royal academy of art studyguide

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Royal Academy of Art

Studyguide 2013/2014



Index

1.1 Welcome to the academy............... ..................... .51.2 A glorious history............ ..................... ........62.1 Academy-wide education........... ..................... .....92.2 ArtScience................................................112.3 Fine Arts................. ..................... ...........272.4 Photography...............................................492.5 Graphic Design................ ..................... .......732.6 Interior Architecture and Furniture Design............ ....912.7 Interactive/Media/Design.................................1112.8 Textile & Fashion............. ..................... ......1293.1 Preparatory Courses.............. ..................... ...1473.2 School for Young Talent.............. ....................1 483.3 Preparatory Year................. ..................... ...1493.4 Collaborations with secondary schools.............. ......151

3.5 Special Combined Education........... ....................1 533.6 Orientation Course............... ..................... ...1553.7 Additional activities......... ..................... ......1554.1 Post Graduate Course Industrial Design............. ......1594.2 Type & Media.............. ..................... ..........1634.3 Master Artscience......... ..................... ..........1654.4 Film and Photographic Studies............... .............1714.5 INSIDE Interior Architecture......... ....................1 734.6 Master Artistic Research............. ....................1 754.7 Media Technology.......... ..................... ..........1814.8 PhDArts..................................................1835.1 What is a Research Domain............... .................1895.2 Research Domain Art Theory and Artistic Practice.........1895.3 Research Domain Interior Architecture....... .............1895.4 Research Domain Innovative Visualisation Techniques......1905.5 Research in the Arts................. ....................1 935.6 Academy of Creative and Performing Arts............... ...1956.1 Educational structure............ ..................... ...1976.1.1 Competences and domains.............. ....................1 976.1.2 Teaching formats.............. ..................... ......1986.1.3 Individual Study Trajectory.......... ....................2 006.1.4 Electives................................................2016.1.5 Minor programmes.......... ..................... ..........2036.1.6 Internationalisation.....................................2046.1.7 After graduation.......... ..................... ..........2056.1.8 Career orientation and preparation.......... .............2066.1.9 Internship...............................................2086.2 Assessing in art education........... ....................2 096.2.1 Credits, EC................... ..................... ......210

6.2.2 Study and progress guidance............. .................2126.3 Quality Assurance............. ..................... ......2136.4 Accreditation............................................2146.5 Quality Assurance at the KABK............... .............2157.1 Education and Examination Regulations.......... ..........2198 Referrals................................................241

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1. Welcome

1.1 Welcome to the academy

At the Royal Academy of Art ( KABK),we educate students to become self-aware artists and designers, whocontribute meaningfully to theirdiscipline and society with theirambition, profound insight and exper-imental attitude.

Choosing for this academy meanschoosing for a future in the worldof art and culture, where researchholds a prominent position. Theprogrammes are aimed at developingcreativity, professionalism and theurge to innovate, and are shaped by

theory and practice teachers whohave a professional practice. Duringtheir studies, students receive everyopportunity to develop in a waythat suits their talents and ambi-tions best. At the KABK, they areacquainted with all matters thatwill be of importance later, whenthey start working as an artist ordesigner.

Students can make use of workshopsfor wood, metal, textile, computersand photography. Recent investmentshave made it possible to work withmodern 3D scanning and printing tech-niques. The multimedia recording andediting studios have been furthermodernised. Additionally, the academyhas several labs for interfacing(LabLand), radio frequency identi-fication technology and augmentedreality ( AR+RFID Lab). Students can

gain basic knowledge and skillsby taking academy-wide introduc-tory courses on gaming, the movingimage, sound, 3D-modeling and websitedesign. Numerous lectures, filmscreenings, debates and exhibitionstake place throughout the year.

However, not everything the KABK hasto offer takes place at the buildingon the Prinsessegracht. The collabo-ration with the Royal Conservatoireand the Academy of Creative and

Performing Arts at Leiden Univer-sity enables students to take elec-tives and to follow minor or master’sprogrammes in Leiden and at theConservatoire in the framework ofthe Individual Study Trajectory. InJanuary 2010, we opened the doors ofSTOOR , the academy store. Studentshave created all the products beingsold here. The programmes we offerdevelop at a high pace, in a contin-uing intensive relationship with aprofessional practice that almostexplodes in its diversity.

I wish all our students a substan-tial, captivating, and above all,pleasurable study experience.

Jack Verduyn Luneldirector Royal Academy of Art

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1.2 A glorious history

The Royal Academy of Art in TheHague is the oldest art academyin the Netherlands. Already in thesixteenth century there is mentionof a Lucas Guild in The Hague. In1656, a group of painters cut theirties with the guild to form thePictura Brotherhood, in order to makea clear distinction between artistsand craftsmen. In 1682, the PicturaBrotherhood founded an academy,which was the forerunner of ourcurrent academy. Its predecessor wasprimarily intended to give members ofthe Picture Brotherhood the opportu-nity to further develop their drawingskills.

The idea to organise this addi-tional education came from a groupof painters who had worked in Rome,and who, inspired by their interna-tional experience, felt the need tolift painting in The Hague to a moreinternational and organised level.This wish corresponded to the factthat The Hague, in comparison toother cities in the Netherlands, hada very courtly character.

The founding of the original academyand its international orientation isexemplary of two aspects that haveplayed a regular role in the historyof our academy: the encouragement ofthe artistic climate in the immediatearea, and the continuous attempt toachieve this from an internationalperspective. In 1780, the academybecame completely independent of the

Pictura Brotherhood and turned intoan open academy that was free of costfor everyone.

Building on the PrinsessegrachtThe end of the eighteenth centurywas a period of economic and polit-ical decline. It was a difficulttime for the academy as well, whichonly regained its prominent place in1821. This year saw the joining ofthe academy with the School for CivilArchitecture. After being located

at the Korenbeurs and Boterwaag, theacademy moved to its current buildingat the Prinsessegracht in 1839. Thisneoclassical building, designed bythe city’s master architect ZegerReyers, was a true temple to thearts. With the disappearance of theguilds in the nineteenth century,technical education became moreimportant. The academy also playeda role in this development. Overthe course of the century, in addi-tion to the architecture programme,a large number of craftsmen came tothe academy for extra schooling inthe field of drawing and design.The lists of enrolled students ofthat time almost make it seem likethe academy was a technical school

instead of an art academy. Addition-ally, a teacher programme was foundedthat, up until the 1970’s, held aprominent place in the institute. Thenineteenth century saw the heyday ofpainting in The Hague. Many famousartists from that period, such asG.H. Breitner, Willem Maris, JacobMaris and Johannes Bosboom, wereeducated at the academy.

Independent coursesIn addition to drawing, painting andarchitecture, the academy foundedthe aforementioned programme for artteachers at the end of the nine-teenth century. Under the leader-ship of director dr J.H. Plantenga,the twentieth century saw the addi-tion of evening courses and, fora while, a Sunday morning course.Under the influence of, among others,the Bauhaus movement, there was an

increase in interest in the appliedarts in the design disciplines. In1929, the academy started the course‘Advertisement Drawing and FurnitureConstruction’, which later evolvedinto the independent departmentsGraphic and Typographic Design andInterior.

Towards a modern academyThe academy building was a clearreference to the ancient past.It was therefore no surprise that

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in the same period the school wasupdated to reflect modern times,which included a prominent place fordesign, the building was also modern-ised. Director Plantenga oversaw thisrenewal. New teachers were recruitedwho applied the new perspectives ofthe twentieth century avant-garde totheir teaching. Among them were therenowned teachers Kiljan, Citroen,Schuitema and Alons. Photographywas given an important place in theAdvertising department.

During those years, the academyplayed a pioneering role in the Neth-erlands. In 1938, the ancient templewas replaced with a new academybuilding that fully reflected the new

educational system. It was a monu-ment of modernism and was designedby Plantenga, J.W.E. Buijs and J.B.Lürsen. After the war, director B.Th. de Hey obtained approval ofRoyal Decree to establish a course inIndustrial Design. This is currentlyone of the oldest programmes inindustrial design in the Netherlands.

Innovations of the last fifty yearsIn 1957, on the occasion of its 275thanniversary, the academy received thedesignation ‘Royal’. In that year, theacademy and the technical college (inDutch: HTS ) separated. In subsequentyears the art educational system wasmodernised in three successive phases.The Royal Academy of Art underwentthese changes as well, of course. In1968 a number of vocational schoolsofficially became art academies asinstitutes of Higher Vocational

Education ( HBO ). These academies,which then had five-year programmes,consisted of various departments. Inaddition to the painting and sculp-ture departments, these academiesalso offered programmes in the fieldof design. They generally producedmore designers than autonomous visualartists.

In the 1980’s, a process of expan-sion took place in the HBO system.The various independent institutes

merged into larger schools. This alsoapplied to the Royal Academy of Art,which was named University of VisualArt, Music and Dance after mergingwith the photography and photonicsdepartments of the vocational tech-nical school ( MTS ) and the RoyalConservatoire. In 2011 this name waschanged into University of the ArtsThe Hague.

The final phase of renovationcommenced with the redesigningand renovation of the building in2000. All departments in the fieldof art and design have since thenbeen housed in the building at thePrinsessegracht, whilst retaining the1938 building. Its current form was

realised by architects Van MourikVermeulen. With a new addition on topof the building at the Prinsesseg-racht and the purchase of two spacesdirectly connected to the academyin 2012, the space requirements ofmodern art education are met, and thebuilding is able to accommodate theexpansion of bachelor’s and master’sprogrammes at the academy.

In 2001, an intensive collaborationwas established with Leiden Univer-sity in the newly founded Academyof Creative and Performing Arts.It was the first formal collabora-tion between a university and an artinstitute in the Netherlands. Sincethat time it has become possiblefor students to study at both theUniversity of the Arts and at LeidenUniversity simultaneously. In theacademy’s programmes, the focus on

new technologies and new media hasdramatically expanded, which isvisible in new facilities and work-shops, as well as in new programmessuch as ArtScience, Interactive/Media/Design, the Master InteriorArchitecture ( INSIDE ) and the MasterArtistic Research.

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2.1 Academy-wide education

From the first year onwards, studentstake a number of interdisciplinarycourses to support and complementtheir programmes: academy-wide educa-tion. In these courses we encouragecollaboration between students fromdifferent departments and disci-plines. The academy-wide programmecorresponds to the ideals and goalsset for the KABK in its totality.Examples of this are the jointcore for theoretical education andresearch in the arts, and entrepre-neurship and career preparation. Wealso offer a number of academy-widepractice-based courses that can beuseful for students from different

disciplines.

Some components of the academy-wideprogramme are part of the depart-ments’ (compulsory) programmes. Whenthis is the case, the componentsare included in the relevant creditoverviews. Students can follow theother courses as part of the Indi-vidual Study Trajectory ( IST) or asextra-curricular programme, albeit inconsultation with their IST -coach.

In the propaedeutic year

Research and DiscourseThe aim of Research and Discourse isto familiarize students with a scien-tific way of thinking and to create afoundation for an investigative atti-tude in the students’ practice. Italso provides students with insightinto the theories and ideas that form

the foundation of art. In lecturesand/or seminars, students investigatethe role of research in art and therelationship between art and science.Additionally, students acquire skillsto help them accurately substantiateand present their position and opin-ions as an artist/designer. Researchand Discourse is a compulsory course.

Academy-wide propaedeuticproject week

The academy-wide propaedeutic projectweek aims to bring students fromdifferent departments together inintense collaborations. During thisweek, students work on an assign-ment in multidisciplinary groups.Attending the project week is compul-sory.

In the third year and above

Business Plan WritingThe KABK offers the course BusinessPlan Writing to optimally preparestudents for their future careers.The aim of the course is to famil-

iarise students with writing a busi-ness plan. The course is compulsoryfor students of all departments. Theperiod in which it is offered mayvary according to the department andis indicated in the credit overviews.

In the IST or as extra-curricularprogramme

Introductory coursesThe KABK offers a wide range ofcourses that introduce studentsto various techniques. Introduc-tory courses are open to studentsof all departments from the secondyear onwards. Students can followthe courses in the framework ofthe Individual Study Trajectory,with approval of the IST -coach. Ifa course does not fit in the IST programme it can be followed as anextra-curricular course.

The up-to-date schedule for introduc-tory courses can be found at:www.kabk.nl/introductory

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2.2 The ArtScience Interfaculty

2.2.1 Introduction

Are you an ambitious student lookingfor a study that matches your broadtalents and vision? Are you creative,curious and looking for a place whereyou can ask your own questions andresearch these within an art context?Do you want to be able to freelychoose and develop the artisticmedium your project needs? Are youinspired by both the arts and thesciences?The ArtScience Interfaculty is situ-ated between the Royal Academy ofArt, the Royal Conservatoire and theAcademy for Creative and Performing

Arts of Leiden University. ArtSci-ence has an interdisciplinary focusthat intersects amongst others music,visual arts, media art, humanitiesand the natural sciences. The stafforiginates from a variety of artisticcultures and disciplines and isunique in its scope.ArtScience offers both a four-yearbachelor’s, and a two-year master’sprogramme embedded in an inter-disciplinary learning environment.The programme stimulates studentsto ask their own questions andcreate their own media of expres-sion. Starting on day one, studentsparticipate in artistic researchfocussing on contemporary questionsand resulting in the developmentof innovative artworks. The studystimulates students to reflect uponactual developments around us, thisincludes developments within the art

world itself and also technological,social, political and scientificdevelopments. We are interested innew forms of art and in new presenta-tion places and methods. Furthermorewe challenge students to questionwhat future forms of art could looklike.

We ask and encourage students toinvestigate ideas by making thingsand questioning the results. Howdo you and other people interact

with these works and reflect uponthem? How does making a model helpin developing the original idea?How does making a work of art helpto answer a research question?These processes will be shared anddiscussed with your fellow studentsand teachers, and the final workswill be presented in public exhibi-tions and events.

You want to think with your hands andbuild with your brain? Come and studyat the ArtScience Interfaculty!

2.2.2 Art and Science

Since a number of years we are inthe midst of a new wave of interest

in the connection between art andscience. In the previous centurythere have been two such waves, thefirst in the twenties and thirties,marking the beginning of modern art,industrial design, modern music andmodern architecture. The second ofthese waves was in the fifties andsixties, marking the birth of elec-tronic music, video art, interactiveart and generative art.

Both of these periods shared a senseof optimism about potential futuredevelopments, but also a sense ofresponsibility for the artist whohad to fulfil a specific mission tohelp ensure this positive potential.This mission was perceived to consistin absorbing new technological andscientific notions into the realmsof human experience and imagination.Civilization often lags behind the

advances in technological control ofthe world, and according to Bauhausartist Laszlo Moholy-Nagy this lag isone of the root causes for excessessuch as exploitation and war.

In the current wave of interest inthe ArtScience connection, a numberof views on the interactions betweenart and science can be distinguished.A form of collaboration that hasbecome almost common is one in whichscientific concepts are seen as a

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kind of ‘content’, and where theartist translates these concepts intoimages, sounds or other experiences.This can reduce the artist to a kindof scientific communicator, but inmost cases it triggers radically newkinds of artistic development.

Also it can result in works thathelp scientists get a new intuitiveunderstanding of what it is theyare doing, or works that comment onconsequences of scientific devel-opments. Another form of collabora-tion is one in which scientists ortechnologists assist in realizing anartistic idea. This can reduce thescientist or engineer to a kind ofart facilitator, but more often the

artistic idea itself is informed bya new awareness of possibilities.Also the artists can help triggernew directions of research by posinguncommon problems.

A more complex and much more inter-esting zone between art and sciencehas been described in two recentbooks. In his book ‘ArtScience’(2008) David Edwards cites manyexamples from the worlds of science,art, civil society and industry thatshow how transposing ideas or strat-egies from one field to the otheroften results in radical innovation.ArtScience for him is an interme-diate area of creativity where artnor science are clearly defined:stimulating this zone he considersto be one of the key strategies tofoster innovation. In his ‘Informa-tion Arts’ (2002) artist and theorist

Stephen Wilson gives an encyclopaedicoverview of many new forms of artthat have their origin in currentscience and technology. To discussthese forms he no longer considersthe traditional artistic disci-plines to be relevant, and in hisbook he proceeds to group these artforms under the headings of the mainscientific disciplines. He arguesthat these new forms of art willnot necessarily find a place withinthe traditional platforms for art,

and will also not necessarily sharetraditional artistic concerns.

The core idea that makes such collab-orations and intermediate zonesinteresting is that art and scienceare both considered as types ofexploration, and that they arethought to be complementary in manyways. Where science maintains an auraof objectivity and detachedness, inart subjectivity and critical engage-ment tend to be favoured. Where inscience peer-review is the norm,artists are expected to be icono-clastic and original. Where scienceis expressed in formulas and text,art often exists through non-verbalexperience. Ultimately, however, art

and science share the aim to enlargethe scope of our ideas about theworld. By inventing new media and newartistic languages, art can createnew worlds of experience. By wideningour imagination it also creates newkinds of thinking, as we cannot thinkabout the things we can not imagine.As Gyorgy Kepes, founder of theCentre for Advanced Visual Studiesat the MIT wrote in 1956: “The imagesand symbols which can truly domesti-cate the newly revealed aspects ofnature will be developed only if weuse all our faculties to the full- assimilating with the scientist’sbrain, the poet’s heart and thepainter’s eyes. It is an integratedvision that we need; but our aware-ness and understanding of the worldand its realities are divided intothe rational - the knowledge frozenin words and quantities - and the

emotional - the knowledge vested insensory image and feeling.”

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2.2.3 An overview of theArtScience Interfaculty

At the ArtScience Interfacultystudents and teachers are developingnew forms of interdisciplinary art.The goal of the teaching programmeof the Interfaculty is to investigateand possibly shape the intersectionbetween artistic concepts and recentdevelopments in science and tech-nology.

Every year, the programme of coursesand projects is partly updatedaccording to current themes from thearea where art, media, science andtechnology overlap. Possible artisticresponses to recent developments

are formulated by experimenting withnew contexts and forms in which artcan play a role. This discussion iscontinually related to an interdisci-plinary base in which the continuitybetween media art, music, theatre,film and visual art is considered tobe self-evident.

The Interfaculty is a collaborationbetween the Royal Academy of Art, theRoyal Conservatoire and the Academyfor Creative and Performing Arts ofLeiden University. The staff comesfrom a variety of artistic culturesand disciplines that is unique inits scope. The ArtScience Interfac-ulty collaborates closely with themaster’s programme MediaTechnologyof the Leiden Institute of AdvancedComputer Science (Leiden University).Within the Royal Conservatoire theInterfaculty has close links with the

Composition department and the Insti-tute of Sonology, within the RoyalAcademy with the ARlab.

The bachelor’s programme aims toguide students towards an ‘autodis-ciplinary’ art practice: studentsacquire the skills, research methodsand conceptual background necessaryto develop their personal artisticwork within the broad field of thearts and sciences. The ArtScienceInterfaculty has a partly ‘open

curriculum’: during most of thestudy, the students navigate indi-vidually through the teaching moduleson offer within the Interfaculty andconnected departments and insti-tutions. At the Interfaculty thereare four forms of group activities:research projects, labs, theoreticalcourses and practical workshops.

Apart from the collective activities,students are expected to do their ownresearch and develop individual work,which is evaluated by all teachers intwo presentations each year. Startingfrom the second year, each bachelorstudent chooses two personal coacheswho advise in study choices and whoreflect on the individual work of the

student.

Participants in the master’sprogramme are admitted on the basisof a research proposal, and dependingon the research topic the studentchooses two personal coaches. Thethree of them together then draw upa study- and research plan that willinclude course modules, projectsand labs offered within the ArtSci-ence Interfaculty and which can alsoinclude other courses from the RoyalConservatoire, The Royal Academyof Art or Leiden University. Thischoice will be based on both theresearch topic and the background ofthe student; also the ratio betweenself-study and course modules will bedifferent for each student. Comple-menting this individual track area number of introductory coursesthat are obligatory for all ArtSci-

ence master students. Also thereare collective activities to stimu-late the mutual contribution to theresearch of fellow students. Theprogress in the individual work isbeing monitored in evaluations by theArtScience teachers two times a year

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2.2.4 Goals of the programme

The bachelor’s programme aims toguide students towards an ‘autodis-ciplinary’ art practice: studentsacquire the skills, research methodsand conceptual background necessaryto develop their personal artisticwork within the broad field of thearts and sciences.

