation will be issued at a date that gives any student facing a negative binding recommendation a reasonable amount of time to substantially improve his/her study results. Furthermore, the student will be notified of this term. ++ Green light recommendation: Following the penultimate semester of the programme, both in bachelor and master programmes a recommendation will be issued regarding participation in the final examination assessment if all prior study components have been successfully completed, and if there is confidence in the ability of the student to obtain a satisfactory result for the final examination work based on the questions and organisation. This recommendation will be binding in cases described in article 16 of these regulations. Semester: Each academic year has two semesters. A semester comprises blocks or periods. Semester assessment: A formal assessment conducted at the conclusion of each semester: This assessment is conducted by an assessment committee.

Specialisation: A cohesive whole of educational units within a study programme, focusing on a specific domain within the visual arts and/or design, particularly in the Bachelor’s programmes. Student: A person who is enrolled at the University of the Arts, The Hague (full-time or parttime) to pursue a degree programme. Student counsellor: A confidential advisor who, if necessary and as a supplement to the mentor, coach or lecturer, provides advice and information to students with regard to matters relating to their studies: The student dean also helps students with personal problems of a material and immaterial nature, refers them elsewhere or acts as intermediary. Study load: All supervised and unsupervised study activities: practical exercises, excursions, internships, interviews, practical and theory classes, lectures, workshops and independent study within and outside the Academy; also referred to as study hours, and expressed in credits. The Royal Academy of Art: The Fine Arts and Design Faculty of the University of the Arts, The Hague. The Royal Conservatoire: The Music and Dance faculty of the University of the Arts, The Hague. The University of the Arts, The Hague: On 1 January 1990, the Royal Academy of Art and the Royal Conservatoire merged to form the School of Visual Arts, Music and Dance. On 8 July 2010, the name of the institution was changed to the University of the Arts, The Hague. The Board of Governors is responsible for the daily operations of the University. WHW - Higher Education and Scientific Research Act: The Act on Higher Education and Scientific Research, Bulletin of Acts, Orders and Decrees 593, 1992; Implementing Decree 2008 Text, as in force on 1 July 2011. WSF: Act on Student Grants and Loans, Student Finance.

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Article 3 Degree programmes offered Bachelor’s programmes: Each Bachelor’s study programme has its own propaedeutic phase. Students who pass the propaedeutic phase are entitled to advance to the main phase of their chosen study programmes. Fine Arts with specialisations: ++ Fine Arts, full-time and part-time ++ ArtScience, full-time, provided by the Interfaculty ArtScience Design: ++ Graphic Design, full-time and part-time ++ Photography, full-time and part-time ++ Interactive/Media/Design, full-time ++ Interior Architecture and Furniture Design, full-time and part-time ++ Textile and Fashion, full-time Master’s programmes and postgraduate programmes: The Academy has four postgraduate programmes. ++ Type & Media Master’s programme ++ Interior Architecture Master’s programme ++ ArtScience Master’s programme ++ Artistic Research Master’s programme The latter two programmes are the result of collaboration between the Academy and the Conservatoire, and fall under the Education and Examination Regulations of the Music Master’s programme of the University of the Arts. Admission Article 4 Admissions 1. Students are admitted if they meet the requirements relating to previous education, as specified in WHW art. 7.24, or if they are exempt from those requirements on the basis of WHW art. 7.28. 2. In addition to the requirements specified in the first paragraph, the students must meet additional requirements in accordance with WHW art. 7.26a. 3. In order to determine whether a candidate meets the additional requirements specified in the second paragraph, the Board of Governors establishes an admissions committee that provides the board with a recommendation concerning the admissibility of the candidate (based on the specified requirements).

4. The Board of Governors establishes the Admissions Regulations, which contain at least the composition, powers and responsibilities of the committee specified in the third paragraph, as well as the procedures and criteria adopted by that committee. Duration and structure of the programmes Article 5 Duration of the programmes The Fine Art and Design Bachelor’s programmes amount to 240 ECTS and last four academic years. The Type & Media Master’s programme amounts to 60 ECTS and lasts one academic year. The Interior Architecture Master’s programme amounts to 120 ECTS and lasts two academic years. Article 6 Propaedeutic phase (WHW art.7.8) Each Bachelor’s study programme at the Academy has its own propaedeutic phase, which corresponds to the main phase of that specific study programme, including the associated specialisations. The propaedeutic phase counts for 60 EC and takes one year of study. The phase concludes with the propaedeutic examination, which takes the form of an assessment. The study components in the propaedeutic phase constitute a cohesive foundation for the main phase. The propaedeutic phase is arranged in such a way that students obtain insight into the content of the study programme and the future profession, with the possibility of referral and/or selection at the end of this phase. The curriculum of the propaedeutic phase is described in the study guide. In the Master’s programmes, no distinction is made between the propaedeutic phase and the main phase. Article 7 Admission to the main phase of the Bachelor’s programmes 1. Students who have successfully completed the propaedeutic phase of a Bachelor’s programme can continue their studies in the main phase of the course in question. 2. A student who has gone through the propaedeutic phase of a course but has not yet passed the propaedeu-

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tic examination may only participate in the main phase if the propaedeutic assessment committee considers the student’s chances of completing the propaedeutic phase in the second academic year are good, and that repeating the first year would not be worthwhile. 3. In consultation with the Head of the department of the relevant course, a student may be allowed to continue his/her studies in a different course within the Academy. The study components of the ‘new’ course that need to be completed, as well as the amount and type of credits earned in the ‘old’ course that can be transferred to the ‘new’ one, will be determined in each case. 4. On the basis of a recommendation from the admissions committee, the Board of Governors can decide to directly admit a student to the main phase of a course. In such cases, the Examination Board will assess the exemptions from the study components of the propaedeutic phase of the relevant course as soon as possible after the start of the first year following enrolment in accordance with article 23 of these regulations. Article 8 Main phase of the Bachelor’s programmes The main phase of the Bachelor’s programmes amounts to 180 ECTS and lasts three academic years. The goal of the main phase is to prepare students for professional practice in the field of fine arts and design. The curriculum of the main phase is described in the study guide and on the Academy’s website. Article 9 Structure of the Master’s programmes No distinction is made in the Master’s programmes between the propaedeutic phase and the main phase. The oneyear Master’s programmes conclude with an examination (a semester assessment also takes place after the first semester). In the two-year Master’s programmes, a semester assessment takes place after the first academic year to determine whether the student will be admitted to the second year, and the second academic year concludes with the final examination (the usual semester assessments also take place after the first and third semesters).

Assessments Introduction: The examination and assessment system continuously focuses on supporting students’ development, in line with their personal interests and needs, with the goal of enabling them to eventually attain the final qualifications. For the propaedeutic phase, the goal is to effectively orientate students within the course of study and, if necessary, to ensure an adequate selection and referral. The assessments reflect (professional) practice in the field in which we provide education and in which evaluation largely depends on discourse between creators, peers, critics and the public. In our assessments, we therefore seek a balance between individual and collective judgements, and emphasise the connection between the different study components, which should result in integral development. Furthermore, our assessments are more formative than summative (with the exception of the propaedeutic and final examinations). We make a distinction between individual reviews (of separate study components) and collective assessments. These two have been combined to form integrated assessments in a number of courses, sometimes in the later years of the programmes. The green light assessment is a special type of collective assessment. Article 10 Semester assessment Every semester concludes with a semester assessment consisting of a collective assessment preceded by or integrated with individual reviews (see articles 11 and 12). In the last semester of the propaedeutic phase of the Bachelor’s programmes this is known as the ‘propaedeutic assessment’. In the last semester of the Master’s programmes and the main phase of the Bachelor’s programmes, it is called the ‘final assessment’. Article 11 Individual reviews 1. A semester consists of one or more study components. For each study component, an individual review takes place in which the student’s development and results for the relevant study component are discussed on the basis of the learning objectives of that component.

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2. The individual review is conducted by ter to be assessed, including the IST the lecturer(s)/invigilator(s) responsible and/or any study components comfor that study component. pleted at other institutes. The assess3. The individual review is formative and ment is performed on the basis of the provides students with substantive and results of practical and/or theoretical qualitative feedback on their progress work in those study components. and results, as well as with instructions 5. An exception to paragraph 4 above and suggestions for their further develis that the collective assessments in opment during the course of study. the ArtScience course of study, both 4. The result of the individual review is the Bachelor’s and the Master’s prorecorded in writing and communicated grammes, result in an evaluation of the to the student. student’s semester project because 5. The individual reviews normally take the curriculum is organised differently. place one or two weeks prior to the 6. Students are given the opportunity to comment on their work presented at scheduled collective assessments, unless integral assessments take place the assessments and on their develin the relevant course and academic opment. year. If the study component is not 7. The assessment committee assesses completed at the end of the semesthe student’s work and determines the ter, the lecturer will communicate the assessment results after consultation. date and time of the individual reviews 8. The collective assessment concludes in a timely manner. with a meeting of the assessment 6. The individual review does not result committee, in which the assessment in an evaluation (satisfactory/unsatisresults are formulated and registered. factory) or a grade. Whether or not a If necessary, the committee provides study component has been completed a recommendation on the student’s satisfactorily is determined during the continuation of studies or selection of collective assessment based on the specialisation. student’s overall development. 9. The assessment committee gives a 7. An exception to paragraph 6 above is positive assessment if the requirethat the individual reviews in the Artments established in advance have Science course of study, both the Bachbeen met. elor’s and the Master’s programmes, 10. For students who receive a result of do result in an evaluation because the ‘unsatisfactory’, the assessment comcurriculum is organised differently. mittee determines how they can retake the components or compensate for Article 12 that result, and when and how this will Collective assessments be assessed. 11. At the end of the academic year, the 1. The semester assessment committee assessment committee determines performs an assessment at the end of whether the student will be admitted each semester, known as the collecto the next academic year. tive assessment. 12. The chair of the assessment commit2. The collective assessment involves an tee determines how many credits the investigation into the extent to which student has earned on the basis of his/ the student meets the criteria estabher assessment results. lished in advance and the determination of the assessment result of that Article 13 investigation. The criteria are described Determining the result and per academic year and course of study. awarding credits 3. In the collective assessment, the student’s work from the last semester 1. Assessment results can be expressed is assessed, and his/her individual in grades (from 1 to 10, with a maxreviews and results for each sepaimum of one decimal) , on a qualitarate study component are discussed tive assessment scale (unsatisfactory/ and weighed. Eventually, the semesborderline/satisfactory/good), or on a ter assessment committee reaches a two-point scale (unsatisfactory/satisfinal, collective and integral evaluation factory). based on the competencies formulated 2. For each study component, students for the relevant course and academic are notified of the applicable scale both year. before and during the assessments. 4. The collective assessment concerns all of the study components in the semes264

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3. The following applies to graded results: result of 6.0 or higher are satisfactory; results below 6.0 are unsatisfactory. 4. During the collective assessment, the semester assessment committee determines the result of each study component and the number of credits earned. In addition to the evaluation of the individual lecturer(s) concerning that component, the assessment based on the student’s total development also plays a role. The committee also determines whether, when and how the student can retake specific components or complete additional assignments. Finally, at the end of the academic year, the semester assessment committee determines whether or not the student will be admitted to the next academic year. 5. For clusters of study components that are demonstrably and strongly related in terms of content, the student’s result can be determined at cluster level instead of at the level of the separate study components. In such cases, students are notified in advance which study components make up the cluster and how the result of each component mutually influences the result at cluster level. 6. Results and credits obtained within the framework of an exchange at a different institute either in the Netherlands or abroad, and formally recognised in the exchange agreement (learning agreement and any subsequently agreed changes to that agreement), are determined in the collective assessment in the relevant semester. A statement concerning these credits from the partner institute in question (transcript of records) will serve as proof. Article 14 Propaedeutic phase assessment/ regulations (WHW art. 7.8; only applies to Bachelor’s programmes) ++ The propaedeutic phase of a Bachelor’s programme concludes with a propaedeutic examination, in the form of the propaedeutic assessment. ++ The propaedeutic assessment is conducted by an assessment committee for propaedeutic examinations. ++ The Academy has an assessment committee for the propaedeutic phase in each Bachelor’s programme, comprising the Head of the department and supervising lecturers. ++ The assessment committee deter-

mines the extent to which the candidate has met the specified criteria according to previously established general and subject-related criteria, procedures and rules. The committee also determines the assessment result for this review. ++ Students pass the propaedeutic examination by passing collective assessments of the propaedeutic phase and completing all individual study components successfully. ++ The propaedeutic assessment concludes with a meeting of the assessment committee, in which the result is decided and recorded. ++ The committee may advise the faculty director to issue a binding negative recommendation on the continuation of the study or choice of specialisation. See Article 15 of these regulations. ++ Students passing the propaedeutic assessment receive a certificate to indicate that they have passed the assessment and that 60 EC credits have been obtained. ++ Full-time students and part-time students under the current arrangements are required to complete the propaedeutic phase within two years of enrollment. Artikel 15 Regulations concerning the recommendation on continuation of studies and rejection (WHW art. 7.8b; bachelor’s programmes only) At the end of the propaedeutic phase of the Bachelor’s programmes, all students at the Academy, both full-time and parttime, receive recommendations on the continuation of their course of studies, within the programme or elsewhere. A student who has not passed the propaedeutic assessment and whom the Academy deems unsuitable for the main phase of the study programme (with due consideration for personal circumstances) may receive a recommendation containing a binding rejection (i.e. a binding negative recommendation) . Candidates receive signed, written notification of such recommendations from one of the faculty directors (or a deputy). The binding negative recommendation refers to the procedures that students must pursue if they wish to file objections or appeals.