A theoretical and practical basis isoffered in the courses, but the coreof the education offered at ArtSci-ence isconsists of practice-basedresearch: knowledge is acquired inthe context of conceiving and real-izing projects. In these projectsstudents work together with the

teachers and mostly together withother students and learn to collab-orate and organize projects onvarious scales. Because of the opencurriculum and the individual studytrajectories this implies, studentsdevelop a strong sense of independ-ence, self-organization and criticalthought during the study. Becausemany study projects are presentedoutside of the school walls, thestudents are expected to be alreadyactive and well-connected in the fieldat the time of their final exam.

Professional competenciesThe students are challenged todevelop a range of professionalcompetencies regarding three domains:

/ The artistic-technical domain

/ The professional world

/ The theoretical domain

Within each of these domains studentsare expected to develop competencieswithin these areas:

/ Creativity

/ Critical reflection

/ Innovation and growth

/ Organizing

/ Communication

/ External awareness

/ Collaboration

These competencies are the basis ofthe evaluation by the teachers atthe end of each course module andthey are also used to evaluate thepresentations at the end of eachsemester. In turn, twice a year anevaluation meeting is held for thestudents to evaluate the programmeand suggest improvements.

Final qualifications of the bachelor’s programmeAt the final exam the studentspresent a work that demonstratestheir ability to work as a profes-sional artist and which convincinglybrings across an articulated and

authentic vision on the arts. Thegraduate should have the followingfinal qualifications:

/ You create authentic work thatcomes from following your ownartistic vision and contributesto the fulfilment of yourpersonal ambition as an artist(creative ability)

/ You are able to consider,

analyse, interpret and assessyour own and others’ work, andare capable of constructivelyconsidering your findingsin relation to your ownwork (capacity for criticalreflection)

/ You are able to further developthe breadth and depth ofyour artistic practice in anongoing process, and in this

way contribute to developmentsin your artistic discipline(capacity for growth andinnovation)

/ You are able to establishand maintain an inspirationaland functional workingenvironment, and to organizeyour research, work and practice(organizational ability)

/ You are able to effectivelypresent and discuss your

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artistic vision, research andwork (communicative ability)

/ You are able to relate yourartistic practice to both theartistic and social context(external awareness)

/ You are able to make anindependent contribution to acollaborative product or process(capacity for collaboration)

2.2.5 The structure of the programme

With exception of the theoreticalcourses, the ArtScience Interfacultyhas an ‘open curriculum’: within someconstraints, the students navigate

individually through the modules onoffer within the Interfaculty andrelated departments and institutions.At the Interfaculty there are fiveforms of tuition: research projects,labs, individual coaching, theoret-ical courses and practical workshops.With the exception of the first yearcourses and theory courses, studentscan always choose between severaloptions. For more information and thecomplete schedule, please refer toArtScience studyguide 2013-2014 andthe website.

Theoretical Courses and SeminarsStarting in the year 2012-2013,students follow a programmeconsisting of five theoreticalcourses from the first until thethird year of the bachelor. After anintroduction to ArtScience, subjectscovered in these courses are the

theory and history of the senses,media (an)archeology, the philos-ophy of technology, science and artand the theory of interaction in artand nature. These courses run forsix whole days over a period of sixweeks, and consist of lectures, thereading of texts, group discussionand the preparation of written andverbal presentations by the students.At the end of each semester therewill be a seminar of two days for allstudents and teachers of the inter-

faculty, zooming in on current topicsthat emerge from the discussions inthe individual courses.

Together, these courses and seminarsaim to give a theoretical and histor-ical context to the research activ-ities that take place in the Inter-faculty. Through them, students alsolearn to do theoretical research, toarticulate their thoughts in writingand to give verbal presentationsabout their work in connection withthe work of others.

Practical WorkshopsA large number of short, prac-tical workshops are offered in fourperiods of three weeks, two for each

semester. Each of these consists oftwo full days a week over a period ofthree weeks. Some of these short andintensive courses focus on specifictechniques, skills and practicalawareness, such as light, sound,editing, electronics, programmingand form studies. One or two of themeach year focus on subjects that arestill experimental and speculativeand that might become the subject ofa research project next year. Everyyear, about one third of these shortcourses is changed, in order to beable to cover more ground duringthe four years of the bachelor’sprogramme.

For the first year students thereis a separate programme of thesepractical workshops. Each of thesemodules focuses on a number of medi-um-independent concepts, basic skills

and sensory training that are essen-tial to the ArtScience approach.

LabsIn the last three years, many of theactivities at the Interfaculty havebeen clustered around six studiolabsthat are defined by output media.

These labs do not pretend to covereverything in the ArtScience fieldand there are also no hard bound-aries between the labs: they are

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necessary to make physical environ-ments out of lightweight materials.The labcoach of the Tactile ResearchLab is Cocky Eek.

c0d3l4bThis is a lab dealing with the devel-opment of software for generativecomposition and generative art. Itspractical focus will be on work insoftware environments such as Max/Msp/Jitter , Processing , OpenFrameworks andLuaAV . The labcoaches of the CodeLabare Marcus Graf and Nenad Popov.

AR Interactions LabSince a number of years the KABK has been collaborating very activelywith the TU Delft in the develop-

ment of new approaches to the useof Augmented Reality in art anddesign. Since 2010, the InterfacultyArtScience and the masters programmeMediatechnology in Leiden have beenplaying a more active role in thisproject and made the lab more avail-able to their students. The AR lab atthe KABK is not an ArtScience lab ina similar way as the labs mentionedabove, but it is open for individualprojects by the students and under-takes group projects a few times peryear.

Research projectsThe field covered by the ArtSci-ence programme is very broad anddynamic. In order to avoid freezingour current approach in a fixedcurriculum, we chose to cover thisterritory through an “inkblob-strategy”. Every year the ArtScience

team chooses a number of topics thatare explored in research projectsthat run over a period of six weeks,at least three days a week. Someresearch projects are collectiveprojects with the emphasis on theproduction of art works and lead toa public presentation, outside theschool walls. Other research projectsfocus less on the final result andmore on the process of artisticinvestigation of the topic in ques-tion, producing artworks, prototypes

and documentation in the form ofpapers and audiovisual registrations.In the research projects, studentsalso learn to develop ideas collec-tively and become involved in theorganizational aspects of preparinga public presentation. Examples ofrecent research projects are: groW-orld: Borrowed Scenery AlternateReality Narrative, Pyramids: Monu-ments for Late Capitalism, StructetII: Building Music and MusurgiaUniversalis: the Return of AthanasiusKircher.

Self-study, coaching and presentationsWe expect our students to startdeveloping their personal niche inthe field of the arts and sciences

during their studies, and an impor-tant part of the education thereforeconsists of self-study: time to makepersonal work and to pursue personalresearch.

From the second year of the studyeach student has two teachers whocoach this personal work, reflect onit together with the student, offera context for it, suggest litera-ture and other sources of informationand often assist in solving prac-tical problems. As the study advanceswe expect from our students thatthey start showing their personalwork outside of the school wallsand start building up a network.Instead of making work specificallyfor the presentations twice a year,the student in this way evolvestowards a situation where the workhas been shown and developed outside

the school before being shown at thepresentations.

This personal research is evaluatedtwice a year during the collectivepresentations at the end of eachsemester. At the end of the firstsemester, the students are askedto give a presentation of theirresearch, explaining their topic,progress and methodology and illus-trating this with (documentationof) experiments or finished works.

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At the end of the second semester,the students are asked to present afinished work, together with a short,verbal explanation. Both presenta-tions are evaluated in a discus-sion between the student and all thecore teachers, during which also thegeneral progress in the study isdiscussed. The evaluations are basedon five criteria and five studentqualifications. The criteria to eval-uate the research and presented workare: the artistic quality of the coreconcept, the quality of the researchprocess, the consistency of the work,the quality of the presentation orthe quality of execution of thework, and finally the poetry of theresult. The progress of the student

is evaluated based on five studentqualifications: the visibility ofartistic identity, the ability toreflect on the student’s own process,the ability to innovate, the abilityto communicate and the awareness ofcontext and current developmentsrelated to the research topic.

Public ToolkitThis course is focusing on profes-sional preparation. An important partof this course will be a reflectionon the position of the student in thefield, a discussion that is espe-cially important for students ArtSci-ence, since there work can often bepresented in very different contexts.Curators and organizers from themedia arts, experimental theatre, thevisual arts, sound art, music and thecreative industry will be invited toelucidate practical and organizational

aspects specific to their field.Practical aspects like the writingof project proposals and a businessplan, publicity, and documentationwill be discussed, together with thefinancial aspects of being a self-em-ployed artist. Alumni will be invitedto share their experiences. Related tothis course is the academy-wide course‘Writing a business Plan’. ‘Writinga business plan’ is forms part of theArtScience curriculum.

Thesis

The fourth year bachelor’s studentsare asked to write a thesis in thefirst semester of their final year.The aim of the thesis is to artic-ulate a theoretical and historicalcontext for the students’ own work byinvestigating a topic that relatesto it. Students are encouraged todevelop personal forms of writingthat fit their research topic, butshould demonstrate their ability todo theoretical research, find goodsources and discuss work by otherartists that is related to their own.

Individual study trajectory and portfolioMany kinds of individual activitycan be part of the individual study

trajectory, such as a personalresearch project, an internship, aninternational exchange, taking partin a production, attending symposia,initiating a production, organizinga festival or writing a researchpaper. When approved by the indi-vidual coaches such activities canbe awarded study points. A writtenreport and documentation of such aproject should be included in theportfolio.

Part of the individual study trajec-tory will consist of courses outsideof the ArtScience Interfaculty.Likely choices are the IntroductoryCourses offered by the KABK (MovingImage, WebDesign, 3d-animation,Sound) and the courses offered atthe MediaTechnology master of LeidenUniversity.

Apart from this a very wide spec-trum of courses within the RoyalAcademy, the Royal Conservatoireand Leiden University are available.In the past students have followedcourses in amongst others Sonology,Singing, Percussion, Photography,Print Making, Art History, Philos-ophy, Electronics, Sociology, Bio-in-formatics, Art and Genomics, and wewould like to encourage students toexplore the many other possibilitiesand surprise us. Points for elective

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courses are awarded on the basis ofexams passed, certificates, a writtenreport or another form of documenta-tion that should be included in theportfolio the student is compilingover the course of the study year.

Before the presentations in June,the teachers look at the portfo-lio’s of all the students and discusstheir participations in lessons andextra activities. On the basis of theportfolio and their own experiencesthey then evaluate the year of thestudent and confirm the study pointsfor courses followed outside theInterfaculty and for extracurricularactivities.

2.2.6 Credit Points Overview

Credit Points ( EC points) areassigned two times a year, at the endof each semester before the presenta-tions. Each credit point represents28 hours of study and students shouldearn a total of 60 credit points peryear.

Credit points for participation incourses, labs, research projects,KABK introductory courses, MediaTech-nology courses and other KABK and KC courses are assigned on the basis ofthe evaluations given by the teachersof those courses. The credit pointsfor the individual study trajec-tory are assigned on the basis ofwritten reports or other forms ofproject documentation. The studentis expected to compile a portfoliocontaining the documentation of

individual projects and documenta-tion of the activities in researchprojects, labs and other courses. Thepoints for extracurricular activitiesare assigned during the evaluationof the portfolio at the end of May.Successful presentations of indi-vidual work earn eight credit points.Failed presentations must be repeatedone or two months later, or at theend of the following semester.

In order to pass the propaedeuticexam the student should have enoughpoints and should have passed bothpresentations, all of the first yearcourses, the academy-wide first yearcourses and the Introduction to Elec-tronics. Students who fail to passtheir propaedeutic examination withintwo years are not allowed to continuetheir studies.

In the first year, students arerequired to be a member of two labsand to take part in two researchprojects. In the second and thirdyear, students should take partin at least three labs or researchprojects. In the fourth year,students should take part in at least

two labs or research projects, whilethe student should be member of atleast one lab.

2.2.7 Admission to the bachelor’sprogramme of the ArtScience Interfaculty

To be admitted to the bachelorprogramme ArtScience we ask you todemonstrate your artistic talent,intellectual curiosity and affinitywith many artistic disciplines.You’ll be asked to show examples ofearlier work and explain your moti-vation to study at the ArtScienceInterfaculty.

In order to be admitted to theentrance examination we ask you tosend us a letter of motivation, acurriculum vitae (resume), a port-folio and a number of official docu-ments. Also all candidates should

submit their response to the assign-ment described below. All writtenmaterials should be in Dutch orEnglish. Please refer tohttp://www.interfaculty.nl and the ArtSciencestudyguide 2013-2014 for the most upto date information regarding thedates for entrance exams.

All candidates are asked to fill inthe online admission form onwww.kabk.nl.

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After this, candidates are invited tocontact the study coordinator( [email protected] ) for a shortpersonal interview with the head ofthe Interfaculty, in person or viaSkype.

After this first assessment, candi-dates are invited to send the mate-rials we ask for an application,as described below, in order to beinvited for an interview. Europeancandidates are expected to by physi-cally present at this interview, withcandidates outside of Europe we willpropose a Skype meeting.

Letter of motivationIn the letter of motivation we ask

you to give an overview of where youstand now in your artistic activitiesand to describe your vision for thefuture. The letter should cover thefollowing points:

/ please give us some backgroundto your artistic past; explainthe motivation behind gettinginvolved in art and behind theartistic choices you have madeso far;

/ please describe the artisticdisciplines you have beeninvolved or interested in sofar;

/ please describe the main topicsyou are interested in concerningart, science and culture. Forinstance this can includespecific art forms, subcultures,genres, styles, artists that

inspire you, philosophicalideas, scientific researchtopics, developments in societyetc.;

/ please give an outline of whatyou hope to achieve duringyour studies at the ArtScienceInterfaculty;

/ please describe how you thinkyou will be able to contributeto the learning environment atthe Interfaculty and to thearts after you completed yourstudies;

/ please describe the artistic

niche you imagine you willdevelop during your studies;

/ please ask any questions youmight have about the ArtScienceInterfaculty.

/ Curriculum Vitae (Resume)

› This should cover: › our previous education; › your artistic past (see also

portfolio, below);

› musical instruments played (ifapplicable);

› techniques mastered; › work experience; › languages.

PortfolioIn the portfolio you should show usdocumentation of works of art youmade. The original works can be inany art form or medium, while the

documentation should be a short textdescribing each work, illustratedwith photos, drawings, reviews, etc.Please include audio and video, inwhich case you should mark a maximumof three minutes you absolutely wantto be viewed or listened to by theselection committee. Digital docu-mentation should run on both Mac andPC, can be on CD, DVD, usbstick oronline and should use standard fileformats (jpeg tiff pdf mp3 flash aiffquicktime avi powerpoint).Please donot send us originals; for practicalreasons we can not always return yourportfolio.

AssignmentAs part of the entrance examinationwe ask you to send us a proposal fora work of art you would like to make.The only requirement for the proposedwork is that it should appeal to at

least two senses, in most cases sight

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and hearing. The proposal shouldconsist of a written description andinclude sketches in image, sound orother media. For the entrance exami-nation we ask you to bring a 3D scalemodel of the work of art you propose(this does not apply to non-european candidates).

Official documentsBA candidates should fill in theonline admission form on www.kabk.nl.A copy of the candidate’s passport,a visa (when applicable), a copyof relevant diplomas, two passportphotos, and email address should beincluded with the materials sent forthe entrance exam.

2.2.8 Staff at the ArtScience Interfaculty

Head of InterfacultyJoost Rekveld

Coordinator:Leonie Zweekhorst

Core teachers:Cocky EekArthur ElsenaarEdwin van der HeideKasper van der HorstMichiel PijpeRobert PravdaJoost RekveldTaconis Stolk

Guest teachers:Nadine BongaertsEva BrinkmanLex van der BroekEvelina DomnitchDmitry GelfandVincent van Gerven OeiMarcus GrafEric KluitenbergMaja KuzmanovicGosse de KortKatinka MaracNenad PopovPaul PrudenceSanne van RijnJoel RyanChris SalterDuncan SpeakmanTeZ (Maurizio Martinucci)Frank TheysCaro Verbeek

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2.2.9 Total overview of qualifications

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QUALIFICATIONS PROPAEDEUTIC YEAR MAIN PHASE, YEAR 2

Creative ability At the time of printing this guide,the specific final qualificationsof this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.

At the time of printing this guide,the specific final qualificationsof this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.

Capacity for critical reflection At the time of printing this guide,the specific final qualificationsof this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.


Capacity for growth and innovation At the time of printing this guide,the specific final qualificationsof this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.


Organizational ability At the time of printing this guide,the specific final qualificationsof this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.


Communicative ability At the time of printing this guide,the specific final qualificationsof this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.


External awareness At the time of printing this guide,the specific final qualifications

of this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.

At the time of printing this guide,the specific final qualifications


Capacity for collaboration At the time of printing this guide,the specific final qualificationsof this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.


of this study year had not yetbeen finalised. Please refer to

the website for the most up-to-dateinformation.



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QUALIFICATIONS MAIN PHASE, YEAR 3 MAIN PHASE, YEAR 4


You create authentic work thatcomes from following your ownartistic vision and contributes tothe fulfilment of your personalambition as an artist


You are able to consider, analyse,interpret and assess your own andothers' work, and are capable ofconstructively considering yourfindings in relation to your ownwork


You are able to further develop thebreadth and depth of your artisticpractice in an ongoing process, andin this way contribute to develop-ments in your artistic discipline


You are able to establish andmaintain an inspirational andfunctional working environment, andto organize your research, work andpractice


You are able to effectively presentand discuss your artistic vision,research and work

External awareness At the time of printing this guide,the specific final qualificationsof this study year had not yetbeen finalised. Please refer tothe website for the most up-to-dateinformation.

You are able to relate yourartistic practice to both theartistic and social context


You are able to make an independentcontribution to a collaborativeproduct or process



ARTSCIENCE

Year 1 2 3 4

Course 1 2 3 4 5 6 7 8

Practical Courses 4 5 4 4 2 2 2

Labs 4 4 4 4 4 4 4 4

Presentation 1: assignment 8

Presentation 2: propedeutic exam 8

Presentation 3 8

Presentation 4 8

Presentation 5 8

Presentation 6 8

Presentation 7: final exam19

Excursion Ars Electronica 1

Research Projects (*) 6 6 6 6 6 or 0 0 or 6 6

Public Toolkit 4 2

Business Plan Writing 2

Organisation graduation preview 1

Research and Discourse 3 3

Theoretical Courses 3 3 4 4 4

ArtScience Seminar 1 1 1 1 1 1 1

Thesis 9

IST (*) 3 3 5 or 11 9 or 3 6 6

Total 30 30 30 30 30 30 30 30

EC after individual assessment 24 24 24 24 24 24 24 24

EC after collective assessment 6 6 6 6 6 6 6 6

* In the third year, the research project can be done in either semester 5 or semester 6. It has a study load of 6 EC.

If the research project is done in the fifth semester, 5 EC will be available for the IST in semester 5 and 9 in semester 6.

If the research project is done in the sixth semester, 11 EC will be available for the IST in semester 5 and 3 in semester 6.

1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is an possibility.

2.2.10 Study points overview

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2.3 Fine Arts

2.3.1 General description of the discipline

History of the disciplineUntil the mid-nineteenth century,artists worked primarily on behalf ofmonarchs, the church and the uppermiddle class. Around 1850 the ideawas introduced that art should notlonger be made on commission, butpurely for the art itself. The auton-omous artist was born.