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The recommendation takes one of the following forms: ++ Positive recommendation: Based on the results of the study, the Academy expects that the student will be able to pursue the study successfully and thereby promotes the student to the main phase of the study programme in question. ++ Binding negative recommendation: This recommendation means that the student will not be allowed to continue the course of study and is not eligible to enrol in the same study programme at the Academy again. The binding nature applies to both the full-time and parttime variants of the programme. Students receive this recommendation if the assessment committee concludes that they will not be able to complete the programme successfully, based on the results of their assessments. ++ Exceptional recommendations allowing the possibility of re-taking the propaedeutic assessment (or parts thereof): This recommendation may be issued for students who show talent but whose study results fail to reflect this sufficiently, if the assessment committee expects that repeating the propaedeutic phase (or parts thereof) would provide them with a sufficient foundation for successfully pursuing the remainder of the programme, notwithstanding the provisions of 14, para. 9. In the recommendation, the assessment committee states its reasoning for this expectation. An exceptional recommendation is possible on the grounds of extenuating personal circumstances, as listed below, insofar as the assessment committee deems that they have impeded the student from obtaining satisfactory results. The following are considered extenuating circumstances: ++ demonstrable and long-term illness of the student ++ serious personal circumstances of the student ++ pregnancy of the student ++ membership on the Participation Council ++ membership on the board of a foundation that, by virtue of its charter, operates student amenities, as referred to in the WHW ++ membership on the board of a sizeable student organisation or a comparable organisation that primarily serves the

interests of the arts in society and that organises activities to this end ++ circumstances other than those listed above for which the assessment committee deems that a binding negative recommendation would result in serious unfairness Students should inform their mentors about any extenuating circumstances as soon as possible. If students do not regard their mentors as suitable for this purpose, they may contact the student dean, who will inform the assessment committee of the circumstances in writing. The information may serve no other purpose than the study recommendation, and it is made available only to the assessment committee, which adds it to the student’s file separately, as does the mentor. A recommendation rejecting further study can be made only if the following criteria have been met: ++ The criteria and the procedure for the study recommendation and the possibility of rejection are communicated clearly in a timely manner. ++ The student’s mentor in the propaedeutic phase discusses the results with him/her in (at least) one individual meeting. ++ During this meeting (or these meetings), the student’s study results are made available to him/her. In addition to these results, any special personal circumstances are discussed. ++ Students receive an interim recommendation at a date that gives them a reasonable period of time in which to substantially improve their study results. Students will also be notified of this period. ++ The mentor records the result of these meetings and includes it in the student’s file. Any special circumstances are set down in a separate report that is kept in the student’s file. The mentor keeps the assessment committee informed of such circumstances in writing. A negative binding recommendation can be issued so long as the student has not yet passed the propaedeutic examination. It can therefore also be issued during the second year of enrolment in the propaedeutic phase. Students who fail to complete the propaedeutic phase by the end of the second year of enrolment automatically receive a negative binding recommendation, unless the Examination

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Board decides otherwise on the advice of the relevant assessment committee. Article 16 Green light assessment

only binding in case the student does not show up at the assessment. Explanation: For the Bachelor’s programmes, the above-mentioned provisions mean that:

1. Following the penultimate semester and the corresponding semester assessment, a separate green light assessment takes place. 2. The green light assessment is performed by (a majority of the members of) the final assessment committee and results in a recommendation as to the student’s participation in the final examination assessment (hereinafter referred to as ‘the examination’ in this article) based on the questions and plans presented by the student for this purpose. 3. Students are not usually permitted to participate in the green light assessment for the Bachelor’s programmes if they have not yet earned 180 credits by the start of that assessment. The assessment committee can decide to admit the student to the green light assessment anyway if it believes that the student’s lack of progress would not necessarily prevent him/her from passing the final examination. Numerical criteria for participation in the green light assessment do not apply to students of the Master’s programmes. In the Master Interior Architecture, students are permitted to participate in the green light assessment if they have successfully completed the first year of the programme and received a positive assessment after the third semester. 4. The green light assessment takes place four weeks prior to the scheduled final examination at the latest. 5. A positive recommendation (green light) is given if, based on the student’s objectives and approach for the final examination, the assessment committee is confident that the student will pass the final examination. If there is some doubt over the student’s ability to successfully complete the examination, an orange light recommendation is given. A red light recommendation is given where the committee lacks sufficient confidence. 6. The recommendation is only binding if it is a red light recommendation AND if it concerns a Bachelor’s degree AND if the student has not yet earned 210 credits. In such cases, the student is not permitted to participate in the final examination. In the Master of Interior Architecture, the recommendation is

++ a student with less than 180 credits may only participate in the green light assessment in exceptional cases (to be determined by the assessment committee) ++ a student with 180–210 credits may participate in the green light assessment, but a red light recommendation will be binding ++ a student with more than 210 credits cannot receive a binding red light recommendation 7. Notwithstanding the period stated in paragraph 4 above, the assessment committee can decide to offer the student the opportunity to retake or postpone the green light assessment if the result would initially be an orange or red light recommendation. In such cases, the assessment committee determines the period in which the assessment or resit examination will take place. Article 17 Sequence of the assessments 1. Students must pass the collective assessment in the previous semester before continuing their studies in the programme. 2. Students may be allowed to continue their studies if it is anticipated that they can pass the next collective assessment. Article 24 of these regulations will then apply. 3. In order to be allowed to start the last semester of the study programme, students must have successfully completed all previous assessments and earned the accompanying credits. A student who has not yet earned all the previous credits but who the semester assessment committee believes is capable of catching up within the current academic year can be admitted to the last semester. The decision as to whether or not the student will be admitted is made by the semester assessment committee.

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Regulations for the semester and propaedeutic assessment committees

Article 18 The assessment committees

1. The Academy establishes assessment committees for the semester assess- ++ The chair of the assessment comments and the final assessment of mittee is responsible for the schedeach course. In the Bachelor’s prouling, organisation and coordination grammes, the propaedeutic assessof the presentation of the work to be ment is the de facto semester assessassessed. For this presentation, each ment at the end of the propaedeutic study component should be presented phase. The assessment committees in such a way that it provides a good have different powers, depending on impression of the performance of the their tasks. A description of the comstudent to be assessed. mittees and their powers follows below. ++ Voting: The committee may take a 2. The composition and working method vote, if indicated by the outcome of the of the semester assessment commitassessment. The committee’s decision tees are set down in articles 19 and 20 is based on a majority vote. In case of of these regulations. a tie, the chair casts the deciding vote. 3. The final assessment is performed by ++ Postponed assessment at the end of the final assessment committee. The the first semester of the academic year: composition and working method of in the event that the work submitted by the final assessment committees are a student is incomplete, the chair can set down in articles 21 and 22 of these establish a period in which an assessregulations. ment will take place and determine the procedure to be followed. Article 19 ++ Postponed assessment at the end Semester assessments of the of the second semester of the acaassessment committees demic year: if an unsatisfactory result is obtained at the end of an academic 1. The Academy establishes an assessyear and the committee believes the ment committee for each course and student can continue his/her studies academic year; each committee operafter obtaining a satisfactory result, ates under the responsibility of the the committee can decide to repeat Examination Board and consists of a the assessment again after a particuHead of the department and supportlar period. ing lecturers. ++ Any assessment that is postponed in 2. The Head of the department of the accordance with paragraph 3 or 4 must course chairs the assessment committake place at the end of the next semestee, the mentor/coach or the coordinater at the latest. tor serves as secretary, and the lectur- ++ Determining the number of ECTS ers who teach the study components obtained: The chair of the assessment of the course form the other members. committee determines the number of 3. The chair determines whether the stuECTS obtained. dents to be assessed can attend the ++ Recording the results of the assessdiscussion about the outcomes of the ment: The chair of the assessment assessment. committee is responsible for ensur4. The assessment committee for the ing the maintenance of a record of propaedeutic year of a course functhe study results. The chair dates and tions as the propaedeutic assessment signs the form indicating the results committee. This committee formulates of the assessment. After the form has a recommendation on the continuabeen signed, the results are officially tion of the studies and possibly on the ratified. The chair is responsible for procontinuation of the studies in a particuviding the assessment results directly lar course on the basis of the results to the student administration office for of that assessment. See Article 20 of the purposes of declarations and certhese regulations. tificates. ++ Further procedure: The chair of the assessment committee is responsible for any further procedures arising due to the assessment results. Students whom the assessment committee has deemed to have performed unsatisfacArticle 20 torily in any way must be informed of 268

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the consequences of the assessment by means of a letter and/or a conference. The resulting decisions must be reported on the assessment form. ++ The chair of the assessment committee informs the Examination Board regarding all matters of a problematic nature that will not be addressed by the assessment committee, as well as with regard to matters for which these regulations contain no provisions. Article 21 Final assessment committee: Composition and working method 1. The Academy establishes an assessment committee for the final assessment, known as the final assessment committee, which operates under the responsibility of the Examination Board. The Head of the department of the course serves as the chair of this committee, which is made up of (a core team of) lecturers that supervise the student during the final study phase. 2. The Examination Board can add one or more external experts to the final assessment committee as members of the final examination committee. 3. The final examination is transparent. However, the transparency of the final assessment never applies to the deliberations of the final assessment committee. 4. The final assessment committee determines the result of the final examination assessment. Article 22 Final examination regulations for the Royal Academy of Art ++ The final examination (or final assessment) is arranged in conformity with the provisions of the WHW. The final examination takes place in the form of a final assessment. ++ The composition of the assessment committee for the final assessment (the final assessment committee) is described in Article 21 of these regulations. ++ The final assessment committee decides on the final examination work in a collective assessment, in which the substance of the verdict of the external members is taken into account, as are the assessments of the individual elements contained in the final examination phase. The work presented plays a decisive role in this whole. The decision of the committee concerns whether the

work, as a cohesive whole, manifests an authentic vision of the visual arts or design, and whether the individual theme and research incorporated in the work has been presented to the public in an appropriate manner. ++ The number, subject, technique and execution of the works are determined in consultation with the teachers involved and the head of the study programme, based on the goal of the final examination, as described in paragraph 3 of this article and in the description of the programmes of the study programmes in the Education and Examination Regulations. ++ For the theory subjects, a written paper is required, the subject and the size of which is determined in consultation with the teacher in question. The paper must be submitted in triplicate: one copy for the student, one for the teacher and one for the records in the library. The copy of the final paper submitted to the teacher and the library remain the property of the Academy. If possible, the final paper must also be submitted in digital form (preferably in PDF format). The thesis is assessed separately. ++ All papers/pieces of work submitted for assessment must have been prepared under the supervision of the teacher (or teachers) in question, and they must have been accepted as such by the teacher (or teachers). ++ All pieces of work presented must be verifiably the inalienable intellectual property of the candidate. ++ The decision of the final assessment committee is based on a majority vote. In case of a tie, the chair has the deciding vote. ++ The secretary of the final assessment committee notifies the candidate of the outcome as soon as possible after the final assessment, but within three days at the latest. After the data have been processed, the candidate receives a judicium or verdict indicating the score and the outcome. The formulation of the score comprises a final grade, a list of grades and/or a reasoned written declaration. ++ If the student has not passed all of the required preceding components of the study, a decision is taken with regard to how and when the student will have another opportunity to pass these components. The student is informed of this decision by the chair or the secretary of the final assessment committee. Completion (if possible) is to take place