Artists were forced to reconsider andredefine themselves and their publicfunction. The twentieth century thusbecame the century of the self-awaremodernist movement that was char-

acterised by its high appreciationfor experimentation and innovation.In concurrence with the far-reachingtechnological, political and socialdevelopments of the era, new typesof artists were born and old typesconsidered lost forever, were reborn.After the Cold War ended, the inter-nationalisation that was manifestingeverywhere also conquered the artworld. The confrontation with previ-ously unknown aesthetic culturesyielded hopeful amalgamations, butalso put pressure on established(Western) art notions of modernityand autonomy.

Nowadays, in the beginning of thetwenty-first century, artists make useof a huge range of artistic media,which can sometimes be clearly distin-guished, while at other times overlap.As a result, the area has become

multidisciplinary. Painting, once themain discipline, still plays an impor-tant role but no longer dominates.

The fine arts represent, above all,a dynamic world in which firmlyrooted traditions compete with fiercetrends of innovation. The result is aconstantly changing landscape wherefew certainties exist. Boundaries areblurring, not only between the arts,but also between the so-called highand low arts.

Current situation of the disciplineTraditional stylistic or thematicissues no longer dominate contem-porary visual art. Although theartist who works on his oeuvre in theprivacy of his studio will continueto exist, there are other artists whohave developed a keen sense for thechanges in society and have decidedto actively place their work in thatfield. The vast increase of mobilityand means of communication have ledto the emancipation of cultural areasthat were hitherto considered to befairly obscure.

There is no longer a dominant Westernculture. Innovative cultural expres-sions can come from anywhere, from,

for example, Africa, China, Korea orMexico. This results in an inter-national art and cultural produc-tion. New media (video, internet,etc.) have explosively expanded theartistic toolkit and scope.

Artists do no longer exclusivelyposition themselves as traditionalcreators, but also as researchers,entrepreneurs, commentators orengaged participants in social orpolitical processes. They revealhidden qualities, provide crit-ical commentary on social phenomenaand/or are actively involved withthese phenomena. Female artists areincreasingly setting the tone inartistic discourse.Today, photography, video and otherlens-related disciplines are flour-ishing like never before. In thedigital world, Internet users appro-

priate and process countless imagesand transmit them as new works ofart. The current situation createsan enormous number of opportunities,but also poses new challenges forthe arts and art education, whichcan only be successfully addressed ifthey are understood and accepted. TheFine Arts department addresses theseissues with vigour.

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2.3.2 Study profile

Below we describe the profes-sional profile on which we based theprogramme of the Fine Arts departmentat the KABK. Visual artists createart to give significance and meaningto the lives of others and their own.By doing so they fulfil an importantsocial function.

In the professional field, their workis appreciated for the authentic wayin which they express their artisticvision and ambition in the publicdomain, and also because of theirinnovative ideas regarding the disci-pline of fine art and how those ideascan function in a social context. The

work of visual artists appears inmany different forms, from materialobjects to materialised (thinking)processes, performances, businessventures, lectures and other verbal-ized concepts that are visual and/ortheoretical in nature.

International settingThe international setting has becomean important element in contemporaryprofessional practice: the playingfield of the young artist has grownimmensely. This makes him an artisticnomad, who may or may not travel theworld to find hotspots, or placesthat are on the verge of becomingone, to present work or proposals fornew work. In addition to producingwork, it is becoming increasinglyimportant that the contemporaryartist is able to claim a position inartistic and social environments. He

is a researcher, producer, networker,organiser and administrator all atonce, and employs this combinationof functions to achieve his artisticambitions.

Description of the study programmeThe propaedeutic year is specifi-cally tailored to the fine arts, withorientation, selection and referenceas its objectives. Specific to thedepartment Fine Arts at the KABK isthe division of the programme into

four (small) departments after thepropaedeutic year, the so-calledsections:

/ Free Graphics

/ Painting

/ Interdisciplinary Attitudes

/ 3D

The content of these sections dependson the conditions of the fundingstructure and its relevance inrespect to the field.

The part-time programme, because ofits lesser number of contact hours,is separated into the sections 2D andInterdisciplinary Attitudes after

the propaedeutic year. These sectionsrepresent the differentiation fromthe full-time programme.

After obtaining the propaedeuticyear diploma, the student chooses tocontinue his studies in either the 2or 3 Dimensional domain. In the thirdsemester, the teams of lecturersfrom Free Graphics and Paintingpartially merge to intensivelyconfront students in the 2 Dimen-sional domain with the disciplinesof graphics and painting. In eachblock, one of the disciplines is thesubject of an extensive assignment.The same happens in the 3 Dimensionaldomain with the teams of lecturersfrom Interdisciplinary Attitudes and3D. At the end of the third semesterthe student chooses on of the foursections to graduate in.

This set-up creates the necessaryconditions for working in smallstudent groups, and for the organisa-tion of specific workshops, externalactivities and guest lectures in thesections. In the sections we createa climate in which the boundariesof the discipline are examined andexceeded. Here we build the foun-dation that enables interdiscipli-narity. If the development of thestudent gives cause to a change ofsection, he is able to change on the

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basis of his own, well-motivated,initiative or on the advice of histeam of lecturers.

Inspirational contacts betweenstudents of different sections areencouraged, and in the course of theacademic year numerous cross-sectionactivities and projects take place.

The final phase, the fourth year,is concluded with the final examwhere the student demonstrates inan exhibition and thesis that he isqualified to start a professionalpractice. Throughout the programme,the student is made aware of thefact that the programme is the basison which he can further develop

his personal artistic ambitions andabilities in his future professionalpractice.

The programme is aimed at creating anunderstanding of the conditions underwhich that happens, and stimulatesthe ambition to excel, partly becauseof a teaching staff with interna-tional professional practices. Theprogramme is centred on the idea thatthe artist is part of the nationaland international social mechanism,and that the artist has a function init. The artist defines his signifi-cance in this context by discovering,developing and expressing his ownabilities and ambitions. The reser-voir of past and present artists’knowledge and skills, and their theo-retical and practical positions playsa critical role in this.

The curriculum and associatedteaching methods are consequentlystrongly orientated on the worldaround us. The student is challengedby the various teaching formats inthe curriculum to discover and revealhis talents and ambitions. He does soin a continuous process of clarifica-tion, revision and renewal, with theperspective of a lifelong artisticpractice and building an oeuvre ofinternational stature. A studentwho has successfully completed his

studies with a final exam is able toindependently research on behalf ofan authentic oeuvre and by placinghis work in the public domain. He isalso aware of the context in whichhis art practice develops, both inan autonomous as in a commissionedsituation.

Final qualifications Fine Arts

/ You create authentic work thatcomes from following your ownartistic vision and contributesto the fulfilment of yourpersonal ambition as an artist(creative ability)

/ You are able to consider,analyse, interpret and assessyour own and others’ work, andare capable of constructivelyconsidering your findingsin relation to your ownwork (capacity for criticalreflection)

/ You are able to further developthe breadth and depth ofyour artistic practice in anongoing process, and in thisway contribute to developmentsin your artistic discipline(capacity for growth andinnovation)

/ You are able to establishand maintain an inspirationaland functional workingenvironment, and to organizeyour research, work and practice(organizational ability)

/ You are able to effectively

present and discuss yourartistic vision, research andwork (communicative ability)

/ You are able to relate yourartistic practice to both theartistic and social context(external awareness)

/ You are able to make anindependent contribution to acollaborative product or process(capacity for collaboration)

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Diploma

Graduates are awarded a Bachelor ofFine Arts ( BFA ) and are then eligibleto enter post-graduate programmes inthe Netherlands or abroad.Post-graduate studiesAfter receiving their Bachelor’sdegree, graduates can enrol in amaster’s programme in design (MDesign) or art (M Fine Arts) oranother master’s programme at an artacademy. Our graduates have continuedtheir studies at: MAR (MasterArtistic Research) at the KABK,the Frank Mohr Institute Groningen,Sandberg Institute Amsterdam, PostSt Joost Fine Arts Breda, Piet ZwartInstitute Rotterdam and the DutchArt Institute Enschede. It is also

possible to apply to the so-calledthird phase programmes: the Rijksa-cademie or De Ateliers in Amsterdamand the Jan van Eijck Academy inMaastricht.

Many alumni choose to continuetheir studies abroad, for example inGlasgow, London or New York.

Admission procedureThe candidate is first invited to anexploratory interview, where he canask questions about the programme andis questioned about his own artisticambitions and social and culturalorientation. After this conversa-tion the candidate receives, if he isdeemed suitable to participate in theadmission procedure, an invitationfor the entrance examination.

When the candidate fails in only

certain respects, he is given anadditional assignment that willbe assessed separately during theentrance examination. During thisexamination, the candidate shows avaried selection of his work to theadmission committee of the programme,including dummies, sketches, blue-prints, digital files, moviesand notes of ideas. The admissioncommittee consists of teachers andstudents.

Specific admission requirements

/ The candidate must demonstrate:

/ a constant tendency to transformexperience and imagination intotwo and/or three-dimensionalproducts, movies, DVD’s and so

on, which testify to an earlysense of artistry;

/ a developing grip on the formalissues related to the above;

/ the need to enter the publicdomain with these works;

/ a developing awareness of hisartistic context;

/ an inquisitive, self-criticaland ambitious attitude.

The candidate is considered foracceptance when he shows a persistenttendency to transform experiences andimaginings into two-or three-dimen-sional images, when he has a buddingsense of artistry, and when he demon-strates the start of his developmentof insight into the artistic context.Candidates who are potentially suit-able for the programme, but who showspecific shortcomings, can be givenan assignment or task after theexploratory interview. The resultsare discussed during the entranceexamination.

2.3.3 Study programme overviewfull-time / part-time

The Fine Arts programme at the KABK

is offered as full-time and part-time education, both which have tobe completed in four years. Appli-cants for the part-time programmein the academic year 2013-2014 areaccepted on the condition that thereare sufficient registrations for thefirst year.

After the propaedeutic year, studentschoose either the 2 or 3 Dimensionaldomain for the third semester. For

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the fourth semester students have tochoose one of the four sections.In the part-time programme, studentsmake a choice after the thirdsemester between the 2 Dimensionaland the Interdisciplinary Attitudedomain. The different sections arerepresented in these two domains.Teachers advise students in theirchoice. A strong and continuous lineof learning characterizes the entirefour-year programme. This means mostof the propaedeutic year teachersalso teach in the main phase andadapt their courses to the studyprogrammes of the higher years. Partybecause of this, students are ableto make an informed choice at the endof the propaedeutic year, and part-

time students in the fourth semester,between the 2 or 3 Dimensionaldomains. During the course of studythere are several occasions when, ifa section change enhances the devel-opment of the specific talents ofa particular student, students cantransfer to a different section.

Propaedeutic yearThe propaedeutic year consists ofa study programme of 60 EC . Duringthis year, the development oftalent is linked to the orientationof the main phase, the student’sartistic practice and the researchinto the student’s suitability forthe programme. The propaedeuticyear includes elements in which alldisciplines of the main phase arefeatured, and it also includes thecourses General Art History and FieldOrientation that place the student in

the middle of a very lively art prac-tice, by means of visiting studios,galleries and museums. The programmeis scheduled in four sessions (after-noon/evenings) of theory and practicecourses. The courses and credits canbe found below.

Main PhaseThe curriculum in the main phase isarranged as a foreshadowing of theprofessional practice. Students work

in their studios and learn, at thehand of numerous assignments, tocreate a production flow of visualworks, to investigate the works forweaknesses and strengths, how topublicise work, in what artistic andsocial context they operate, and whatthe business and professional aspectsof an artistic practice entail. Thedescription of the main phase andcourses can differ for the full-timeand part-time programmes due to adifferent set-up. Part-time studentscan have a studio in the final yearof study.

Final PhaseThe last two semesters of themain phase are referred to as the

final phase. This final phase isconcluded with the final exam, inwhich students must demonstrate witha coherent set of authentic works,which are presented in a convincingway, and a thesis, that they meet thequalifications necessary to becomea professional artist. The work must‘speak’: the student talks abouthis work and his thesis, and in thefollowing conversation the student isquestioned on his motivations, theway of exhibiting and his ambitionsfor the future.

The graduation candidates from allsections organise a pre-exam exhi-bition at the end of the seventhsemester, where they are responsiblefor solving the problems associatedwith making an (group) exhibition.The exhibition takes place outsideof the academy at a location the

students choose themselves.

The main phase, including the finalphase, consists of three academicyears, or six semesters. For coursesand distribution of credit points,see the overview below.

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2.3.4 Educational and professional goals

The programme is described on thebasis of three, partly overlapping,areas of competence:

/ artistic technical domain;

/ theoretical domain; / professional social domain.

Artistic technical domain

In the artistic technical domainstudents mostly develop their crea-tive ability and the capacity forcritical reflection. These abilitiesor competences are considered themost characterizing and important

for graduating students in fine artseducation. All art and design coursesdevelop the students’ abilities inthis domain.

Theoretical domainMaking art and designing is intellec-tual and investigative work. Art anddesign are evaluated on the basis ofartistic objectives for their rele-vance to (inter-) national stand-ards of professional practice. Thisimplies the necessity for the artistor designer to possess adequate theo-retical knowledge of the field.

Professional social domainThis field touches upon most of thecompetences or abilities addressed:capacity for critical reflection,capacity for growth and innovation,organisational competence, situa-tional awareness and collaborative

competence.

Propaedeutic year

Competences propaedeutic year

The student needs to master thefollowing competences during thisphase of the programme:

These competences are under construc-tion, please refer to the website forthe most up-to-date information.

/ Creative ability: The student isable to independently apply theacquired skills and knowledgeto the production of his work,and to complete the givenassignments in coherence withhis artistic ambition.

/ Capacity for criticalreflection: The student is ableto reflect on his work andcan evaluate its quality andeffectiveness.

/ Capacity for growth andinnovation: The student acquiresnew knowledge, skills andinsights and is able to applythem on a theoretical andpractical level.

/ Organisational competence: Thestudent is capable of organisinginternal and external factors inorder to facilitate an effectiveand inspiring work and researchprocess.

/ Communicative competence: Thestudent is able to speak abouthis work and development, andcan indicate his position in

the contemporary art world, bothverbally and in writing.

/ Situational awareness: Thestudent demonstrates a stronginterest in historical andcontemporary art and its socialsignificance, and is able toactively participate in criticalanalyses of his work and that ofothers.

/ Collaborative competence:

The student is able to make a

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positive contribution to groupprojects, excursions and thepedagogical climate in theclassroom and the academy.

The propaedeutic year competences areactivated by the offered courses,in the framework of the orientation,selection and referencing phase ofthe programme (see Description ofStudy Programme).

The ability to create is encour-aged in all the practice courses, byassignments in the 2 Dimensional, the3 Dimensional and lens-related anddigital spectrum of the visual arts.The same goes for the capacity forcritical reflection and the capacity

for innovation and growth, becausethe results of the assignments areanalysed, by teachers and students,for their formal and substantivequalities. The results of these anal-yses fuel new assignments.

The student’s organisational compe-tence is activated by learning toorganise the formal problems thatoccur when connecting content to form,and are inextricably linked to theprocess of making: first you createsomething, which is followed by crit-ical reflection and assignments fornew work, but it is also the incentiveto review the production process andadjust its formal aspects.

The theoretical aspects of organisingare discussed in the course FieldOrientation, in which the student isconfronted in an intensive programme

with professional practice and itsorganisational aspects. In the secondsemester the student learns to docu-ment his development in the form of aportfolio.

Additionally, students participate inan Inauguration Programme and keepa file in which they keep track oftheir developments and comment onthem.

The Inauguration Programme is a cycle

of exhibitions at various locationsin the academy, where students areintroduced to all aspects of makinga solo or group exhibition: settingup, design invitations, opening theshow, public discussion documenting,cleaning. Their communicative abilityis developed in all situationsthat force students to present andexplain their own or other’s work: inthe Inauguration Programme, in thereports they write for the course ArtOrientation and during the pres-entation for the course General ArtHistory. The situational awarenessof the students is developed in thecourse Field Orientation, and duringexcursions such as the annual tripto Berlin, the Venice Biennale and

Documenta.

The course General Art History shedslight on the principles and factorsthat have shaped art and culturefrom the early days until Romanti-cism. During the propaedeutic yearthe students develop their collab-orative competence by organisingpresentations for evaluations andprogress meetings together with theirpeers, by joint ventures during theOpen Day, and by making proposals ingroups for the academy-wide projectweek. Moreover, the didactic climateencourages students to learn fromeach other’s insights, ideas andproblems.

Artistic technical domainThe general visual development inthe propaedeutic year concerns theacquiring of skills associated with

aspects of working in 2D, in thecourse Drawing 1,2 and 3. Drawing 1covers observational drawing, whereeye-hand coordination is practicedon the issues of shape, size, plas-ticity, tonality, colour, line,composition, materiality etc. Drawing2 deals with observational drawingon the basis of the imagination.Drawing 3 concerns drawing as a toolfor research, idea development andprocessing. In the courses Paintingand Graphics, watercolour, oil and

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graphic techniques are covered.The course Spatial encompasses allaspects of working with and in space,in the material in immaterial sense.The Optics course moves beyond theboundaries of the general formulationof the concept into the direction ofthe concept development, because thelens is seen as an extension of theeye and is used as a search tool thatis able to collect personal topicsand themes. The skills of cinematicexpression are taught starting fromthe camera obscura, the analogue andthe digital camera, to the videocamera and digital imaging.

Concept developmentConcept development is understood as

the organisation of a step-by-stepprocess, in which an inspiring ideais revealed and gradually conceptual-ized through theoretical and prac-tical means. The process starts withthe visualisation of an inhibitedidea, and then the idea is capturedin sketches followed by models,designs and drafts, and finally asuitable context for the idea isresearched. The new course Meaningplays a central role in this process,supported by the course Drawing 3.

In the second semester one session isreserved for the so-called free space,which anticipates the Individual StudyTrajectory in the main phase.

The first year has no supportingcourses, other than the filmprogramme, which can be seen as anannex to the General Art History

course. The film programme PLAY/ TIME presents monthly screenings of filmhistory classics accompanied by anintroduction.

Theoretical domainThe General Art History coursecovers the developments in art andarchitecture from the early daysto Romanticism at the hand of ‘AWorld History of Art’ by Honour andFleming, and various articles. Eachsemester is concluded with an exam-

ination, students are given writingassignments, and give presenta-tions at least once a year. In thefirst semester of the second yearstudents go on excursion to Berlin.This excursion is prepared for byattending a lecture series on thecultural state of the city in rela-tion to historical, political, socialand geographical factors. This cycleis concluded with an examination. Theexcursion includes visits to insti-tutions of classical and modern art,artists’ studios, theatres and archi-tectural points of interest.

In the course Field Orientationstudents investigate the field oftension between artistic ambitions

and how these ambitions can func-tion in the public domain by visitingplaces where this tension is gener-ated and/or expressed. These placesare, for example, studios, artists’initiatives, galleries and museums.Conversations and interviews are partof these visits and students write uptheir findings in reports.

Professional social domainThe career preparation in the propae-deutic year is taught in the courseField Orientation as described above.Students gain additional experienceby participating in the InaugurationProgramme, designing a trophy in a(simulated) professional assign-ment, organising the evaluation andprogress meeting presentations, andassisting the graduates with theorganisation of the pre-exam exhibi-tion and the graduation show. After

the first semester assessments,students intern for one week at anart-related situation or institution.

Descriptions of the various coursesare available in separate dossiers.

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Main Phase / year 2Section profiles

Section: PaintingAll conceivable forms of painting anddrawing and amalgamations thereof,define the disciplinary domain. Themost well known examples of this arethe gouache, watercolour, oil andacrylic paint and tempera techniques.But where the transfer of imagesis, to a large extent, determined bycolour, numerous other new means ofexpression occur in this domain, suchas photography, animation, (cine-matic) projections and digital media.