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before the end of the current academic year (i.e. by 1 September); otherwise, the student will be required to re-enrol. ++ Awarding of certificates and declarations is described in Article 27 of these regulations. ++ Resits: The final examination committee may grant the opportunity for a resit to candidates who have failed one or more parts of the examination. ++ During its meeting, the final assessment committee determines whether one or more resits can be taken, if it deems that the candidate would be capable of passing the final assessment after taking one or more resits. ++ Candidates who are eligible to take one or more resits must submit a request to take one or more resits to the chair of the final assessment committee within seven days after the announcement of the outcome. ++ The chair of the final assessment committee determines the date, time and location of the resit, which must be taken before the start of the new academic year. ++ The final assessment committee may decide on an ‘extended examination’ (i.e. postponement of the final assessment) for candidates presenting incomplete final examination collections for one or more parts of the exam. An ‘extended examination’ is conditional on the final assessment committee’s view that a resit (i.e. the presentation of additional work or the re-presentation of work) again is impossible before the beginning of the new academic year, and that the candidate is capable of passing the complete final examination within the period of one semester. ++ Extended examination: Any candidate who has been declared eligible for ‘extended examination’ must submit a request for postponement of the final examination to the chair of the final assessment committee within seven days of the announcement of the aforementioned decision. The chair of the final assessment committee determines the date, time and location of the postponed final assessment, which must take place no later than the end of the semester following the final assessment. Candidates who do not wish to take advantage of the extended examination are deemed to have failed. ++ Inability to participate in the final assessment (or any part thereof) due to illness, accident or serious family circumstances must be reported to the chair of the final assessment com-

mittee before the commencement of the final assessment. Acknowledgement of these circumstances requires written proof of the student’s inability to participate. A new date for the final assessment can be determined in consultation with the chair of the final assessment committee. ++ Candidates may file appeals against the outcome of the final assessment, in conformity with the applicable rules stipulated in Article 31. ++ A book and/or digital file will be compiled of the final examination work of all candidates in the full-time and part-time programmes of the Academy. Each student is obliged to supply material for this compilation by the specified deadline. ++ A final examination candidate may participate in this publication of the final work only once. An endeavour is made to have the date of issue of the final exam book and/or digital file coincide with the graduation ceremony. ++ Participation in the final examination exhibition is a one-off event and subject to conditions. If the final assessment committee or the coordinator of the final examination exhibition (commissioned by the director) is of the opinion that a student’s presentation is incomplete, the student may be excluded from participating in the final examination exhibition. ++ The Examination Board decides in cases for which these regulations contain no provisions. Resits, exemptions, substitute activities Article 23 Exemption 1. At the request of a student and on the recommendation of the assessment committee, the Examination Board can grant an exemption for one or more study components on the basis of a certificate, diploma, testimonial or other document that proves that the student has already met the requirements of the relevant component. 2. The procedure for requesting an exemption is described in the “Exemption Protocol” appendix attached to these regulations. 3. The period of validity of any exemption granted is unlimited, unless the content of the relevant study component is altered due to changes to the Education and Examination Regulations. If an

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exemption is granted, the student will receive proof of the exemption.

Announcement and registration of results; statements and certificates

Article 24 Resits/retakes and compensation 1. On the basis of the results of an assessment, the assessment committee determines whether a student is entitled to a resit and under what conditions. 2. Resits of theoretical subjects: if a student fails the assessment of a theoretical subject, he/she may retake that subject. This retake must be completed before the end of the year in question. 3. Resits of practical subjects: if a student fails the assessment of a practical subject, he/she may retake that subject. In certain situations, compensation regulations may apply or the work in a later semester may count as a resit for assignments that the student failed during a previous semester. 4. Collective assessment: in the event of an unsatisfactory collective assessment, the semester assessment committee determines if and how the study component can be retaken. The committee can give the student the opportunity to complete the study component by passing the collective assessment and earning a satisfactory grade in the next semester. 5. If resits are taken by accomplishing certain tasks in the next semester, the associated obligations for the student will be established as part of the result of an assessment, and the fulfilment of these obligations will be tested during the assessments in the next semester. 6. The possible application of compensation regulations does not change the fact that the student must achieve all the final qualifications in order to earn the diploma. In principle, a student can only compensate for failing a particular study component if he/she can demonstrate in another way that he/she possesses the required competencies. Article 25 Substitute activities due to financial reasons Students who cannot participate in certain compulsory study components (such as excursions) for financial reasons will be given the opportunity to fulfil their obligations by means of a substitute activity.

Article 26 Registration and announcement of assessment results: Validity of results ++ The assessment committee uses a form to record the assessment results for each student at the meeting following the collective assessment. This form is signed by the chair of the assessment committee. ++ The student administration records the outcome of the assessment for each student in the student tracking system. ++ Students are notified of the outcomes of assessments as soon as possible after the collective assessment. ++ Each student receives a report of the assessment after it has taken place, including the assessment of the performance and the outcome of the assessment. ++ As soon as possible after an assessment, students who have failed the assessment receive an overview indicating whether a resit is possible. ++ For students temporarily interrupting their studies, the results obtained remain valid for one year. As a rule, after this period, students are required to go through a new admissions procedure. The Admissions Committee also formulate recommendations with regard to the validity of credits obtained earlier. Article 27 Declarations and certificates (WHW art. 7.11) ++ Each student receives a written declaration containing the outcome of the assessment. Recommendations (if applicable) are made as soon as possible after the collective assessment, after the student administration has recorded the assessment results. ++ After the propaedeutic assessment, and after the student administration has recorded the assessment results, students who have passed the assessment receive certificates stating the outcome, along with the recommendation on continuation of studies. ++ After the final assessment and after the student administration has recorded the assessment results, students who have passed the final assessment receive certificates stating the outcome

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of the final assessment and the status of the diploma obtained. ++ The institutional board confers the Bachelor’s degree and Master’s degree on students who have passed the final examination of a Bachelor’s programme or of a Master’s programme, respectively. ++ The Board of Governors ensures that the relevant professional field is stated on the degree: Bachelor of Fine Arts (Bfa) for Fine Art graduates and Bachelor of Design (Bdes) for Design graduates, Master of Design in Type & Media or Master of Interior Architecture (M Interior Architecture) for graduates of the corresponding Master’s programmes. ++ A student who has successfully completed multiple assessments but cannot be awarded a certificate as defined in paragraphs 3 and 4 of this article, will receive on request a statement listing the successfully completed assessments from the Faculty of Fine Arts of the University. The student must submit the request in writing to the faculty director. Safekeeping

the final assessment, the assessment committee can refuse to issue the certificate specified in WHW art. 7.11, para. 1, or can decide that the student concerned may only receive the certificate after a new assessment of the components designated by the assessment committee has been completed in a manner to be determined by the committee. 3. Before any decision can be made in the light of paragraphs 1 and 2 above, the chair of the assessment committee will hear both the assessment committee and the student. 4. The chair of the assessment committee will immediately inform the student of the decision, either orally or in writing. 5. The chair of the assessment committee will inform the chair and secretary of the Examination Board of the decision, and will also provide a statement of the facts and justify the decision. In accordance with WHW art. 7.12b, para. 2, the Examination Board will make a decision with regard to the known facts and possible penalties, while taking into account the principles of a fair hearing and proper administration. Article 30 Misconduct

Article 28 Safekeeping 1. All relevant theoretical and practical work must be retained for the duration of any appeals procedure initiated by a student. The student is responsible for the safekeeping of these items. 2. All relevant theoretical and practical assignments must be retained for the duration of any appeals procedure initiated by a student. The Academy is responsible for the safekeeping of these items.