Section: Free GraphicsThis disciplinary domain is defined

by all conceivable graphic tech-niques, such as etching, lithography,woodcut, mezzotint, silkscreen andoffset printing, and photographicand digital techniques. Working withvarious graphic techniques createsthe possibility to print numerouscopies of the work. An interestingoption is then to create a uniquework from the copies. Another possi-bility is to produce books, postersand artworks, and publish them peri-odically by traditional or digitisedmeans.

Section: Interdisciplinary attitudesThe section Interdisciplinary Atti-tudes is characterized by the absenceof a disciplinary concentration orlimitation. Students and teachersunite in an artistic ambition. Bygradually revealing this ambition,the most suitable discipline or

combination of disciplines is deter-mined. Social structures providematerial for research and produc-tions. This results in theatricalproductions, video installations andphotographic works, and also drawingsand/or paintings.

Section: 3DThe disciplinary climate of the 3Dsection is established in the secondyear. In this section, the clas-sical sculpture is problematized in

the ‘Large Model’ project, and thesignificance of space and three-di-mensionality is researched in all itsfacets. This confronts students withthe scope of contemporary ideas ofsculpture and space. They are guidedby research, assignments (some inthe public domain) and presentations.This process has led students tocreate sculptures in the traditionalsense of the word, architecture orproposals to that end, video instal-lations and photographic works.

The student controls a signifi-cant part of his study material bycreating works and reflecting onthem. Because of this, the mainlearning objective for the second

year is to start and maintain anon-going production of experimentaland investigative visual products.The second year competences arerelated to achieving this.

The described sections are imbeddedin the part-time programme in twomodular directions: 2D and Interdis-ciplinary Attitudes. The module 2Dincludes painting and free graphics,and module Interdisciplinary Atti-tudes also includes the 3D sectiondescribed above. Differences mayoccur between full-time and part-timestudy programmes.

Competences year 2The student needs to master thefollowing competences during thisphase of the programme:

These competences are under construc-

tion, please refer to the website forthe most up-to-date information

/ Creative ability: The studentis able to initiate andmaintain the production of awide and diverse selection ofinvestigative visual works.

/ Capacity for criticalreflection: The student is ableto reflect on his own work and

that of others, and can evaluate

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its quality and effectiveness.

/ Capacity for growth andinnovation: The student can makeuse of newly acquired knowledge,skills and insights, and thecriticism of others to advancethe development of his work.

/ Organisational competence:The student is able to createthe ideal work environmentthat advances and enhances theproduction of, and reflectionon, his work.

/ Communicative competence: Thestudent is able to discuss andexplain his work and productionprocess in oral and visualpresentations.

/ Situational awareness: Thestudent is able to researchartistic and social settingsto intensify his production ofvisual work and the reflectionprocess.

/ Collaborative competence:The student is capable ofcollaborating with his fellowstudents and/or externalparties, and employs theexperiences gained by thesecollaborations to progress andintensify his production andresearch process.

These competences are applicable toall sections. Although the compe-tences are developed in the differ-ence disciplinary frameworks, theyare active for the entire departmentin the courses Content/form, Process,

Transfer and Theory.

Creative ability, the capacity forcritical reflection and the capacityfor growth and innovation are workedon in the Content/form and Processcourses, where the constant flowof images is used as a study of thevarious aspects of the formation ofmeaning in an image, to investigatethe articulation of size and space,to determine weaknesses and strengthsin form and content, and to analyse

the consequences that result fromall of the above, in relation to theuse of different media and disci-plines. The theoretical componentof the Process course stimulatesthe search for a suitable context,as a factor of growth and innova-tion. Students also develop organ-isational competence in the Processcourse, where the source materialsand work plan function as documen-tation. Communicative competence andsituational awareness are part of thecourses Content/Form and Process/Research, but it is mainly in thecourse Transfer and Theory wherethese skills are centralised by themaking of exhibitions, the exercisesin verbal and written communication

about the students’ own and others’work, and because these coursesreveal historical and contemporaryartistic contexts and the factorsthat have (had) a formative influ-ence on these contexts. Collabora-tive competence is stimulated by thefact that the students, together withtheir peers, work in a large studiospace, organise internal and externalprojects and exhibitions, and make atime and space planning for the eval-uations and progress meetings.


General visual developmentGeneral visual development in thesecond year manifests itself in fourdistinctive sections within thefield of study, and also in relationto the most important objective of

the second year: the creation of aflow of images that is employed fornumerous analytical and reflectiveinterventions.

/ In the Painting section,students paint and draw in allconceivable media, and variousworkshops are organised, suchas a tempera workshop and aPhotoshop course.

/ In Free Graphics, students are

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acquainted with all graphictechniques by producing athematic portfolio to whichall students contribute. Abookbinding workshop providesstudents with the necessaryskills to create the portfolio.

/ Interdisciplinary Attitudesis, as the name states, aninterdisciplinary environment,but also includes workshops inthe fields of theatre, sound andvarious sensory fields.

/ In 3D, students researchmateriality, structure, designand meaning, and spatial qualityand status. They create imagesand objects in all available

materials, but the emphasisis on the ‘Large Model’, wherestudents work on a sculpturebased on a live model during thecourse of the year. This processincludes all stages involvedwhen producing of a ‘classical’sculpture. Furthermore, abronze-casting workshop isorganised.

Concept developmentConcept development as defined in thepropaedeutic year, is also appli-cable to this year and focuses onstudents gaining control of theirflow of images in order to steer itin a recognisable thematic direction.Concept development is covered inall practice courses because studentsare searching for their theme in allelements of the curriculum. In theProcess course students organise of

a functional work environment, inorder to create an effective founda-tion for the deepening and broadeningof the research into the theme and/orartistic ambition.

Additionally, the course ArtisticResearch is offered department-wideand enables students to applyconcepts of process and research, andmethods of materialisation, to theirown research based on personal ideasand visual development.

Supporting coursesSupporting courses are available inthe form of various introductorycourses offered academy-wide:

/ electives and minors incollaboration with LeidenUniversity;

/ optional activities in theframework of the StudiumGenerale and ‘t Hart;

/ the film programme;

/ guest lecturers who contributespecifically to internal andexternal projects.

Theoretical domainEven though all practice courses havetheoretical components, for exampleexhibition theory in the Transfercourse, the addressing of metaphors,symbolism, style and stylizationin the Content/Form course, and thetheoretical component in the Processcourse, the Theory course remainsthe most important foundation fortheoretical knowledge and intellec-tual skills. The theory programmefor the entire department is set upas follows: students gain knowledgeof art history from Romanticism tothe present by attending lectures,taking day trips to exhibitions, andhaving group discussions in rela-tion to a topic prepared by a fellowstudent. Students keep a sourcebookwith inspiring texts and images, andeach semester write a paper on aself-chosen topic from the field of

art, and a statement about their ownwork, including motivation, inspi-ration, relationships with otherartists and so on.

Professional social domainThe career preparation is constructedin two parts. The first part is inte-grated in its set-up. For example,aspects of professional practiceare discussed during in-class groupconversations. This also happens inother classes when necessary and

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useful, according to the situa-tion in the students’ studios. Thesecond part of the preparation isprogrammed. Below you will find anoverview of that programme, based onthe programmes of previous years. Animportant element of the programmedpart is the collaboration withexternal partners in the field. Someof the collaborations take placeannually, while others differ year toyear.

The following elements are offeredacademy-wide: the course in Rhet-orics/Context, the InaugurationProgramme, presentations in projectspaces, studio visits, and incidentalinternships with professional visual

artists as part of the IndividualStudy Trajectory.

Alternating per section and studyyear, the department collaborateswith the following external partners:

/ Nest, The Hague

/ Committee Room,municipality The Hague

/ Filmhuis The Hague

/ Diligentia, The Hague

/ Mama, Rotterdam

/ Stroom, The Hague

/ Tent, Rotterdam

/ Metropolis M

Second year students of all sectionsprepare group exhibitions, as preludeto an exhibition in the third year.

Main Phase / Year 3

The completion of the second year hasrewarded students with a rich harvestof formal and substantive questions.In the third year, these questionsare employed in all sections for theresearch into their interrelation.

Competences year 3


These competences are under construc-tion, please refer to the website forthe most up-to-date information

/ Creative ability: The studentis able to create thematicand formal coherence in thecontinuous production of visualworks.

/ Capacity for criticalreflection: The studentcan pinpoint weaknesses andpotential strengths in theprocess towards thematic andformal coherence.

/ Capacity for growth andinnovation: The student is ableto continuously develop hisartistic ambitions by focusingon coherence in his work.

/ Organisational competence: Thestudent can organise his workand research process to such anextent as to optimally advance

the revealing of thematic andformal coherence.

/ Communicative competence: Thestudent is able to discussand explain the coherence inhis work in oral and visualpresentations.

/ Situational awareness: Thestudent increasingly positionshimself in relation to artisticand social settings, which

intensifies his research intothematic and formal coherence.

/ Collaborative competence:The student is capable ofcollaborating with his fellowstudents and/or externalparties, and employs theexperiences gained by thesecollaborations to advance theresearch into thematic and

formal coherence.

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The student’s creative ability, thecapacity for critical reflection andthe capacity for growth and innova-tion are further developed in thecourse Content/Form and in the prac-tical and theoretical components ofthe Process course. Organisationalcompetence is developed in, amongothers, the practical component ofthe Process/Research course, andcommunicative competence and situ-ational awareness in the coursesTransfer and Theory. The student’scollaborative competence is stim-ulated in a similar situation asdescribed in the second year compe-tences above, and happens in thecourse Transfer by means of several

internal and external presentationsand exhibitions.

Artistic professional domain

General visual developmentThe description of the second years’general visual development alsoapplies to the third year, withthe difference being that all theproduced works serve the researchinto the coherence of the artisticproduction. Central to this researchis the continuing revelation of thepersonal artistic abilities andambitions. All practice coursescontribute to this, including theTheory course, in which studentsfurther develop their insight andunderstanding of their own situationby relating it to an inspiring andcritical context.

Concept developmentThe description of the second years’concept development equally appliesto the third year, but additionallyrelates to the central objective ofthis study phase. The concept devel-opment is thus focused on the struc-turing of all formal and substantivequestions that arise in the searchfor coherence, and the unveiling ofthe authentic artistic practice. TheProcess course is the most important

in this development.Supporting coursesSpecific courses and workshops in theframework of the career preparationare described in the professionalsocial domain below. The other possi-bilities of supporting courses aredescribed under ‘Supporting courses’in the Year 2 section.

Theoretical domainIn the third year, students areintensively confronted with variousphilosophical, aesthetic and socialmodels of thinking. The teachingmaterial consists of the book ‘DeDonkere Spiegel’ (‘The Dark Mirror’)by Frank Vandeveire and a wide rangeof art historical literature, maga-

zines and newspapers. The studentslearn to name artistic problems,concepts and principles, and geta hold of the theoretical issuespresent in their work. Each semesterthe student writes a statement abouthis own work and a research paper.The topic of the first paper is anart movement in relation to socialdevelopment, and the second is thequestion ‘what is art’. At least oncea year each student gives a presenta-tion on a theoretical topic. At theend of the academic year, the studentdetermines the subject of the thesis.For further information about thetheoretical domain in year 3 pleaserefer to the description of year 2.

Professional social domainThe activities described for thesecond year also apply to the thirdyear. Additionally, projects and

collaborations are organised for thethird year students each year. Theseactivities specifically relate totheir stage of development.

Students in all sections participatein the Documentation Workshop. Thisworkshop consists of several sessionsspread out over the academic year,and teaches students to:

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/ document work for presentationsand/or grant or subsidyapplications;

/ compile and present a portfolio;

/ give verbal presentations;

/ write texts for presentations,grant or subsidy applications,job assignments and post-graduate studies.

Additionally, students followFinance and Business Plan courses,and participate in a Grant/subsidyApplication Writing workshop and aworkshop on presenting. Students ineach section collaborate to organisean exhibition. The projects withexternal partners as mentioned in

the description of the second year,are employed in the third year inrelation to the students’ stage ofdevelopment.

Main Phase + Final Phase / final phase

In the final phase, the learningobjective is the full development ofthe personal signature in contentand form, as has been revealed inthe third year. All aspects of theresearch process, including theprocess-based structure in whichit takes place, is tailored to theunique convergence of content andform. These aspects are addressedin the courses Process/Researchand Content/Form. Furthermore, thestudent masters the practical andtheoretical aspects of making hiswork public in the Transfer course,

as well as the financial/adminis-trative side of being an artist.The competences for this phase arerelated to this learning objective.


General visual developmentAll painted, graphic, sculptural andother disciplinary works are employedto hone down the merging of form andcontent. This is a process of refine-

ment in the already acquired visualidiom, to which the practice coursesand the Theory course contribute.The Theory course addresses inspiringand refining contexts in the theorylessons, through which students areencouraged to further personalisetheir work.

Concept developmentConcept development, according tothe definition given above, focuseson the structuring of all formal andsubstantive questions that occur whenthe student makes the final decisions(in the framework of the programme)concerning his theme and the form itwill take. The Process course is ofimportance in this phase, and also

the Transfer course, because the worktends to reveal itself more easily,in all its formal and substantivepeculiarities, in public situationsthan in the studio.

Supporting coursesSupporting courses are not part ofthe final phase of the programme,except in the professional practiceworkshops and activities. These aredescribed in the paragraph on theprofessional social domain.

Theoretical domainIn the final phase of the programme,the Theory course is primarily focusedon the writing of the thesis, forwhich the student has decided on thesubject at the end of the third orfourth year. The thesis is a report ofa comprehensive investigation, whichis related to the student’s work. It

should show the student’s ability forreflection, an extensive understandingof the history of art and insightinto the context of his work. Thetheses are discussed in groups in thefirst semester, and are individuallysupervised in the second semester.The minimum size is 25 pages of typedtext, excluding images. The source-book is again a means of inventory,inspiration and documentation thatis directly related to the student’sstage of development.

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Professional social domain

Most of the external activities thatare available in the second and thirdyear are also available for fourthyear students.

The following activities are organ-ised specifically for fourth yearstudents from all sections:

/ The day of post-graduatestudies: Dutch institutions thatoffer post-graduate studiespresent and internationalMasters are discussed. Thirdyear students are welcome toattend on the condition itdoes not interfere with theirschedules.

/ The ‘Day of the Future’ consistsof lectures on the localcultural policies (Stroom),presentations by het Fonds voorde Kunst (Fund for the Arts),lectures by various galleryowners and artists’ initiatives,presentations by the Chamber ofCommerce, and talks by alumnifrom different years abouttheir experiences after having

graduated. / The pre-exam exhibition: the

exhibition is organised bystudents and takes place outsideof the KABK building. It alsoincludes a publication.

/ The portfolio/networking day:artists’ initiatives, galleriesand curators present themselvesand view/evaluate students’portfolios.

/ The graduation show: the finalshow is the masterpiece (inall respects) of the startingprofessional practice.

Graduating part-time students areable to use studio space at theacademy during their final twosemesters. Other part-time studentsfollow the programme by attendingclasses or at the hand of individualtalks. Part-time students can also

attend guest lectures, workshops andlectures that are scheduled duringthe day.

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2.3.5 Department organisation

The head of department is respon-sible for the department’s policy andall aspects related to this policy.The team of lecturers reflects thecontent of the programme and itsprofessional set-up.

All teachers have a professionalpractice. Because of the diversity inexperience and expertise, the studentis confronted with numerous aspectsand approaches of the discipline.Specific knowledge of the profes-sional field is offered by means ofguest lectures.

Head of Fine Art departmentJohan van Oord

Coordinator Fine Art full-timeMartijn Verhoeven

Head of part-time programmesErnst Bergmans

Coordinators Fine Art part-timeWillem GoedegebuureOnno Schilstra

Team of lecturersMarijke AppelmanRachel BaconChanna BoonMaura BiavaEngelien van den Dool

Irene Droogleever-FortuynMarion DuursemaPieter van EvertWillem GoedegebuureChristie van der HaakCecile van der HeidenEric HirdesAnja de JongWinnie KoekelberghTon van KintsKlaas KloosterboerAndré KruysenFrans Lampe

Jeroen de LeijerFrank LisserAlexander MayhewJanice McNabWillem MoeselaarAnja NovakJohan van OordReinoud OudshoornMaria PaskHans van der PennenDavid PowellEwoud van RijnHester ScheurwaterOnno SchilstraEls SnijderMichel SnoepElly StrikMartijn VerhoevenPim Voorneman

Guest teachers in 2012-2013:Laurence AegerterKarla BlackBonno van DoornBlazej Ostaja LniskiMarcel van EedenNare EloyanRobert FlorzakKatinka van GorkumKaleb de GrootVoebe de GruyterSigitas GuzauskasDavid HainesAdosh van der HeijdenMaria HlavajovaRoos HoffmannVlatka HorvatKarin de JongAd de JongRobertas JucaitisHeringa/van Kalsbeek

Xander KarskensFrank KoolenLuk LambrechtKaisa LekaChristoffer LekaJoris LindhoutEelco van der LingenRinke NijburgNishikoOlafur OlafssonWillem OorebeekFemmy OttenPhilip Peters

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Rory PilgrimWillem PopelierAndrej RadmanArno van RoosmalenNiels SchraderJim ShawMarleen SleeuwitsFrancesco StocchiC. Torres MayansDani TullRenee TurnerOla VasiljevaAdam ZdrodowskiItalo Zuffi

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You create authentic work thatcomes from following your ownartistic vision and contributes tothe fulfilment of your personalambition as an artist


You are able to consider, analyse,interpret and assess your own andothers' work, and are capable ofconstructively considering yourfindings in relation to your ownwork


You are able to further develop thebreadth and depth of your artisticpractice in an ongoing process, andin this way contribute to develop-ments in your artistic discipline


You are able to establish andmaintain an inspirational andfunctional working environment, andto organize your research, work andpractice


You are able to effectively presentand discuss your artistic vision,research and work


You are able to relate yourartistic practice to both theartistic and social context


You are able to make an independentcontribution to a collaborativeproduct or process

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* Drawing 1 and 2 are taught spread out over semesters 1 and 2

** Incl. Business Plan Writing in year 3


FINE ARTS FULL-TIME

Year 1 2 3 4

Course 1 2 3 4 5 6 7 8

Drawing 1, Drawing 2 (*) 3 3

Meaning 3 3

Spatial 3 3

Free Space 3

Optics 3 3

Graphics 3 3

Painting 3 3

Main phase PAI/FR GRA/INT

ATT/3D12 12 12 12 12

Programmed career preparation (**) 3 3 3 3 3

Integrated career preparation 3 3 3 3 3

Academy-wide propaedeutic year

project week 1

End exam 18

Professional field orientation 6

Week internship 2

General Art History 2 2

Berlin excursion 2

Theory 6 6 6 6 6


Thesis 6

IST 6 6 6 6 6 6

Total 29 31 30 30 30 30 30 30


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FINE ARTS PART-TIME

Year Propaedeuticmodule

Module 1 Module 2 Module Exam

Semester 1 2 1 2 5 6 7 8

Drawing 5 5 4

Spatial I 4 4

Spatial II 4

Photography 3 3

Visual Development 4 4

Painting 4 4 4

Sculpture 2 2

Orientation 2D/Interdisciplinary

Attitudes 2

Main phase 2D/Interdisciplinary

Attitudes12 12 12 12

Programmed career orientation a.o.

presentations2 3 4 4 4

Integrated career preparation 2 3 4 4 4

Presentation collective assessment 5 5 5 5 5 5 5

End exam 24

Art History 5 5 5

Theory 5 5 5 5

Final thesis 6

Total 30 30 30 30 30 30 30 30



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2.4 Photography


History of the disciplineSince the beginning of the nineteenthcentury, photography has evolved intoan independent visual medium. Thishas had far-reaching consequences forsocio-cultural developments from thattime onwards. When the Kodak Company,founded in 1888, made photographyaccessible to the common man, thewhole world started to take photo-graphs and send them to each other.This became the basis of what laterwould be referred to as ‘the imageculture’. Communication throughphotographic images has since been

prominently embedded in our society.This has happened to such an extentthat the images we encounter viamedia technology increasingly deter-mine our view of the world. Simulta-neously, the communicative power ofthese images influences and organisesour lives. The virtual reality isbecoming more and more important inrelation to the physical reality.

Current situation of the disciplineAlmost everyone makes photographs andknows how to communicate with them.Nevertheless, students are stillbeing educated to become professionalphotographers. Over the course ofhistory, photographers have developedtheir own high-quality image culture.Contemporary photography covers anenormous spectrum and branches outinto all levels of society and holdsan important position in the world of

the visual arts.

A lot is demanded from a contemporaryprofessional photographer. He doesnot only understand his profession ina technical and aesthetic sense, buthas profound knowledge and an under-standing of the meaning, symbolism,value and impact of the photographicimage. In addition, he must possessthe wide-range of artistic abili-ties necessary to achieve a desiredeffect or have it function inde-

pendently. He must also claim aposition in the contemporary culturalfield and distinguish himself, whichmeans he has to be able to expresshis personal vision verbally and inwriting.

Contemporary professional practice:the professional profileBelow we highlight the professionalprofile on which the Photographyprogramme is based.

The current professional is anauthor, in the sense that he isa maker, finder, and creator. Hecan practice the profession in thetraditional sense and is able tohelp the evolution of the disci-

pline. A photographer in our currenttime is an entrepreneur who knowshow to create support for his work.He has an extensive frame of refer-ence of the field and the discipline,particularly in an internationalcontext. He has a vision of thediscipline’s position in the world ofart and culture and in social devel-opments. He is aware of the multitudeof platforms that offer opportuni-ties, such as the Internet and tradi-tional journals. He has an extensivenetwork of and is able to work withothers.

Our society is witness to anincreasing number of people usingthe medium of photography withoutconsidering the technical qualityof the images, and as a response,professional photography is seen tobe moving in the opposite direction.

Each genre or specialism has increas-ingly specific requirements. Theprofessional practice of the photo-journalist has become more signifi-cantly distinguished from that of theconceptual documentary photographer.This trend appears across the entirefield of photography. As a conse-quence, the young professional has tocomply with increasingly higher andspecific demands. He should be wellinformed about how he wants to enterthe professional field and on which

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platform he can present his work inorder to be recognised as a profes-sional.

2.4.2 Study profile

As the only photography departmentat a Dutch art academy, we focuson the four major areas in profes-sional photography: conceptualdocumentary photography, photojour-nalism (Documentary), fashion/life-style photography and photography oncommission (Fiction).

In the first year of study theseareas are thoroughly introduced tothe students. After the propaedeuticyear, students choose for a three-

year programme in either documentaryphotography and photojournalism, orin fashion/lifestyle photographyand advertising photography, wherethey position their work in one ofthese areas on the basis of furtherchoices. They study in only one ofthese areas.

The department’s objective is toeducate students to become self-awareand independent photographers with arecognisable visual language and apersonal vision, and who are able towork on commission and independently,by developing concepts and initiatingprojects. Their motivations, themesand ethical standards are evident toothers.

Characteristic of our programme isthat we take the professional fieldof photography as our point of depar-

ture. Students are given assignmentsresembling, or based on, profes-sional assignments, and usually workon several projects simultaneously.We pay close attention to how thestudent develops his initial ideasinto to a final series, with all theaccompanying production activities.Another characteristic is the strongemphasis we place on the developmentof intellectual and visual qualities.We ask the students to approach theirsubjects with curiosity and an open

mind, and then vigorously researchthem. This requires an interest inthe content, background, and diverseways to represent a subject.

While investigating, the studentsdevelop their own visual language anddiscover how their vision on topicsand on the profession of photographerrelates to the visions of others.Our aim is to teach students how tobe independent thinkers, who, froma personal vision on the medium aswell as on the world, are constantlysearching for authentic images.

The curriculum consists of alter-nating work discussions, workshopsand lectures and is dynamic in char-

acter. In a short period, studentsgain knowledge of various fieldsand develop skills to operate inde-pendently. Because their subjects areoften situated outside the academy,students regularly work on loca-tion. In the academy they edit theirimages, work on prints and partici-pate in collective work evaluationsand the preparation of publicationsand presentations. The studentsthus do not only learn from theirteachers, but also from their peers.The educational process is domi-nated by a commitment to continuouslystrive for research, authenticity,depth and professionalism, and issupported by a programme of elec-tives and guest lecturers from theinternational field. Expertise fromother disciplines is employed whennecessary, which allows students todevelop strategies to present their

work optimally and in a suitablecontext.

The main aim of our programme isto educate our students to becomethe professionals of tomorrow, whoconnect their own visual languagewith a professional way of working ona national and international level.

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Facts as departure point for Photography: specializa-tion ‘Documentary’

‘Documentary’ is the umbrella termused by the KABK for the professionalpractice of conceptual documentaryphotographers and photojournalists.Although the practice of photojour-nalists differs from that of concep-tual documentary photographers, theyare similar in their depiction ofsubjects with news value or withsignificance for the target group ofthe photograph’s medium. This prac-tice is most commonly used to reflecton contemporary history or itsdocumentation. These photographersidentify with social processes andconcrete subjects, wonder about them

and are curious.

Photographers, who work from facts,offer us a window to reality.However, subjectivity is essentialfor their individual style. A posi-tion statement is important for theimpact of their photography. Thesephotographers must pay attention tothe preliminary phase of research.This means they have to read about,and empathize with, the subject,consult specialists and tap newmarkets.

The artistic autonomy enjoyed bythese photographers is closely linkedwith the policies of the platform forwhich they work. Photographers whoemploy photography as an informativemedium focus their loyalty on theuser of the photos: the public.

Yet there is a clear distinctionbetween the photojournalist, whodescribes reality and is constantlyaware of news value, and the concep-tual documentary photographer. Bothdisciplines revolve around currentevents, but the centre of gravity ofphotojournalism is direct reportingwhile conceptual documentaryphotography will more likely be usedto depict a subject.

Fiction as departure point for Photography: speciali-zation “Fiction”

Fiction at the KABK consists of theclosely related sub-fields adver-tising photography and fashion/life-style photography. Fiction photogra-phers are photographers who producehigh-quality work from a stagedsituation or with the suggestion ofstaging. Most fiction photographershave impressive technical skillsand possess an artistic streak thatallows them to adequately representtheir subject. They are stronglycommitted to their assignment.

Their work is the result of inten-sive research into the nature of

the image and photographic visuallanguage in particular, and isintended to distinguish itself in thetorrent of images. Therefore, adver-tisement and fashion photographersare increasingly developing theirown concepts to work from. On thebasis of their authorship they areactive in different contexts, whichthey creatively adapt to suit theirneeds. They have a rich imagination,representational skills and a clearmind. The emphasis in their work ison the creation of concepts and thepursuit of the right visual presenta-tion in combination with a sophisti-cated technical execution. They oftencollaborate in multidisciplinaryteams.

Final qualifications PhotographyThe graduate meets the followingfinal qualifications:

/ You are able to develop aninnovative concept arisingfrom your artistic ambitionand research, elaborate itinto a distinctive image,product, means of communicationor spatial design, and tocontextualize it in a meaningfulway (creative ability)

/ You are able to consider,

analyse, interpret and assess

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your own and others’ work, andare capable of constructivelyconsidering your findingsin relation to your ownwork (capacity for criticalreflection)

/ You are able to further develop

your vision, work and workingmethods in breadth and depththrough an ongoing processof research, and in this waycontribute to your disciplineand to society (capacity forgrowth and innovation)

/ You are able to establishand maintain an inspirationaland functional workingenvironment and to organize

your research, work and practice(organizational ability)

/ You are able to effectivelypresent your vision, researchand work and engage in adialogue with clients andother interested parties(communicative ability)

/ You are able to relate yourartistic practice to theartistic and social context

(external awareness) / You are able to make an

independent contribution to acollaborative product or process(capacity for collaboration)

DiplomaGraduates are awarded a Bachelor ofDesign (BDes).

Post-graduate studiesAfter receiving their Bachelor’sdegree, graduates can enrol in amaster’s programme in design (MDesign) or art (M Fine Arts) oranother master’s programme at anart academy, or the MA PhotographicStudies at Leiden University.

Admission ProcedureCandidates are invited for a trial-morning at the department. The

portfolio and take-home assignments

are discussed in the course of themorning and candidates get advice onhow they might improve their work. Itis recommended that candidates signup for the trial-morning as early aspossible. It is possible to partic-ipate in multiple trial-mornings.Candidates who are deemed suitableto apply receive an invitation foran entrance examination. During theentrance exam the candidate workson an assignment and the admissioncommittee assesses the candidate onthe basis of his portfolio and aninterview. The work consists of adiverse selection of both visual andphotographic work, supplemented bythe home assignments. The candidatehas one or more conversations about

the work. The committee consists ofstudents and teachers.

Specific admission requirementsThe candidate should sufficientlymeet the following requirements:

/ has a passion for the visual,especially for the medium ofphotography;

/ has a particularly broad social

interest; / has the need to constantly

visualise his interests andideas in photography;

/ wants to make his own ideaspublic;

/ has good communication andsocial skills;

/ has organisational talents;

/ takes initiative and has anentrepreneurial spirit;

/ has perseverance;

/ can operate both as a soloistand collaborate with others;

/ is able to think critically;

/ is also able to develop on atextual level;

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/ is somewhat aware of theinfrastructure of thephotographic field in theNetherlands;

/ demonstrates some experience inthe use of the medium to reachhis visual goals;

/ works on photographs in serialform;

/ is aware that photography isone of the visual disciplinesand that this requires morethan just excellent technicalexpertise or an eye foraesthetics.

2.4.3 Study programme overview

Overview study full-time/part-timeThe full-time programme offers thespecialisations ‘Documentary’ and‘Fiction’. The part-time programmeonly offers the specialisation‘Fiction’.

Full-time programmeThe full-time programme covers fouryears. For the set-up of the semes-ters in the full-time programmeplease refer to descriptions per yearbelow.

Part-time programmeThe four-year programme is alsodivided into semesters. The programmeconsists of modules that togetherform a complete package and can alsobe taken separately (coming soon) onthe condition that student’s levelof competence is deemed sufficient.

After the student has success-fully completed the exam module hehas met the final qualifications ofthe current bachelor’s programme inPhotography.

This educational set-up also allowsus to offer the part-time programmein four years. The lessons are mostlygiven on two days; one day will mostlikely start at 14:00 and the secondday at 16:00. The last class ends at21:45. In the final phase students

should be available for one fullworkday a week.

For the set-up of the semesters inthe full-time programme please referto descriptions per year below.

The part-time programme Photographyhas the same programme as the full-time programme, but with a differentorganisation and set-up. No intern-ship period is included in theprogramme (as of yet). Career orien-tation should therefore be inde-pendently undertaken in addition tothe programme. Part-time students areable to follow parts of the full-timecurriculum, albeit with permission.

Individual Study TrajectoryThe Individual Study Trajectory( IST ) is available for all studentsfrom the second year onwards, andhas as aim to broaden and deepen theprogramme. To this purpose, spacehas been created in the schedule. Thestudy load and appointed credits areallocated to the IST in consultationwith the team of lecturers. There areseveral possibilities to organize theIndividual Study Trajectory, suchas to following a minor at LeidenUniversity. In addition to the elec-tives, students can use the IST todeepen the programme by giving moreattention to the compulsory coursesor by choosing from the academy-wideIST offer. The IST is accompanied by astudy plan that requires the approvalof the team of lecturers and issupervised by a coach.

In the main phase, 12 EC are allo-cated to the Individual Study Trajec-tory. The part-time students canprofit from the offer of electivesmostly during the daytime. They arealso allowed to take courses in thefull-time curriculum (only if spaceis available and with permission).

For general information about the IST please refer to the chapter 6.1.3.

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Propaedeutic year

(Exploration and visual development)Full-time / Part-time: semesters one and two

The propaedeutic year programme isfocused on visual development. Theproperties of photographic visuallanguage are extensively researched,with technical skills supplying asolid foundation. The student’s indi-vidual abilities are explored in awide range of subjects. These are,when possible, offered coherently.

Field orientation of the disciplineand its professional opportunitiesis centralised in the programme. Thishappens in both theory and practice

courses, and also during field visitsoutside the academy. The emphasis ison learning to study and structuringthe individual work process. Thestudent is encouraged to pose ques-tions to himself and attempt to findthe answers. A coach and a profes-sional practice programme for thegeneral development of study skillssupport the study process. This phasecreates the foundation for a profes-sional attitude that enables studentsto develop their authorship necessaryfor their future after the academy.

At the end of the year, the programmehas provided sufficient insight forstudents to choose their profile forthe rest of the programme. The moti-vation for this choice is reflectedin a final presentation and in thecomposition of the portfolio. Thecourse descriptions on the website

describe the content, teachingmethods, instructional forms andassessment of the programme compo-nents.

The study components covered in thefirst two semesters are:

/ Orientation of the discipline

/ Acquisition of professional andstudy skills;

/ Visual development;

/ Conceptual documentaryphotography, photojournalism,advertising photography andfashion/lifestyle photography;

/ Photographic skills and digitaltechniques

/ Theory/art and photographyhistory and reflection;

/ Graphic design;

/ Instruction software programmes,colour management, archiving andworkflow.

Main Phase / year 2

(In-depth research andprofessional competences)

Full time/Part time: semesters three and four

In this phase students engage in moreextensive and substantive researchinto the world of photography andthe professional practice of thechosen specialization: ‘Documentary’or ‘Fiction’ (full-time only). Muchattention is given to the compe-tences required for the practice ofthe specialisation, with the socialfunctioning and the development ofsocial skills being the key concepts.The ethical side of the profes-sion is also extensively discussed.Photography in ‘Documentary’ focuseson the acquisition of backgroundinformation (research) on a diverserange of subjects before the actualact of photographing. In ‘Fiction’photography the emphasis is on thecreation of concepts and the pursuitof the appropriate visual execution

in combination with a sophisticatedtechnical execution. Students regu-larly work together in multidiscipli-nary teams. An important motivationis to change the attitude of involvedthird parties.

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Moreover, the student is confrontedwith the specific possibilities ofapplying his work in the following,very diverse, markets:

/ printed media newspaper,magazines, books;

/ various electronic media; / autonomous museum space.

/ Within these three frameworks,both specialisations focus on:

/ Conceptual photography: theimage as guidance to and/ortranslation of ideas, texts,thoughts, experiences;

/ Autonomous photography: thephotographer researches his

personal artistic goals andpossibilities.

The second year is also divided intosemesters. Each semester is thendivided into two thematic blocks(when possible). The themes are,where necessary, adapted to thechosen specialisation, or the threemarkets mentioned above. The coursedescriptions on the website describethe content, teaching methods,instructional forms and assessment ofthe programme components.

Fixed course components applicable toboth study profiles are:

/ genre photography specific tothe selected profile;

/ autonomous photography;

/ photographic and digital

techniques; / image and concept development;

/ professional practice skills;

/ audio-visual media, AV and filmtheory (as elective after anintroduction block);

/ graphic design;

/ interactive media and mediaphilosophy (as elective after anintroduction block);

/ art and photography history,theory and reflection;

/ sociology;

/ communication.

Specific to the specialisation‘Fiction’ are advertising photographyand fashion/lifestyle photography,and for the specialisation ‘Documen-tary’ these are photojournalism andconceptual documentary photography.

Main Phase / year 3

(Professionalisation)Full-time / part-time: semesters five and six

Full time

In the third year, the focus shiftsfrom research and skills to ‘profes-sionalisation’. The previouslyacquired knowledge and skills areplaced in relation to the field andthe professional practice. From apersonal standpoint the studentchooses to engage with the worldoutside the academy: the portfolio isgeared towards this, and a thematic,project-based semester offers thestudent the possibility to test anddefine his position in the profes-sional world.

The components photojournalism andconceptual documentary photographyare specific to the specialisation‘Documentary’, and are supported by acourse in Sociology. The specialisa-tion ‘Fiction’ offers the sub-fieldsadvertising photography and fashion/lifestyle photography. In a related

project description as a result ofa research period, students substan-tiate their choice for one of thesesub-fields.

Special attention is paid to visualinvestigation, so-called artisticresearch, and the student’s abilityto work with different visual strat-egies. The student works inde-pendently and makes highly indi-vidual choices. The realisation ofthe described plans and study content

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within the central project, as wellas the possible participation inpractice projects, is done in closeconsultation with the coach, fellowstudents and the team of lecturers.The programme includes a numberof elements for students from allspecialisations:

/ Autonomous photography;

/ Professional skills;

/ art and photography history,theory and reflection;

/ audio-visual media, AV andfilm theory (as elective in thesecond year);

/ interactive media and media

philosophy (as elective in thesecond year);

/ graphic design;

/ visual development aimed atspatial presentation.

In the sixth semester, studentsintern at one or two internships.These internships are very diverseand are related to the specialisa-tion and at least one of the marketsmentioned above.

During the internship students learnto work in teams, with formulatedassignments, with a time limit andtogether with a client. In addition,the students gain useful experienceabout how to network. Moreover, theinternship enables the students totest their expectations about theirown possible specialisation in the

field. At different moments duringthe internship, students return tothe academy to discuss their experi-ences with the internship supervisorand to receive information about theinternship report. These are alsomoment to exchange experiences withfellow students (second year studentsare also present in these meetingsas preparation for their choices inthe following year). The internshipsupervisor writes a report, whichis part of the evaluation. For more

general information on the intern-ship, please read chapter 6.1.9.

Part-timeThe part-time programme does notinclude an internship period. There-fore, the student independentlyinitiates his career orientation, butit is still a part of the programme.In the sixth semester, the studententers the examination trajectory, inaddition to a few fixed courses. Thisincludes a properly substantiatedchoice of specialisation in relationto the discipline as a result of theprofessional practice orientation.

The goals associated with this stageare that the student:

/ has composed a study plan(professional profile),with an updated accompanyingargumentation;

/ has achieved the studyobjectives of the projects andprogramme components associatedwith this phase;

/ has demonstrated to have gainedthe qualities, skills andinsights to claim his positionwithin the field of photography;

/ has deepened his research;

/ demonstrates an interest inall aspects of the work anddesign process and expressesinterest in all aspects of theprofession;

/ should be able to bring thefinal phase of the programme to

a successful conclusion; / has explored and experienced the

field;

/ has demonstrably preparedto become a professionalphotographer.

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Fourth year

(Profiling and positioning)Full / part time: semesters seven and eight

Full time / Part timeThis phase is characterised by‘profiling’. The conclusion of theinternship/ career orientation periodis the prelude to the final year ofstudy. Students write another studyplan written with a revised profes-sional profile:

/ practical documentary /photojournalistic / fashion/lifestyle / advertisingphotography, related to thewritten professional profile;

/ entry in an international photofestival (IST) or participationin a prestigious competition;

/ project of the student’s choice,which relates to the chosenprofile, presented in two of thepresentation options/platforms:one that matches the methodsof the professional practiceand one that centralises thestudent’s possibilities for use(interdisciplinary);

/ thesis, in which research forstudent’s projects is furtherexpanded and explained;

/ portfolio;

/ career preparation.

The final examThe programme is concluded with aone-day examination. Each studentpresents work that is made specifi-cally for the exam, a well-designedthesis and portfolio. The professionalprofile, business plan and projectdescriptions provide information aboutthe presented work. Each student isallocated a space where he can buildup the presentation from at least fourdays prior to the exam onwards. On theexamination day the student is giventhe opportunity to explain and justifyhis work. The exam committee poses

additional questions.

After the exam the graduatingstudents focus on a group exhibi-tion that is open to the public. Acatalogue accompanies the exhibi-tion. The examination consists of thedirector, the head of department andan external assessor, in additionto a representation of accompanyingteachers from the senior year. Theexternal assessor is an expert in thefield of photography.