The director of the Acadmy will be notified of any misconduct, including damage caused to the building and/or aggression towards others, who will subsequently take appropriate measures. Possible measures include: ++ demanding the immediate repair of any damage or ordering the repair costs to be borne by the person responsible ++ suspension or restriction of access to the buildings and grounds

Irregularities during assesments/examinations

Objection and appeal

Article 29 Irregularities

Article 31 Regulations for objections and appeals

1. If a student is guilty of any irregularity with regard to any part of an assessment, the chair of the assessment committee may forbid him/her to participate or continue to participate in that assessment. Examples of irregularities include (but are not limited to): fraud/ cheating or a clear attempt at fraud, disturbances and misconduct. 2. If the irregularity is first discovered after the propaedeutic assessment or

1. Students who deem that their interests have been directly damaged due to what they perceive as the improper application of the Education and Examination Regulations are entitled to file a written appeal within 30 days with the Board of Appeals for Examinations of the University of the Arts, The Hague.

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2. The Board of Appeals rules on appeals that have been filed with regard to: ++ decisions to fail a student with a binding study recommendation, as referred to in Article 15 of these regulations ++ decisions regarding admission to the green light and the final assessments, as referred to in Articles 16 and 21 of these regulations ++ decisions regarding the number of credits obtained ++ other decisions by Assessment Committees, and Examination Committees and examiners 3. An appeal may be lodged if: ++ the decision is in contravention of any generally binding regulation (e.g. the Education and Examination Regulations) ++ in taking the decision, the body obviously used its power for purposes other than that for which it was originally intended ++ upon weighing the interests in question, the body involved could not have taken the decision in all reasonableness ++ the decision is contrary to any other principle of good administration prevailing as part of the general sense of justice ++ the further provisions regarding the procedure, the handling and the verdict can be found in the Legal Protection chapter of the Student Charter of the University of the Arts, The Hague. Other provisions Article 32 Copyright All of the work that students create during their studies becomes part of the study programme, and it serves as the basis for the credits obtained during the programme. For this reason, the work created throughout the entire duration of the student’s programme becomes the property of the Royal Academy of Arts. Students obviously retain the right of use. Upon de-registration, the right of ownership passes to the student. The Academy retains the right to use the work in the future as well, without any remuneration and within the context of its own objectives. Former students who become affiliated with intermediary copyright agencies are obliged to inform their agencies of this arrangement. The digital conversions of the work assessed as part of the semester assessments must remain available to the Academy for appropriate use within the objectives of the Academy.

Article 33 Tests and examinations (assessments) for students with disabilities Students with disabilities can participate in tests and examinations in a way that considers their disabilities. To this end, they may make arrangements with the head or the coordinator of the study programme and/or submit a request to this end to the Examination Board, if necessary. Article 34 Reference title These regulations can be referred to as the “Royal Academy of Art Education and Examination Regulations 2015–2016” or by the Dutch abbreviation “OER KABK 2015–2016”. Article 35 Effective date These regulations will take effect on 1 September 2015 or at a later date, once this date has been formally established. Appendix Exemption protocol 1. Students must submit any request for exemption to the lecturer/invigilator before the third meeting relating to a subject in a semester at the latest (this enables students to better familiarise themselves with the content of the subject and gives them the chance to discuss the matter with the lecturer/invigilator). In order to apply for an exemption, students must complete a form that states at least the following information: ++ t he subject/subjects for which the exemption is requested ++ the grounds on which the exemption is requested ++ the number of credits for which the exemption is requested 2. The request for exemption must be accompanied by supporting documentation, as well as: ++ the content of the activity on which the exemption is based ++ the activity must be completed with a satisfactory result

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3. The lecturer/invigilator will judge the request on: ++ the similarity to the content of the subject for which exemption has been requested ++ the actual achievement of a satisfactory result 4. The lecturer/invigilator will advise the Head of the department on the request and supply the supporting documentation. The Head of the department will ensure that the lecturer/invigilator has based his/her recommendation on solid arguments. If this is the case, the Head of the department will adopt the recommendation of the lecturer/ invigilator. The recommendation will then constitute a recommendation to the Examination Board. 5. The form signed by the Head of the department will be submitted to the student administration, together with the supporting documentation. 6. The student administration will register the fact that the Head of the department approves the exemption and keep the form and the supporting documentation in the student’s file. 7. The student administration will compile a longlist of exemptions with a positive recommendation from the Head of the department for the Examination Board. 8. The Examination Board will perform a marginal assessment of the positive recommendations and check that all formal requirements have been met (including the presence of supporting documentation). As a rule, the Examination Board adopt these recommendations. 9. Once the board has adopted a positive recommendation, the exemption will be officially granted. It will provide the student administration with a list of the exemptions granted. 10. The student administration will register the granted exemptions and inform the students by means of an adjusted study progress overview. If a request for exemption is rejected 11. by the Examination Board, the board will duly inform the relevant Head of the department and the lecturer/invigilator, stating the reasons for the rejection and requesting the Head of the department to assess the exemption request once again.