2.4.4 Professional objectives

Propaedeutic year(Exploration and visual development)Full-time / part-time: semesters one and two

The propaedeutic year is concludedwith an exam during which the studentis assessed on the basis of hissuitability for the discipline. Thestudent presents and substantiateshis work and shows its accents. Thework done for theory courses is partof the exam. The study attitude,especially the student’s commit-ment and level of independence, inthe work process are also taken intoconsideration. The vision and depthdemonstrated in both the process andthe end result are of importance inpassing the exam, but also for theselection of the specialisation.The student must be deemed able tocomplete the programme in the speci-fied period and then work as an inde-pendent photographer.

The objectives are:

/ Learn to study and organisethe work and design process.This includes the acquiring ofknowledge, understanding andskills related to the employmentof substantive and formalvisual means. Apply the acquiredknowledge, understandingand skills to improve givenassignments.

/ Develop an inquisitive,

examining and self-critical

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attitude, own initiativeregarding the work, verbal andwritten communication skillsand reflective and analyticalability.

/ Acquire theoretical knowledgeand insight regarding the study

content of the project. / Gain technical skills related

to photographic tools andtechniques and 2D tools andtechniques such as drawing,painting and graphic techniques.

/ Gain insight into the desiredprofessional field: editorial,commercial or otherwise.

CompetencesThe competences for the propaedeuticyear are:


/ The student can create new workin which he explores new methodsbased on the experiences andinsights he has gained through

the programme. / The student is able to reect on

his work and can evaluate itsquality and effectiveness.

/ The student demonstrates thewill to make new discoveries andacquires new knowledge, skillsand insights and is able to applythem on a theoretical, practicaland photographic level.

/ The student can organize hisown work process and is able todocument and archive his work.

/ The student is able tosubstantiate his choice for,and deployment of, resources,materials and/or visual solutions.

/ The student shows a broadinterest in social, sociologicaland cultural developments and isable to distinguish different

photographic visions.

/ The student can achieve his owngoals while collaborating withothers.

/ The student is able tosubstantiate his choice ofspecialisation.

Artistic technical domainThe development of a photographer/image maker commences at the startof the programme. A professionalphotographer is not just someonetaking pictures: he shows strongsimilarities with other artists inthe visual arts. That is why thestudent’s general visual develop-ment is primarily prioritized in thecurriculum. Additionally, atten-tion is given to specific visual

aspects related to the medium. Thefocal point is the work process withconcept development as its goal. Itis equally important that studentsdevelop skills with regard to photo-graphic tools and techniques and inthe digital field.

Theoretical domainAll propaedeutic year students aretaught general art and culturalhistory and academic skills.Furthermore, students participatein a programme covering art andphotography history and reflection,which offers them an extensive frameof reference. Students visit exhi-bitions and museums throughout theyear, where they analyse and reflecton the work of others. This isdone both verbally and in writing.Debating skills on various topics aredeveloped in the course Field Orien-

tation. In different courses studentsare asked to write reports.

Professional social domainProfessional development takes placethroughout the year, mostly throughself-study. Students are requiredto independently visit exhibitionsand create and maintain a personalarchive of reviews, book reviewsand general information relating tothe profession. In the module CareerOrientation this is connected to

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the attitude necessary to work inthe field and meet to the demandsof the discipline. In addition, aproject week focused on the profes-sional field is reserved at leasttwice a year. In one of these weeksthe students visit photographers,editors, agencies and bureaus. In theother project week students engage infieldwork or visit a photo festival.Guest lectures are organised regu-larly in the academy in relation tocurrent events in the field. Partic-ipation in lectures and workshops inthe field is encouraged.

Main Phase / year 2

(Proficiency and in-depth research)

Full-time / part-time: semesters three and four

The first part of the main phasehas as its main objective to providestudents with a clear understandingof the field and the professionalpractice of the specialisation ‘Docu-mentary’ or ‘Fiction’. This meansthat the programme is both broad-ened and deepened. At the end ofthe academic year, the student’sprofessional competence must be fullyapplied to the creative process.This refers to both a command of theprofession itself and the student’sprofessional attitude. The executionof assignments is therefore assessedaccording to the field’s require-ments.

CompetencesThe competences for the secondyear are:


/ The student can undertakemethodical and well-organisedresearch and develop his ownidea.

/ The student can evaluate hisown images and those of others

on their content and visual and

communicative qualities, and isable to justify the choices hemakes in his photography.

/ The student knows to useresearch to acquire newknowledge, skills and insights,and can appropriate external

criticism to benefit thedevelopment of his work.

/ The student is able toprioritise and time-effectivelymanage his work process.

/ The student can interpret anassignment and express it inword and image.

/ The student refers to social andcultural resources to formulatea precise hypothesis for hiswork, and he can name thetarget audience and aim of hisphotography.

/ The student is able tocollaborate with others andcan apply his talents andthose of others to benefit thecollaboration.

Artistic technical domainIn the second year, the focal pointof general visual development shiftsto the replication and interpretationof methods. Students gain insightinto the coherence of content andform by learning to control the crea-tive process.

Concept development is examined indifferent courses to create under-standing of the working methods.

This includes analysing assignments,substantive research, idea develop-ment, image development and imple-mentation. It also allows studentsto broaden their work area with theelectives Audio Visual Media andInteractive Media, which support theresearch into the possibilities ofthe artistic process.

Theoretical domainArt and photography history andreflection are taught throughout the

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year, and students are encouragedto, in addition to the fixed coursecontent, independently extend theframework by engaging in researchrelated to the practice course and/orprojects. The building of a personalfile is indispensable in thisresearch process. The student is alsoasked to substantiate his opinions.In the courses Film Theory andPhilosophy of Media, which are chosenin conjunction with the electivesAudio Visual Media and Interac-tive Media, the frame of referenceis widened and compared to that ofphotography. The student is assessedin debates, at the hand of an examand a paper.

Professional social domainThe demands of the functioning in,and influencing of, the profession(alfield), are the points of departurefor assignments in the curriculum andare the guidelines for the assess-ment. The method of working that isused in the field sets the criteria.Additionally, the practice coursesof the specialisations are supportedby the subjects Communication andSociology, which focus on the startof the assignment, objectives, targetaudience and its consequences.

Main Phase / year 3

(Professionalisation and presentation)Full-time / part-time: semester five and six

The entire year is dedicated tocareer preparation. The student mustnow demonstrate he meets the require-

ments to make a unique contributionto the field and that he can live upto standards of the outside world.The objectives of this study yearare to exhibit own work and functionin the professional field outsidethe academy. Over the course of theyear, the internship is successfullycompleted; the written professionalprofile is assessed and adjustedafter the internship. The writtenreport, with conclusions about theinternship period, is the impetus for

the final year, in which the studentis supposed to bring this final phaseto a successful conclusion. At theend of the third year the individualand collective assessment reviews aremerged into one comprehensive assess-ment.

CompetencesThe competences for the third yearare:


/ The student is able to formulatean idea, identify his goals andemploy research to develop an

image concept and make it into awork.

/ The student can relate his workto developments in the field ina cultural and social contextand define his position.

/ The student develops anauthentic vision on photographyand is able to keep developingthis further.

/ The student can create abalance between journalistic/ commercial, logistic,facilitating and technicalactivities.

/ The student is able toconvincingly present and explainhis own work (methods) andremains true to his goal andtarget audience.

/ The student is able to connect

his own work to that of others,and his own work to the public;the student can adequatelyaddress his target groups withhis work.

/ The student can purposely placehimself in the work processin different roles and withdifferent responsibilities, andemploy his individual talents toachieve common goals.

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The student explores the medium anddetermines his own position. Theattention is centred on students’individual projects or on the distin-guishing features of the execution ofassignments. Authorship is evident inthe breadth of the work and port-folio. The student demonstrates hisability to use the contexts andsettings in which the creative workcan manifest itself, such as inexhibitions, in printed media suchas magazines and/ or books, interac-tively and on the web. Concept devel-opment is specifically aimed at theoutside world. Whether he is workingon a job assignment or on an indi-vidual project, the student should

demonstrate awareness of the outsideworld and should know how to takeadvantage of this.

Theoretical domainIn the course of the year, thestudent’s theoretical knowl-edge expands further. The art andphotography history and reflectionare specifically applied to furtherdevelop the critical reviewing of themedium in relation to the student’sindividual position in the field. Thevisual art and cultural world keepplaying an important role in this,and the subjects communication andsociology support the determinationof the position. The theoreticalcomponent of AV and Interactive Mediais used to extend and expand theboundaries of the photography medium.Students are assessed at the handof debates, oral presentations and a

written paper.

Professional social domainDuring the entire year, the profes-sional social domain guides thecurriculum. The outside world isbrought into the academy by givingstudents assignments based on profes-sional assignments. Students presentwork in a professional setting andare assessed accordingly. The assem-bling of a portfolio is of greatimportance in preparation of the

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internship. The internship is, afterall, the opportunity for studentsto experience working in a profes-sional environment. Additionally, thecompleted assignments and projectsare assessed on the basis of projectproposals and plans, budgets, fundingand the meeting of deadlines.

Main Phase + final phase

(Profiling and positioning)Full-time / part-time: semesters seven and eight

In the final phase, the studentproves his abilities by applyinghis professional skills to positionhimself in the field. By doing so hedemonstrates his views on the photo-

graphic visual language, that he isable to give an artistic interpre-tation of the work, and that he canmanifest himself in such a way thathe does not only acquire a startingposition in his chosen field, butalso manages to influence it. Theexam work is professionally presentedincluding descriptions, budget andfunding. He also creates support forthe exam work outside the academy bygetting at least one part of the workpublished or by finding a commis-sioning party or sponsors for theproject. Students work on the examwork during the entire year.

The competences of the final phasecorrespond to the final qualifica-tions of the programme.

These competences are under construc-tion, please refer to the website for

the most up-to-date information

Creative abilityThe student:

/ can create an innovative conceptand develop it into a uniqueand significant image, product,means of communication orspatial design, and place it ina context in an innovative way;

/ forms his points of departurefrom a personal artistic visionand places it in a broadercultural and social perspective;

/ uses artistic and technicalproblems to developcomprehensive solutions and

demonstrates that he makes useof his knowledge of, and insightin, the way images, shapes,materials, proportions andcolours evoke experiences andtransfer meanings. He also findsrelevant resources to photographin an effective manner;

/ employs a method that, onseveral occasions, questions theconcept (and/or process) and

uses his findings to come to abetter design;

/ shows in the work that hetransfers meanings and can causeexperiences.

Capacity for critical reflectionThe student:

/ is able to analyse, interpretand assess his own work and thatof others, and can apply theensuing outcomes to benefit hisown work;

/ evaluates the result onthe basis of communicativeeffectiveness and artisticvalue, oversees the implicationsof choices and decisions and canjustify these;

/ demonstrates awareness ofdifferent views that exist in

the field; / shows the ability to investigate

all matters that are importantfor a design;

/ extends his knowledge oftraditions and theories relatedto the discipline, of differentvisions on, and approachesto, the chosen profession,from both historical andcontemporary philosophical

insights (especially ethics

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and aesthetics) that may be ofimportance to a photographer.

Capacity for growth and innovation

The student:

/ continuously develops hiswork and method in both depthand intensity, in a way thatsuits him and relates to hisdiscipline;

/ shows he wants to furtherdevelop his personal artisticvision;

/ demonstrates the ambition toexcel;

/ shows a critical and inquiringattitude regarding his work.He is able to further developthis into a body of work and anindividual position;

/ is able to acquire newknowledge, insights andskills concerning techniques,legislation, processing andapplication possibilities,and public and professionalapproaches;

/ uses criticism of others tofurther develop.

Organisational competenceThe student:

/ can create and maintain his owninspiring and functional workenvironment;

/ develops his own work processand is able to see how variousaspects of the medium in thediscipline are interconnected;

/ makes business arrangements tobe able to eventually work as an(independent) photographer;

/ is able to manage the workprocess and can find a balancebetween substantive research,photography, logistics,facilitating and publicactivities;

/ knows how to locate possibleexpertise of colleaguesor specialists from otherdisciplines and collaborate withthem;

/ knows how to document andarchive his work.

Communicative competenceThe student:

/ can present and explain hisartistic vision and work, andnegotiate about it with clientsand others involved;

/ is able to obtain and interpretjob assignments;

/ shows the ambition to publish

and exhibit his work andproclaim is own opinions;

/ has an overview of the marketand the mass media;

/ is able to find a support forhis work;

/ communicates verbally, visuallyand in writing about his work;

/ makes and maintains contactsthat are relevant to its own

network.External awarenessThe student:

/ has a vision on the role andposition of his discipline andis able to relate his work andconvictions to those of othersand to developments in thecultural and social contexts;

/ focuses in his work on the userand acquires knowledge necessaryto adequately adapt to these(user) groups;

/ is able research all aspectsrelevant to the work;

/ studies the work and visions ofhis peers, also internationally;

/ places his own work in theperspective of traditions andtheories related to the field;

/ recognises a wide range of views

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in relation to the professionof photographer, both from ahistorical and contemporaryperspective;

/ is inspired by a range ofcultural and social sources andcan recognise and name these in

his own work; / reflects on the function of the

discipline in society.

Collaborative competenceThe student:

/ is able to guide collaborativeefforts and provide content andquality;

/ is able to achieve his goalswhile working with others;

/ is able to utilise histalents and abilities in acollaboration;

/ can effectively and respectfullyemploy different roles,responsibilities and interestsin the process of photographing.

Artistic technical domainNow that the professional fieldhas been extensively explored, thestudent uses the last phase to honedown and make explicit his ownvisual signature. Specialisationand profiling within the medium arethe starting points. The studentconsciously strives to find theboundaries of the discipline andmove beyond them if possible. Thisapplies in particular to the way of

presenting the work. The experienceof the work plays an important rolein the development of the communica-tion concepts.

Theoretical domainThe thesis is the culmination of theresearch for the practical work. Inthe thesis, students establish theirwork and their position as maker inthe broader context of the disci-pline. The student demonstrates hecan engage both the historical and

current situation of the medium inthis, as well as the situation ofculture in general. The determinationof standpoints is crucial to this.

Professional social domainThe activities of the exam are placedin the context of the professionalpractice and further developed. Thismeans that special attention is givento all matters related to the entre-preneurship of the photographer. Onepart of the exam includes a projectin which the student demonstrates hecan place the work in the context ofthe discipline. In addition to theexam work, students are expected towrite a business plan and to generatepublicity for their exam work.

The content of the final stage ofthe part-time programme correspondsto that of the full-time programme.The projects are adapted to fit intothree semesters. The objectives asso-ciated with the final phase of theprogramme are the same as the finalqualifications and the associatedcompetences.

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With the exception of some, allteachers have a professional practiceand work either independently or ina team. Because of the diversity inexperience and expertise, the studentis confronted with numerous aspectsand approaches of the discipline.Specific knowledge of the profes-sional field is offered by means ofguest lectures.

Heads of Photography departmentCorinne [email protected]

Head of part-time programmesErnst [email protected]

Coordinator Documentary and FictionLotte [email protected]

Coordinator part-timeLeo [email protected]

Internship Coordinator

Lotte Sprengers

LecturersAnna AbrahamsVincent van BaarEllen DosseTheo van DusseldorpLeo ErkenJan Frederik GrootJohan GustavssonSebastiaan HanekrootTom van Heel

Judith van IJkenAnja de JongTon van KintsBen KrehwinkelOla LankoDeen van MeerHans van der MeerKrista van der NietCorinne NoordenbosLouise te PoelePawel PokutyckiCarla van de PuttelaarMarga RotteveelLotte SprengersEwoud TraastEdel VerzijlLoek van VlietRob WetzerRaimond Wouda

Lecturers theory / art historyElke van EedenIngrid GrootesBert RorijeMartijn VerhoevenEllie Smollenaars

Guest lecturersKim Knoppers,extern deskundige 2012-2013Ruud Visschedijk ,extern deskundige2010-2011, 2011-2012, 2013Gerrit Scheurs,extern deskundige2008-2009, 2009-2010Wim van Sinderen,extern deskundigejanuari 2008-2009, 2009-2010Bart Sorgedrager,

extern deskundige2008-2009, 2009-2010Harvey BengeLars BoeringKoos BreukelSarah CarlierAnton CorbijnAd van DenderenHans EijkelboomMiklos GaalDavid GoldblattBrian GriffinVincent van Gurp

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You are able to develop an inno-vative concept arising from yourartistic ambition and research,elaborate it into a distinctiveimage, product, means of commu-nication or spatial design, and tocontextualize it in a meaningfulway.


You are able to consider, analyse,interpret and assess your own andothers' work, and are capable ofconstructively considering yourfindings in relation to your ownwork.


You are able to further developyour vision, work and workingmethods in breadth and depththrough an ongoing processof research, and in this waycontribute to your discipline andto society.


You are able to establish andmaintain an inspirational andfunctional working environment andto organize your research, work andpractice.


You are able to effectively presentyour vision, research and work andengage in a dialogue with clientsand other interested parties.


You are able to relate yourartistic practice to the artisticand social context.


You are able to make an independentcontribution to a collaborativeproduct or process.

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PHOTOGRAPHY FULL-TIME DOCUMENTARY

Year 1 2 3 4

Semester 1 2 3 4 5 6 7 8

Photojournalism 4 4

Photography fashion/lifestyle 4

Photography documentary 4 4

Photography commercial 4

Photography tecnical skills 4 3 2 4



Photography fine art 3

Image Development

(presentation in the 3rd year)4 2 2 1 2

Digital skills 3 3Graphic design 2 1 2 2


project week 1

Audiovisual/film theory or Interactive

media design /media theory2 2 2

Final Year project(s) 1 (assignment) 10

Final Year project(s) 2 (personal

profiling on two platforms)5 18

Art/Photography History and

Reflection2 2 3 3 3

Research and Discourse 3 3Sociology 2 2 1

Film Theory or Media Theory 2 2

Thesis 6 3

Career orientation 3 3

Programmed career preparation 2 2 2 3 1 3

Integrated career preparation ( BV) 1 1 1 1 3 3

Internship preparation,

internship and report2 24

IST & Projects 6 6 6 6 6 6

Total 30 30 30 30 30 30 30 30




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PHOTOGRAPHY FULL-TIME DOCUMENTARY

Year 1 2 3 4

Semester 1 2 3 4 5 6 7 8

Photojournalism 4 4

Photography fashion/lifestyle 4


Photography commercial 4

Photography tecnical skills 4 3 2 4



Photography fine art 3

Image Development

(presentation in the 3rd year)4 2 2 1 2

Digital skills 3 3Graphic design 2 1 2 2


project week 1

Audiovisual/film theory or Interactive

media design/media theory2 2 2


Final Year project(s) 2 (personal

profiling on two platforms)5 18

Art/Photography History and

Reflection2 2 3 3 3

Research and Discourse 3 3Sociology 2 2 1

Film Theory or Media Theory 2 2

Thesis 6 3

Career orientation 3 3

Programmed career preparation 2 2 2 3 1 3

Integrated career preparation ( BV) 1 1 1 1 3 3

Internship preparation,

internship and report2 24

IST & Projects 6 6 6 6 6 6

Total 30 30 30 30 30 30 30 30



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PHOTOGRAPHY PART-TIME

Year 1 2 3 4

Semester 1 2 3 4 5 6 7 8

Photography technical Skills 5 3 6

Digital Skills 3 3

Photography Fine Art 8

Photojournalism 8 4


Interactive media design/media

theory4

Audiovisual/film theory 4

Image Developement

(Presentation in the 3rd year)6 2 2

Graphic Design 3 2


Final Year project 2 personal

profiling on 2 podia)6 4 16

Art /Photography History and

Reflection2 3 3 3 3

Research and Discourse 3

Sociology 2 2 2

Film Theory or Media Theory 2 2 1

Thesis 3 3 3

Career orientation

(also through self-study)3 3 3 3 3 3

Programmed career preparation

(trip)2

Integrated career preparation ( BV) 2 2 2 2 1

Internship proposal,

internship and report1 1 1 1 2 2 4 4

EVC

( Elswhere Acquired Competences)5 5 0 0 0 4 3 1

IST 3 2 6 6 6 6

Totaal 30 30 30 30 30 30 30 30

EC after individual assesment 24 24 24 24 24 24 24 24

EC after collective assesment 6 6 6 6 6 6 6 6

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2.5 Graphic Design


Graphic designers are researchers.They look critically at their profes-sion and the world, and reflect onchange. They continuously ask ques-tions, and by doing so they discoverwhere information is hidden, whatform to present it in, and how it canbe made accessible. The profession ofgraphic designer is related to thevisual arts, science, journalism andother creative disciplines.

Graphic designers work on commissionand also initiate their own projects.They work with existing information

and also create it themselves. In thelatter case they are no longer simplydesigners, but assume the role ofinitiator, editor, project managerand publisher as well. There is astrong emphasis on the research anddevelopment of concepts that form thebasis of information transfer.

Designing is a combination ofinventing and imagining. For example,the design of a website is not justthe website in itself, but is,instead, a unification of images anddescriptions of what the websitelooks like and how it works. Becauseof the increasing availability oftechnological means of production,for example user-friendly softwareand affordable high quality printers,designers are able to control theproduction process. As a result, thegap between design and product dimin-

ishes.

There are infinite ways to designgraphically. A graphic designer candraw with pencil or with a designprogramme, he can rip and pastepaper, create patterns in sand withhis fingers, arrange led letters,copy objects on a copier, organisestacks of photographs, and so on.The products that result from theseprocesses are equally diverse.Graphic designers design websites,

apps, browsers, book covers, books,magazines, experiences, forms,flyers, newspapers, interactions,campaigns, letters, signs, agendas,games, logos, flags, boxes, money,and so much more. When the imageby itself is not sufficient, theywork with sound, texture, and evenwith smell and taste. Some graphicdesigners like to break through theboundaries of their discipline, by,for example, working in the fieldsof visual arts or theatre. Othershave expanded their area of work toinclude film, and it is interestingto observe that the background ofgraphic design is visible in thefilms these designers create: theirvocabulary, imagery and signature

transcends the medium in which theywork.

So what exactly is the discipline ofgraphic design? To keep it simple,we say that graphic design is thedevelopment of, and giving form to,communication concepts by arranging,adapting and visualising the avail-able information. This happens in somany different media and accordingto an equal multitude of differentapproaches, that the discipline isoften described as heterogeneous.

The connotation with printed matter,which can literally be found in thename of the discipline, is a relicfrom the pre-digital era: the labelno longer fully represents thecontent. This is why some refer tothe discipline as ‘visual communi-cation’ or ‘visual design’. Graphic

designers practice their professionin numerous ways. Some work alone,while others work for small studiosand bureaus. Some of these initi-atives have been set up as a coop-erative effort or as collaborativeventures of independent designers,and others as small businesses withstaff and a designer as director.On the other end of the spectrum arethe large firms with large numbersof employees. These firms mostlyfocus on strategic communication

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and the development of identitiesand campaigns. Where individuals andsmall bureaus are often special-ised, these large firms cover almostthe entire field. Additionally,many companies, such as marketingfirms, media corporations and multi-nationals, have an in-house graphicdesigner. The commissioning partiesvary just as greatly, from indi-viduals to multinationals, fromcultural institutions to ministries,from shop-owners to media giants.The discipline of graphic designincludes, to sum up, everythingthat happens in graphic design andeveryone who plays a part in it.

Current situation of the discipline

What happens in the discipline? Ifwe take a look from a distance, itbecomes apparent that many of thecurrent developments in graphicdesign are connected to three compre-hensive themes: information, tech-nology and the globalisation ofsociety.

It is impossible to escape frominformation in our contemporaryinformation society. Over the lastfew decades, the amount of infor-mation and the speed with which itis disseminated has increased enor-mously. This has huge consequencesfor graphic designers. The abundanceof information is often not recog-nised as a problem, and designersare increasingly given the respon-sibility of finding solutions tocommunication problems. Designersare all of a sudden expected to work

on this extra task, in addition tofinishing the actual design. Contraryto the promises of the contempo-rary template culture, the need tostructure information has clearlybecome more and more important. It isbecoming increasingly difficult tostand out in the overwhelming flow ofimages and texts. This is perhaps whygraphic designers have become conceptdevelopers, and have taken chargeof communication processes. In thecommercial field, there is a desire

for bigger and crazier designs, aslong as they get the message acrossin a clear manner. At the same time,it is expected that users have apleasurable experience when comingin contact with a design. It is acomplex task. Independent spiritsrefrain from responding to trends andhypes, and attempt to create visualsilence in the whirlwind of screamingimages. Some try to approach thetradition in its purest form, whileothers experiment with unconventionalalternatives.If one conclusion can be drawn fromthis, it is that graphic designerscannot avoid reflecting on theirrole in the contemporary informationsociety. One of the main questions

they ask themselves is a moral one:do I contribute to this disseminationof information, or are there limitsto what I send out into the world?

Graphic design is founded on tech-nique and technology. The message isinextricably linked to the medium,and this is reflected in the historyof graphic design. For a long time,the profession was connected tothe art of printing, which slowlybut surely reinvented itself overtime. The digital revolution led theprofession into the fast-paced worldof bits and chips. It is difficult toimagine that 25 years ago, designersdid not use computers, and thatthere were hardly any designers whodesigned for the computer. Paper willnot disappear completely, but even-tually almost all information willreach us through digital systems.

Consequently, graphic designers haveto be knowledgeable about technolog-ical possibilities, and preferablyare able to work with the technology.Additionally, they have to understandhow technology transforms relationsand practices. Technology enablesinteraction, and thus encouragessubstantive input from the public.

These new developments provokeexciting reactions. Young designersseek out hidden treasures of the

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analogue era and tackle the chal-lenges of the digital age. Theyresearch the concept of manuallabour in contemporary society,and how automated processes influ-ence design results. They give newlife to vintage design traditionsand invent new applications forexisting technologies. This distin-guishes them from designers whosolely employ the possibilities ofdesign programmes, and from thosethat only work with pencil. Theyalso distinguish themselves from thecapable amateur with their concep-tual abilities and knowledge of thefield. In addition to the capableamateur there is also the incapableone, who, for some designers, is a

true source of inspiration. Thisamateur represents open-mindedness,authentic style and uncontrivedsimplicity in presentation.

What becomes clear, in short, is thatthe digital revolution leads thegraphic designer in different direc-tions. In all these directions hecan set the tone. Technologically,he does so by constantly being awareof the latest developments and byparticipating in the development ofapplications. Conceptually, he canachieve this by doing research andby delving into his subjects and thedevelopment of the profession in itscurrent social context. Formally,he has to either experiment with thenon-existent or become highly skilledin traditional techniques.

Social ideals were once a driving

force behind the emergence of graphicdesign. Designers desired betterliving conditions for all. Espe-cially in the period between the twoworld wars this social commitment wasstrong. The KABK was at that time abastion of progressive modernists.

Today’s designers resemble theircolleagues from the past. They arefully engaged with the world. Theconditions are different, however.Where the socialists in the 1930’s

advocated the international, inter-nationalisation is already very muchunderway these days and is no longerthe concern of pioneering designers.In our global society everyone isin touch with everyone. For graphicdesigners this has far-reachingconsequences. A design does not juststay in the Netherlands, but travelsinto the world, especially whenit comes to Internet applications.Designers must know the codes ofthe new international visual culturethat has emerged. Simultaneously wewant them to use their own codes. Weare also more aware of the situa-tion in other countries and of backroom politics. Maybe because graphicdesigners are so involved with infor-

mation, they have a strong sense ofresponsibility for the world. Thiscan take many forms. For example,there are designers who distancethemselves from the deceptive rhet-oric of the commercial field. Inmedia circles there are advocates fora humane information society in whichpeople are not crushed by a torrentof superficial images. Slightly morepractical are the designers who arecommitted to social projects. Agen-cies sometimes offer affordableservices for charitable campaigns,or dedicate means to their immediateenvironment. Graphic design is acommitted discipline.

2.5.2 Study Profile

Professional ObjectivesGraphic designers are increasingly

working on the boundaries of thediscipline. Therefore, the depart-ment strives for a broad definitionof the discipline and encouragesstudents to explore these bound-aries, and when necessary, crossthem.

In general, the design process canbe divided into four major phases:collecting, examining, visualisingand publishing information. Thismethodology enables the designer to

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appropriate the following attitudesand skills:

/ develop concepts for thetransfer and exchange ofinformation and shape them withthe use of image, typography andother means;

/ examine, organise, edit,visualize and manageinformation;

/ work from a personal, thoughtfulvision of the discipline, fromfascinations and from the socialcontext;

/ work on commission and/orinitiate projects;

/ make statements about the

profession and the world throughthe work;

/ trigger new developments in thediscipline or advance existingdevelopments;

/ not only meet the needs of theuser and/or the client with thework, but also, and above all,further deepen and develop thepersonal vision and work.

Description of the study programmeThe Graphic Design departmenteducates students to become versatiledesigners in the field of communica-tion. The ideal graduate is an inves-tigative designer who is fully awareof current affairs, who, dependingon the concept and the situation,chooses his medium wisely, and whois familiar with both traditional andnew social media. The graduates stand

out because of their conceptual andvisual abilities, knowledge of theprofession and the world, technolog-ical curiosity and highly developedsocial commitment.

The department offers an extensivecurriculum. The programme is foundedon four pillars: design, interaction,image and typography. The attentionto the study of letters distinguishesthe programme from other graphicdesign studies. The study of letters

takes place in the first year, incombination with typography. In thesecond year, students can choose theelective Letter Studio to continuethe research. The electives Playlaband Design Office are equally unique,where the first course is fully dedi-cated to avant-garde research andthe second to practical assignmentsfor external clients. Each year,the department uses the programme’sstrong content and the composition ofthe teaching staff to achieve actu-ality, versatility, depth in theoryand practice, and interaction betweentext and image.

The programme offers students thefreedom to develop their personal

qualities. Students work from theirown preferences towards a general orspecialised graduate profile. Thesocial orientation of the programmeis reflected in assignments,projects and theory classes. Addi-tionally, a pioneering and ques-tioning attitude prevails in rela-tion to the discipline. With foreignstudents, foreign guest lecturers,field trips and collaborations withacademies abroad, the programme isremarkably international.

The department is well known inter-nationally, both in the field andbeyond. Its graduates include manyinfluential designers. Some have astrong social profile, and othershave made unique achievements in thefield of typography and type design.As described above, we consider thenotions of image and interaction to

be important points of interest incontemporary design, and they aretherefore given a prominent place inthe programme.

Final qualifications Graphic DesignThe final qualifications have beensummarised in seven competences. TheKABK has established these compe-tences on the basis of the nationalfinal qualifications for GraphicDesign programmes.

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/ You are able to develop aninnovative concept arisingfrom your artistic ambitionand research, elaborate itinto a distinctive image,product, means of communicationor spatial design, and tocontextualize it in a meaningfulway (creative ability)

/ You are able to consider,analyse, interpret and assessyour own and others’ work, andare capable of constructivelyconsidering your findingsin relation to your ownwork (capacity for criticalreflection)

/ You are able to further develop

your vision, work and workingmethods in breadth and depththrough an ongoing processof research, and in this waycontribute to your disciplineand to society (capacity forgrowth and innovation)

/ You are able to establishand maintain an inspirationaland functional workingenvironment and to organize yourresearch, work and practice(organizational ability)

/ You are able to effectivelypresent your vision, researchand work and engage in adialogue with clients andother interested parties(communicative ability)

/ You are able to relate yourartistic practice to theartistic and social context

(external awareness) / You are able to make an

independent contribution to acollaborative product or process(capacity for collaboration)

Diploma

Graduates are awarded a Bachelor ofDesign ( BD es) and are then eligibleto enter post-graduate programmes inthe Netherlands or abroad.Post-graduate studies

After receiving their Bachelor’sdegree, graduates can enrol in amaster’s programme in design (MDesign) or art (M Fine Arts) oranother master’s programme at anart academy. In addition to our ownMaster Type and Media graduates havegone to pursue master’s degreesat, among others: Royal College inLondon, Yale School of Art in NewHaven, Typography Workshop Art EZ ,Sandberg Institute and the Universityof Leiden.

Admission ProcedureThe candidate applies online. Hefills out a questionnaire andreceives three assignments to prepareat home. The candidate will then be

invited for the entrance examination.The admission committee consists ofboth teachers and students. The headof the department is present duringthe admission. The admission takesplace in Dutch or - with foreigncandidates - in English.

The candidate is expected to bringhis portfolio, which consists ofa diverse selection of his work.Basically everything that gives animpression of the way of workingshould be included in the portfolio,such as sketches, blueprints andnotes of ideas. The candidate alsopresents the aforementioned assign-ments during the examination. Anadditional assignment is given on theselection day, and a personal discus-sion with the admission committeetakes place as well. The Committeeformulates an opinion to the Board of

Directors on the basis of all theseelements, after which the candidatewill receive a written answer as towhether he has been accepted or not.

Specific admission requirementsDuring the selection day, the candi-date’s eligibility for the programmewill be tested according to variousmethods.

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From the second year onwards, thenotion of ‘courses’ is graduallyreleased, and instead supervision indifferent specialisations becomesmore important in completing assign-ments. From that moment on there is astrong relation with the professionalsocial domain. In the second andthird year, students choose betweentwo electives at the beginning ofeach year. In the Letter Studioletters are researched in relationto typography. Playlab searches forthe boundaries of the discipline withan experimental research programme.The Design Office has been created asa studio in which students work inteams on special assignments for real

clients, often in the cultural field.

Theoretical domainThe department’s theoreticalprogramme establishes an exchangebetween the acquisition of knowl-edge and understanding of currentgraphic design in its artistic,historical and social context, andthe work of the student. The firstyear focuses on contemporary graphicdesign in relation to the visualarts, other design disciplines andvisual culture. The second year isdevoted to theory in the history ofdesign. In the third year philos-ophy is centralised, with atten-tion for the relationship betweengraphic design and social issues. Inthe fourth year the theory teacherguides the students in the writingof the thesis, which linked to thegraduation project. An important

goal of the theory programme is toteach students to position them-selves in relation to the work ofothers, to form opinions and to admitwhen personal feelings and taste areinvolved.

Also part of the domain are theReading Groups, which are smallgroups set up each semester and ledby a teacher to intellectually engagestudents with challenging texts.

In addition to the theoreticalprogramme offered by the department,students take academy-wide courses inart theory and academic skills, andthey can participate in the academy’sStudium Generale. It is also possiblefor students to follow courses inother departments or at LeidenUniversity, in the framework of theIndividual Study Trajectory ( IST ).

Professional social domainWhat is the social significance ofgraphic design? What position doyou aspire as a graphic designerin society? What do you need to doto achieve it? These questions arediscussed throughout the programme.The aim is to prepare students for

their future professions. During thepropaedeutic year this happens ina playful and explorative way. Inthe subsequent years, assignmentsmimic realistic situations. There iscontact with the professional field,the public and clients. Some projectstake place outside the academy, whileothers are derived from professionalpractice. In addition, all studentsare required to do an internship. Inthe fourth year the focus is veryexplicitly placed on the students’future professional practice, witha Career Orientation course, assis-tance in compiling a portfolio andthe graduation projects. Duringthese activities the consequencesof the students’ choices are exam-ined. For example, students have toask themselves the question what kindof designer they would want to be,if they want to work for a firm or

independently, and what suits thembest. Possibilities for post-graduateeducation are also discussed. In thefinal year, students are expected topresent themselves during evaluationsas a designer and explain their posi-tion in the field.

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Full-time programme

Propaedeutic yearThe first year is an adventurousexploration of the student’s qual-ities in various aspects of graphicdesign. The qualities are exploredwith challenging assignments thatappeal to the student’s curiosity andcreativity. Small and larger assign-ments alternate and take the studentsto the far corners of their field.Much emphasis is placed on open-mind-edness, the joy of working and onlyevaluating afterwards. Students tryout different ways of working and geta first glimpse into their visualability and the value of their ideas.

This way, the students gradually movetowards the development of their ownvisual language and vision. In thefirst year it is important to createa large body of work that providesconfidence and creates resil-ience useful during the rest of theprogramme.

Throughout the year, studentscomplete assignments for which theymust make use of the workshops.In the theoretical programme theemphasis is on familiarising studentswith contemporary graphic design,with attention to a large variety ofviews and approaches. In the finalassessment, the student has to beable to answer the question whethergraphic design is suitable for him,and if he is suitable for the profes-sion. The student must then be ableto clearly specify the elements

of the profession that primarilyinterest him.

Points of departure / Introduction to the field, both

practically and theoretically.

/ The creative and intellectualdevelopment of the student iscentral.

/ Scheduled courses are offeredparallel to each other. Theyfocus on certain aspects

of the profession and theculture, both substantively andtechnically, and broaden theframe of reference. In additionto scheduled courses, twoproject weeks take place in thepropaedeutic year: a department-wide week for all years, andan academy-wide course forall first year groups, plusan excursion week. Careerpreparation projects are offeredin the framework of the lessons.

Study programme components / Design

/ Image

/ Typography and Letters

/ Interaction

/ Drawing

/ Theory: Current Visual Culture

/ Academy-wide: Art Theory andIntroduction to Science

Year 2

In the second year, students workon a series of challenging designassignments. The emphasis is onexpanding the understanding of theprofession and strengthening thestudent’s qualities as a designer.Ample space is reserved for research.The assignments address, among otherthings, the concepts of public spaceand audience groups. There are real-istic and fictional, optional andcompulsory assignments. In the courseof the year the taught courses are

replaced by supervision by differentteachers in joint assignments. Eachteacher covers another area of exper-tise: Design, Photography, Typographyor Interaction. Students can discusstheir work with different teachers.Additionally, they follow Letter-studio, Playlab or Design Officeand they set up their own Indi-vidual Study Trajectory. The theoryprogramme is dedicated to the historyof graphic design in its culturaland social context and establishes

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a relationship with the work of thestudents. The students also focus onthe presenting and exhibiting theirwork.

Points of departure / Expanding the understanding of

the discipline.

/ Strengthening the personalqualities as a designer.

/ More focus on research.

/ Supervision by teachers withdifferent specialisations injoint assignments.

/ Students choose betweenLetterstudio, Playlab or DesignOffice.

/ The Individual Study Trajectoryserves as a tool to broaden ordeepen the study programme.

/ Career preparation projects,both in the context of thelessons and the Individual StudyTrajectory.

/ Organisation of exhibitions andpresentations.

Study programme components

Design Assignments,with supervision in:

/ Design

/ Image

/ Typography

/ Interaction

/ Theory: History of Design

/ Elective: Letter Studio, Playlabor Design Office

/ Technique: Coding

/ Individual Study Trajectory

Year 3

The third year also focuses oncomplex design assignments. In thisyear, the emphasis is placed on therelationship between graphic designerand society. This is reflected in thetheory programme, the assignments and

the internship. One of the departurepoints of the course is that studentsbecome more and more in charge oftheir trajectory as the programmeprogresses; in the third year a lotis expected from them. The studentsare largely responsible for organ-ising their own supervision and havegreat freedom in how they approachthe assignments. Consequently theycan decide to, for example, increasetheir focus on designing for newmedia, to centralise the unificationof text and image, or to approachassignments typographically. Theemphasis in the curriculum will be oninterdisciplinary collaboration andmultidisciplinary knowledge. By opti-mally using Playlab, Design Office,

the Letterstudio and the IndividualStudy Trajectory, students canbroaden their knowledge, specialiseand acquire additional skills andtechniques. The theory programme inthird year teaches philosophy, and isdedicated to reflection on currentsocial themes. Its aim is to makestudents develop a vision on theirpersonal responsibility as a designerand to support their ideas ofdesigning according to their socialvision. The internship takes place inthe second semester.

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Points of departure / After the first year’s emphasis

on the discovery of student’squalities, and the secondyear’s focus on deepening theunderstanding of the discipline,the third year is centred on therelationship with society.

/ The courses continue to fusetogether; in the secondsemester the assignment-teacherssupervise a large assignmentwith a socially relevant theme.

/ The students chooseLetterstudio, Playlab or DesignOffice.