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pa.k02 pa.k03 pa.k04 pa.k05 pa.k06 pa.k07 pa.k08 pa.k10 pa.k12 pa.k14 pa.k16 pa.k17 pa.k19 pa.k21 pb.k02 pb.k06 pb.k10 pb.k12 PB.K15 pb.k21 pc.k01 pc.k02

Basement Storage: Student Projects Storage: Textiles Storage: Student Projects Storage Space Storage: Student Projects Storage: Wood and Sheet Facility Storage: Student Projects Storage: Student Projects Storage: Student Projects Storage: Student Projects Storage: Student Projects Storage: Student Projects Storage: Student Projects Storage: Student Projects Spray Booth Facility Services Office Storage Facility Storage: Print Work Tufting Room Academy Shop the Hague Storage: Wood Workshop Wood Workshop

278

f loorpl an

COURTYARD BLEIJENBURG (BB)

PB.K21A

PB.K21B PA.K21

PA.K10 PA.K08 PA.K06

PA.K12

PA.K04 PA.K14 PA.K02

PA.K16

COURTYARD GARDEN PRINSESSEGRACHT (BP) PB.KTB

PB.K21

PB.K12

PB.KGD

PB.KH PB.KTA

PB.K10

PB.K06

PB. K04

PB.KGC PB.K19

PB. K15

PB.K02 PB.KGA L

PB.KGB PB. K09

279

s tudy guide

Ground Floor

pa.001 pa.002 pa.006 pa.007 pa.008 pa.009 pa.010 pa.011 pa.014 pa.015 pa.016 pa.021 pb.002 pb.004 pb.006 pb.012 pb.014 pc.001 pc.002 pc.003 pc.005

Prinsessegracht Building Reception Central Lending Desk Director’s Office KABK Gallery 1 Printing Room Offices KABK Gallery 2 Executive Secretary’s / Head of Operation Office KABK Gallery 3 Communication & Marketing Office Library Studio / Webmaster “Gipsenzaal” Photocopy and Mail Room Theory Classroom Textile & Fashion Worksites Textile Workshop (Sewing) Textile & Fashion Workshop Practical Classroom: 2D Techniques Textile & Fashion Worksites ColorLab Metal Workshop

Bleijenburg Building Auditorium Academy Staff Office: Head of Type & Media ba.004 Type & Media Classroom ba.013 Theory Classroom ba.016 Fine Arts Worksites ba.018 Exhibition Space ba.019 Lithography Workshop: graining table / stone storage ba.020 Practical Classroom: 2D techniques ba.021 Graphics Workshop: Lithography ba.023 Graphics Workshop: Resin / Charcoal Room ba.025 Graphic Workshop: Acid Room ba.027 3D Workshop ba.029 Photography Workshop: Refined Techniques ba.031 Graphics Workshop: Print Shop ba.k01 Fine Arts Worksites bc.001 Workspace Catering Staff bc.002 Fine Arts Worksites bc.004 Fine Arts Worksites bd.001 Clay and Plaster Workshop bd.007 Ceramics Workshop bd.009 Ceramics Workshop bd.011 Fine Arts Worksites cd.001 Classroom Master Artistic Research cd.002 Classroom Master ArtScience ds.001 Coordinator Master Interior Architecture (INSIDE) ds.002 Classroom Master Interior Architecture (INSIDE) ds.101 Head of Master Interior Architecture (INSIDE) ba.001 ba.002

280

f loorpl an

CD002

CD001

DS002

BA.002

BA.0GB

BA.013

BA.B0B

BA.0GC

BA.016

BA.0GF BA.0GE

BC.0TA

BA.019

BA.020

BA.018

BA.0TC

BA.0GD

BA. 0TA ENTRANCE HALL BLEIJENBURG BA.0HD

BA.B0A

BA.001

BA.0HB

BA.004 BA. K01

BA. 0GA

BA.0HA

ENTRANCE HALL BLEIJENBURG BA.0HC

BA.0TB BA. 025

BA.0GG

BC.002

COURTYARD BLEIJENBURG (BB)

BA. 023

BA.021

BA.027

BD.009 BD.011

BC.004

BA.0TD

BB.0T

BA.029

BD.007

BA.031 BC.0TB

BD. 003

PD. 025B PC.015

PD.027

PD.019

PD. 17B

PD. 021

PD. 17A

PD.015

PD. 025A PD.0GD

PD.0GC

PD.007

PD.009

PD.0GB

PD. 003

PD.001

PD.0GA

PD.0T PC.0GC

PC.011

PD.002 PA.021

PA.016

PD.004

PA.0GD PA.014 .008

PA.010

PA.015

PA.0GC PC.002 PC.G0B

PC.005

PA.006

PA.009 PA.0GB COURTYARD GARDEN PRINSESSEGRACHT (BP)

PA.011

PA.007

PC.001

PA.0T

PC.0T

PC.0GA

PC.003

PB.014

PB.012

PB.0GB

PB.006

PB.004

PB.002

PA.0GA

PA.002

CENTRAL HALL PA.0H

PB.0GA

RECEPTION

281

BD.001

s tudy guide

First Floor

pa.102 pb.101a pb.101b pb.102 pb.103 pb.111 pb.115 pb.117 pb.119 pb.125 pb.127 pc.101 pc.104 pc.108 pd.101 pd.102 pd.103 pd.105 pd.117

ba.101 ba.102 ba.103 ba.108 ba.110 ba.112 ba.114 ba.116 ba.118 ba.120 bb.102 bb.103 bb.104 bb.105 bb.106 bb.107 bb.108 bb.109 bb.111 bb.112 bb.113 bb.115 bc.102 bc.108 bd.101 bd.103 bd.105 bd.106 bd.107 bd.109 bd.111

Prinsessegracht Building Photography Workshop: Large Studio Photography Lending Desk Photography Workshop: Black Studio Interior Architecture Workspace Photography Workshop: White Studio Photography Classroom Photography Printing Room Fine Arts Worksites (full-time) Fine Arts Worksites (full-time) Practical Classroom: 2D Techniques Storage Space Acedemic Staff: Head of Interior Architecture and Furniture Design Furniture Design Classroom Classroom Photography Classroom Academic Staff: Head of Photography Storage Photography Interior Architecture Classroom Theory / PGCID Classroom Bleijenburg Building Photography Workshop: Darkroom Multimedia Desk Photography: Consulting Room Multimedia Workshop: Montage Space Multimedia Workshop: Montage Space Multimedia Classroom Multimedia Workshop: Montage Space Multimedia Workshop: Montage Space Multimedia Workshop: Montage Space Multimedia Workshop: Montage Space Classroom Theory Classroom Academic Staff Office: Head of I/M/D Classroom Fine Arts Worksites Academic Staff: Head of Master ArtScience Fine Arts Worksites Academic Staff: Head of Master Artistic Research Interactive Media Design Classroom Interactive Media Design Classroom Office: Lectorate Office: Janneke Wesseling Interactive Media Design Classroom Interactive Media Design Classroom Fine Arts Worksites Fine Arts Worksites Fine Arts Worksites Canteen Fine Arts Worksites Fine Arts Worksites MR

282

f loorpl an

BB.105

BB.107

BB.1TA

BB.113 BB.115

BB.109

BB.1GD

BB.103 BB.1H

BB. 1TC

BB.1TB

BB.1GC

BB.1GB

BB.1GA

L BB.112

BB.108

BA.1TC

BB.111

BA.1TB

BB. 102

BB.104

BB.106

118 BA.112

116

BA.1GB

BA.120

BC.1GA

114

BC.1GB

BC.102

110

COURTYARD BLEIJENBURG (BB)

BA.102

BA.108 106

BD.105 BD.109

BA.1GA BC.108 BA.1TA

CATERING

BD.103

BA.103

BD.1T

BD.111 BD.101

PD.117

PD.105

PD.1GB

PD.101

PD.1T

PC.1GC

BA.101 C B A

BD.106

BC.1GC

PC.101

PD.1GA

PD.102

PC.1GB

PD.103 PC.108 PA.1GB

PC.1GA

PA.102

PC.104 PA.1GA COURTYARD GARDEN PRINSESSEGRACHT (BP)

PA.1T PC.1T

PB.101A

PB.102

PB.1GB

PB.1GD

PB.1GC PB.1GA

L PB.119

PB.117

PB.115

283

PB.101B

PB.111 PB.113

PB.125

BD.107

PB.1T

PB.103

s tudy guide

Second Floor

pb.201 pb.203 pb.205 pb.207 pb.209 pb.211 pb.213 pb.217 pb.225 pb.227 pc.202 pc.212 pd.201 pd.202 pd.208 pd.210

ba.202 ba.203 ba.204 ba.205 ba.207 bb.201 bb.202 bb.203 bb.205 bb.206 bb.208 bb.209 bb.211 bb.212 bb.213 bb.215 bb.216 bb.217 bb.219 bb.221 bb.222 bb.223

Prinsessegracht Building Fine Arts Worksites Fine Arts Worksites Fine Arts Worksites Fine Arts Worksites Fine Arts Worksites Fine Arts Worksites Fine Arts Worksites Fine Arts Worksites SYT Classroom Storage Space Graphic Design Classroom Graphic Design Classroom Graphic Design / Photography Classroom Graphic Design Classroom Academic Staff: Head of Graphic Design Graphic Design Classroom Bleijenburg Building Graphics Workshop: High Pressure Graphics Workshop: Screen-printing Rinsing Room Cinema Graphics Workshop: Screen-printing Graphics Workshop: Screen-printing Illumination Room Laboratory Workshop Conference Room ArtScience Workspace Conference Room Conference Room Conference Room Conference Room IT Office Conference Room Office: Head of Finances of Hogeschool College Room Theory Classroom Dean / Doctor Office: Hogeschool Office: Hogeschool Secretary Office: Head of Human Resources of Hogeschool Office: Human Recources of Hogeschool Third Floor

pb.301 pb.302

Prinsessegracht Building Interfaculty ArtScience Storage Space

284

f loorpl an

BB.215

BB. 219

BB.203

BB. 221

BB. 213 BB. 211

BB.223 L

BB.222

BB. 207

BB.209

BB.201

BB. 205

BB.2G BB. BB. 208 206

BB.212

BB.216

BB.202

BA.2G

BA. 202 BA.204

COURTYARD BLEIJENBURG (BB)

BA. 207

BA. 203

BA.205

PD.2GC

PD.210

PD.2GB

PD.202

PD.208

PD.201

PC.2GB

PD.2GA

PC.212 PB. 302

PC.2GA

PB.301

PC.202 COURTYARD GARDEN PRINSESSEGRACHT (BP)

PB.2GB

PB.2GC

PB.209 PB.207 L

PB.225

PB.217

PB.213

PB.211

PB. 205 PB.2T

PB.221

PB.2GA

PB.2GD

PB.201

285

PB.203

s tudy guide

286

contac ts

Director of the Royal Academy of Art and Vice-President of the University of the Arts, The Hague ++ Marieke Schoenmakers Secretary ++ Georgia Charitopoulou dir.sec@kabk.nl Head of operations ++ Eric Privee e.privee@kabk.nl Computer helpdesk ++ George Vincentie ++ Constant Meeuws computerhelpdesk@kabk.nl Financial administration ++ Tino van Lieshout ++ Marja de Bruin ++ Annie Heins financien@kabk.nl opening hours Monday – Thursday 8:30am – 10:00am 12:00pm – 1:30pm 3:30pm – 4:30pm Wednesday 5:30pm – 8:00pm 8:30am – 10:00am 12:00pm – 1:30am Facility management ++ Frans ten Bosch gebouwbeheer@kabk.nl

Marketing & communication ++ Nienke van Beers head n.vanbeers@kabk.nl ++ Wieneke Mulder press and PR w.mulder@kabk.nl ++ Lizzy Kok projectmanager events l.kok@kabk.nl ++ Marieke Ladru projects, alumni, partnerships m.ladru@kabk.nl ++ Angelina Tsitoura webmaster a.tsitoura@kabk.nl Quality control ++ Iskandar Serail i.serail@kabk.nl Reception receptie@kabk.nl Student administration ++ Joop van Pijkeren ++ Silvia van der Kist ++ Julia Homoet studentenadministratie@kabk.nl Confidential advisor ++ Pauline Schep p.schep@kabk.nl Student counselor ++ Paul Deneer deneer@koncon.nl

University of the Arts ++ Arthur Gieles secretary of the board a.gieles@kabk.nl International office ++ Aparajita Dutta international@kabk.nl opening hours Monday, Tuesday, Thursday 10:00am – 12:00pm Participation Council ++ Winnie Koekelbergh teacher Fine Art Theory – president ++ Vasiliki Giakoumi student Fine Art – secretary dmr@kabk.nl Royal Academy of Art Prinsessegracht 4 2514 AN The Hague www.kabk.nl

Planning (rooms & spaces) ++ Geoffrey Harteveld boekingen@kabk.nl 287

s tudy guide

288

s tudy guide

289

s tudy guide

Graphic Design

Photography

Translation Edition Printing

Paper

Typeface

290

colophon

Koos Breen Suzanne Bakkum Gilleam Trapenberg UvA Talen 1700 Drukkerij Tielen, Boxtel Amber Graphic 240 g/m2 100 g/m2 Berthold Akzidenz Grotesk

The Hague, October 2015

291

Disclaimer: we have tried to ensure that all information we provide through this Study Guide is correct at the time we included it. We apologise for any errors. For the most current information, please visit www.kabk.nl.

royal academy of ar t

the hague

royal academy of ar t

the Hague