/ The Individual Study Trajectoryserves as a tool to broaden

or deepen the study, careerpreparation projects takeplace in the framework of theIndividual Study Trajectory.

Study programme components

Design Assignments, with supervisionin:

/ Design

/ Image

/ Typography

/ Interaction

/ Theory: Philosophy

/ Elective: Letter Studio, Playlabor Design Office

/ Technique: Coding


Year 4

This year is entirely focused onthe final examination. The firstsemester is exploratory in nature,with students doing various designassignments that have both visualand content-based elements, andwhich can be possible precursors forthe central theme of the graduationproject. From the second semesteronwards the final phase commences.The students are motivated by dead-lines and they work hard to be able

to present enough work of a suffi-cient level to pass to the finalphase.The theoretical part of the finalyear is the thesis that functions asthe theoretical preparation for thegraduation project. Additionally,the students prepare for the finalexam and their future professionalpractice, and they are assisted inconstructing a portfolio.

Points of departure / In the final year, the focus is

on the position and positioningof the student as a graphicdesigner in his discipline andsociety.

/ The entire year is devoted tothe final examination; from thestart of the year the studentswork on projects on which theycan graduate.

/ The Individual Study Trajectoryserves as a tool to broaden ordeepen the study.

/ Students who graduate with aletter-project make use ofsupervision from the Letter

Studio.Study programme components

Graduation projects with supervisionin:

/ Design

/ Image

/ Typography

/ Interaction

/ Theory: Thesis

/ Career Preparation / Individual Study Trajectory

Part-time programme

The part-time programme is set-upvery similarly to the full-timeprogramme. However, the Indi-vidual Study Trajectory and elec-tives Letterstudio and Playlab arenot offered (yet). There is also no

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compulsory internship. Students areexpected to initiate relationshipswith the professional field them-selves.

2.5.4 Educational a ndprofessional objectives

Propaedeutic year

The assessment in the secondsemester, the propaedeutic yearassessment, may lead to a bindingnegative study advice. Referral indi-cates that the student can be advisedto enrol in another study programmein or outside of the academy.



/ Creative ability: The student isable to independently apply theacquired skills and knowledge tothe production of his work.

/ Capacity for criticalreflection: The student is ableto reflect on his work andcan evaluate its quality andeffectiveness.

/ Capacity for growth andinnovation: The student acquiresnew knowledge, skills andinsights and is able to applythem on a theoretical and

practical level. / Organisational competence: The

student is able to develop hisown work process and is capableof documenting and archiving hiswork.

/ Communicative competence: Thestudent is able to support hischoice of sources, materialsand/or design solutions.

/ Situational awareness: Thestudent has a wide interest in

social and cultural developmentsand is able to recognisedifferent visions of designing.

/ Collaborative competence: Thestudent is able to realise hisgoals in consultation withothers.

The propaedeutic year competencesare reached with the help of thepreviously described study programmeelements. Because of a revision ofthe programme, the courses are beingre-written at the time of assemblingthis Study Guide. As soon as thedescriptions are available they willbe published on the KABK website.This also applies to the studyprogramme elements of the subsequent

years.

Year 2

The students are expected to masterthe following competences during thecourse of the year:


/ Creative ability: The studentcan work on a design problemmethodically and on the basis ofhis own ideas.

/ Capacity for criticalreflection: The student is ableto reflect on his own work andthat of others, and can evaluateits quality and effectiveness.

/ Capacity for growth andinnovation: The student can makeuse of newly acquired knowledge,skills and insights, and thecriticism of others to advancethe development of his work.

/ Organisational competence: Thestudent is able to manage hiswork process, time-effectivelyand priority-based.

/ Communicative competence: The

student is able to interpret an

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assignment and can debrief inword and image.

/ Situational awareness: Thestudent finds inspiration insocial and cultural developments

and is able to name them in hisown work. He can also name thetarget groups for his work.

/ Collaborative competence: Thestudent can work with others andis able to employ his talents incollaborative projects.

Year 3

The student is expected to master thefollowing competences during thisphase of the programme:


/ Creative ability: The studentcan formulate a design problemand employ research to develop adesign solution.

/ Capacity for criticalreflection: The student isable to relate his work todevelopments in the field in acultural and social context andposition his work accordingly.

/ Capacity for growth andinnovation: The student is ableto develop a personal vision ondesigning from an open-minded

attitude./ Organisational competence: The

student is able to find balancebetween subjects, facilitatingand production-aimed activities.

/ Communicative competence:Thestudent can convincingly presentand explain his work and method.

/ Situational awareness: Thestudent is able to makeconnections between his work andthat of others, and between his

work and the public. The studentcan adequately adapt his work tohis target groups.

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/ Collaborative competence: Thestudent can purposely placehimself in the design processin different roles and withdifferent responsibilities.

This implies that students:

/ Possess the skills, insights andintellectual capacity to play arole in the professional field;

/ Can express their personal stylein different joint assignments;

/ Show interest in the variousaspects of professional practicein the joint assignments andin the formulation of ownassignments;

/ Gain enough positive experienceduring an internship, whileundertaking research or whileparticipating in a studentexchange programme with a similareducational institution abroad.

Graduation year

The competences that the student isexpected to master in the final phaseare the same as the final qualifica-tions of the programme.


The heads of the Graphic Designdepartment are Roosje Klap and NielsSchrader. They are responsible forthe department’s policy and forevery aspect that directly relates tothis policy. The team of lecturersreflects the content of the programmeand its professional set-up.

A large number of teachers have aprofessional practice, in which theywork independently or in a team.Because of the diversity in expe-rience and expertise, the studentis confronted with numerous aspectsand approaches of the discipline.Specific knowledge of the profes-

sional field is offered by means ofguest lectures.

Heads of Graphic Design departmentRoosje Klap & Niels [email protected]

Coordinators Graphic Design Full-timePauline [email protected] [email protected]

Head of part-time programmesErnst [email protected]

Coordinator Graphic Design Part-timeKoen Geurts

[email protected]

Lecturers Graphic Design (full-time and part-time)Lauren AlexanderBart de BaetsFrank BloklandErik van BloklandPieter BoddaertMarjan BrandsmaThomas BuxóSusana CarvalhoMaarten Cornel

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* The design cluster assignments include aspects of Design, Image, Typography and Letters and Interaction Design

1st year: Due to the changed Research & Discourse programme minor adjustments of the EC is a possibilty.

GRAPHIC DESIGN FULL-TIME

Year 1 2 3 4

Semester 1 2 3 4 5 6 7 8

Design 6 6

Image 6 6

Typography and Letters 6 6

Interaction Design 6 6

Design cluster assignments (*) 14 14 14 7

Letterstudio, Playlab, DO. (choice) 4 4 4 2

Coding 2 2 2 1

Final Exam Projects 18 18

Academy-wide propaedeutic yearproject week

1

Internship 12

Career preparation 3

Theory: Contemporary Design

and Art3 2

Theory: Design History 4 4

Theory: Philosophy 4 2

Theory: Thesis 3 6

Theory: Research and Discourse 3 3

Individual Study Trajectory (IST) 6 6 6 6 6 6

Total 30 30 30 30 30 30 30 30




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GRAPHIC DESIGN PART-TIME

Year 1 2 3 4

Semester 1 2 3 4 5 6 7 8

Image 5 5 5 5 6 8

Design 1 6 5 5 7 8

Design 2 5 5 5 7 8

Design 3 5 7

Interactive Media 5 5 5 5 6 6

Typography 5 5 7

Letters 5 5 6

Design Orientation 4

Final Exam Projects24

Art & Design History 5 5 4 4 4 4

Philosophy 2

Thesis 6 6

Total 30 30 34 26 30 30 30 30



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2.6 Interior Architectureand Furniture Design

No matter – try again – fail again – fail better.[Worstward Ho, Samuel Beckett ,1983]

‘Learning by Doing: Empirical CreativeEducation and Training’

The programme Interior Architectureand Furniture Design at the RoyalAcademy of Art covers the full widthof the spatial domain by focusing onspatial conditions that determine howwe experience our daily living envi-ronment.

The core aim of the programme is thepersonal development of each indi-

vidual student into a creative,inquisitive and independent designer.We pay close attention to discoveringthe possibilities and potential ofour students, and have designed theprogramme in such a way that we haveachieved a precise balance betweenthe attention given to the conceptand to empiricism: abstract thinkingversus pragmatic and professionalembedding. The curriculum focuses onexperimentation and research. Thisenables us to encourage the devel-opment of an independent inquisi-tive design attitude that generatesunexpected and surprising resultsand perspectives, and that makes theimpossible possible.

Our didactic principle is learningby doing. The development of skills,knowledge and competences is linkedto relevant assignments that pref-

erably correspond to professionaldesign practice. We strongly empha-sise the students’ personal posi-tion and the way they approach theiridentity from a professional perspec-tive. We attach great value to thedevelopment of an individual approachand work process, and encourage thestudent to develop an independentmind-set, a reflective design atti-tude and empathic ability. In ourview, the designer with the titleBachelor of Design represents an

all-round designer with an entirelypersonal approach. He is a goodobserver, and has both strong concep-tual and empirical skills. He is adesigner who approaches every think-able – spatial – challenge head on.

After the first year, the programmeoffers students the choice betweenthe specialisations Interior Archi-tecture (full-time/part-time) andFurniture Design (full-time only).The programme duration is fouryears. The new Bachelor of Designcorresponds to the educationalvision of the KABK and the NationalFinal Qualifications for design.After graduating and receiving thetitle Bachelor of Design, the KABK

offers students the opportunity tocontinue their studies in the newMaster Interior Architecture INSIDE .Graduates’ possibilities for, andrights to, register with the ‘BureauArchitectenregister’ (Bureau Archi-tects Register), in accordance withthe ‘Wet op de Architectentitel( WAT)’ (The Academic Titles (Archi-tects) Act), can be found on thewebsite of the KABK and that of the‘Architectenregister’ (ArchitectsRegister). The law was adapted inJanuary 2011. Any student who gradu-ates after 31 December 2014 and wantsto register in the Netherlands as anarchitect, urban designer, gardenand landscape architect or interiorarchitect is obliged to complete aprofessional experience period.

In the academic year 2011-2012, thethoroughly renewed curriculum of

the bachelor’s programme was intro-duced. The renewal went hand in handwith the introduction of the MasterINSIDE . The implementation of therenewal in the fourth year takesplace in 2014-2015. In 2015 the firststudents will graduate from the newbachelor’s curriculum.

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Interior architecture and furnituredesign

The discipline is populated byproduct and spatial designers whoregard space, in the wider sense ofthe word, as their field of exper-tise. This field covers a wider areathan that of just the interior orfurniture, and the designers alsofocus on other objects and prod-ucts, and on public and open space.They increasingly cross the tradi-tional boundaries of their disciplineand explore other domains, thinkcross-disciplinary, establish inter-connections and always try to find

the larger context. With a curiousattitude they continuously question,search and fight for their positionand that of the discipline.These designers are increasinglycreating their own context and condi-tions to work in a permanent state ofresearch. They do not just positionthemselves in relation to clients,but also pose their own questions,define their own projects and bydoing so transfer their own vision.This vision prioritises society andquestions concerning contemporarytimes. In their work, contemporaryproduct and spatial designers antic-ipate possible future changes toimprove the quality of the livingenvironment.

Furniture DesignIn this versatile approach, theproduct designer centralises the

object and the relationship betweenman and space. The object - furni-ture piece or product - has a closerelationship with the human body,which determines many aspects ofthe object’s use or experience. Thefurniture piece is also an object inthe (architectural) space. The piecemay exist as an independent objector as an integral part of the inhab-ited space, and will influence theperception and use of the space. Animportant aspect of the furniture

piece or product can be its rela-tion to emotional, social or culturalvalues. A product can thus transmita message or visualise a story.The development of new techniques,production processes and materialsis of importance in the expression ofthe product, its manufacturability orthe new user possibilities that theproduct gives rise to. Sustainabilityand a conscious approach to materialsand their application is therefore ofgreat importance.

Interior ArchitectureIn recent decades, the interior isincreasingly defined as a space thatgenerates specific meanings andemotions through shapes, colours,

scents, materials and objects, andcan thereby deliberately orches-trate experiences. This space can beinterpreted broadly; it can refer toprivate space, public space, and alsoto the urban and open space. Not onlyis the inhabitation of these spacescentralised; movement and mobilityare equally important. Concepts suchas identity, communication and expe-rience are crucial in the design ofthese spaces.The spatial designer starts withthe big picture and works from thereon towards the smallest detail. Itinvolves the development of spatialconcepts that form the foundation forthe intended perception and expe-rience, to the materialisation andproduction techniques that eventu-ally support the realisation of theseconcepts. Important to this is therelation to current and future issues

concerning the use of space(s) andthe sustainability of both materialand space.Overlap exists between interiorarchitecture and other design disci-plines, such as design, textile andproduct design. Knowledge and skillsfrom disciplines other than designare also applied to interior archi-tecture, such as ergonomics, engi-neering, marketing, anthropology andpsychology. Interior architecturerelates to all these areas.

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2.6.2 Study profile

‘Learning by Doing: Empirical Crea-tive Education and Training’

InquisitiveThe curriculum focuses on experi-mentation and research, and its coreaim is to discover possibilitiesand unlock the student’s potential.The new bachelor’s KABK InteriorArchitecture and Furniture Design isbased on the precise balance betweenconceptual and empiricist education:abstract thinking versus pragmaticembedding. This programme encour-ages the development of an inde-pendent inquisitive design attitudethat generates unexpected, surprising

results and perspectives.

CreatingLearning by doing. The programmecentres on the designer’s individualposition and identity from a profes-sional perspective. Great value isattached to both the student’s workprocess and approach. A graduatewith the title Bachelor of Design caneasily complete any assignment witha highly individual approach, andkeep up with the incredibly fast andcontinuous transformation of the 21stcentury world.

EducationCharacteristics of the programme arethe tension between the developmentof the student’s design personality(to learn to design on an individualbasis), the required professionalskills, and the contribution to

social issues in contemporary societyand the cultural context.The motto “Learning by Doing: inves-tigative practical education’ as anintegrating activity is central tothe new bachelor’s programme. Coursesare integrated with, complementaryto and supportive of the student’sdevelopment.

The keywords of our educationalapproach are dialogue and interac-tion. We work in small teams. The

studio context stimulates exchange,supplementation and confrontation,and we focus specifically on socialinteraction and collaboration.We also pay much attention to thedevelopment of empathetic abilityin the broadest sense of the word.This includes empathy towards users,target groups, context, society andcontemporary themes.Additionally, we address thestudent’s mentality, personal respon-sibility and independent func-tioning in the department team. Thestudent will not graduate by simplycompleting the assignments and satis-fying the teacher’s demands. He alsohas to develop a flow to keep up hisdevelopment.

For each task the student has topose different questions and solvedifferent problems. This gives theprogramme agility and connects it tothe unpredictable dynamics of currentevents.

Full time and part-timeInterior architecture is offered asa full-time and part-time programme.Furniture Design as specialisationis only available in the full-timeprogramme. In the full-time programmeInterior Architecture and FurnitureDesign all students follow a jointprogramme in the propaedeutic year.At the beginning of the second year,students make the choice between thespecialisations Interior Architec-ture and Furniture Design, where thedesign projects are offered sepa-rately.

Interior versus FurnitureIn the second year, students chooseto specialise in Interior Architec-ture or Furniture Design. The coursesin the domain Design and orientedon the professional practice of thechosen discipline. The remainingstudy programme is composed forstudents of both specialisations.

Final qualifications Interior Archi-tecture and Furniture Design

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Specific admission requirementsIn the entrance examination duringthe selection day, the candidate isassessed on various aspects at thehand of different methods.

The practical assignments provideinformation about the candidateregarding:

/ providing creative and/orinnovative solutions

/ spatial understanding

/ material sensitivity

/ research skills

/ perseverance

/ perception

/ drawing skills

/ expressive ability

/ insight

/ personal approach

The discussion of the portfolioprovides information regarding:

/ the environment the candidateslives in

/ personal interests

/ dexterity and/or sensitivity tomaterials

/ organisational skills,initiative, abilities

/ the ability to reason

/ general knowledge

/ knowledge of art, history,culture, architecture, etc.

/ motivations and ambitions

/ personal goals

The emphasis is on the candidate’sartistic production (sketchbooks,objects, notes, collections) that hasbeen created outside the framework ofschool.

2.6.3 Study programme overview

Please note: the description belowapplies to the new Bachelor ofDesign, which was implemented at thestart of the academic year 2011-2012.For the current curriculum of studyyear four in 2013-2014 please referto: Curriculum old style below.

Full-time programme

Main structureThe four-year programme of the newBachelor of Design has three phases:the propaedeutic year, the main phaseand the final phase. Each phase hasa specific mission. These missions

follow the substantive structure ofcross-pollination (year 1), depthand connection (years 2 and 3) andpositioning (year 4). This chrono-logical structure is organised infour directions, ‘the domains’, whichreturn in each academic year. Thefour domains are design, morphology(labs), media & materials and knowl-edge & context. Characteristic of thestudy programme are the experimentand research elements. Each year, theresearch focuses on a specific areaor contemporary theme. At the core ofthe curriculum lies a solid histor-ical and cultural basis, and studentsare given the possibility to inter-pret this basis and integrate it intotheir designs.

Domains

The Design domain

Designing is the main component andfoundation of the programme. Thedesign domain has a thematic struc-ture. Especially in the first year,the conceptual framework is simplein set-up in order to discuss andquestion everyday concepts. In Inte-rior design four subject areas arecentralised: Private interior, PublicInterior, Urban interior and Object3D. From the second year onwards,the Furniture Design program focuseson the areas: Private object, Public

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object, Urban object and Object 3D.During classes, the student worksunder the guidance of teachers butalso independently on projects in thestudio space at the academy.

The Morphology domainIn a simulated laboratory atmosphere,autonomous exercises, examinationsand free (form) studies take place inthe morphology component. This domaindiffers from the design assign-ment in that students only ‘create’.The process stages from analysisto end design, which are regularto the assignments, are explicitlyignored here: it’s not about the endresult, but about the process. From acertain approach or method, students

instantly create, visualise andexperiment. Morphology has as aim toexamine, familiarise and control thephenomenon of space and form, withnumerous methods and approaches. Themedium or the approach partly deter-mines the form of expression. Theintegration of visualisation is alsoan important element in this domain.The morphology domain amply addressestopics such as light, texture,relief, shape, acoustics and sound,colour, smell, etc.

The Media & Materials domainIn the media & materials domain,basic skills and tools are discussed,not so much to develop them, but asa means of discovery and to teachstudents how to apply them in designprojects. This domain is there-fore also a source of inspirationand functions as a trigger. Media,

techniques and materials become theterrain of expertise and research.The domain covers, among others,the skills hand drawing 2D and 3D,model construction, photography,graphic design, textiles andceramics, computer 2D and 3D, rapidprototyping, augmented reality andimage processing. The teaching andmastering of the techniques andskills is not an independent elementand is not the primary learningobjective. This domain is equally

cross-disciplinary and extends acrossthe boundaries of the design disci-plines. This study component is thestudent’s primary source to get opti-mally introduced to all departmentsand the wealth of facilities/work-shops of the institute.

The Knowledge & Context domainThe knowledge & context domain coverstheoretical knowledge in the formof seminars and (work) assignmentsrelating to art philosophy, archi-tectural theory and design theory.Additionally, lectures and excursionsare organised.

The Interior Architecture departmentoffers its own annual lecture series

consisting of eighteen lectures. Thelecture series gives an extra theo-retical impulse to the programme andmatches, as closely as possible, theon-going study programme and thetheme of the semester. The directlink between the selected semestertheme and the programme of lecturesand films (and the academy-wideStudium Generale) strengthens andsupports the theoretical frameworkand also, specifically, the semesterprogramme. We especially invite young(hot) talent to speak in the lectureseries. Students organise a debateafter each lecture or film.

Excursions and tours are an essentialaspect of the programme. The propae-deutic year starts with an introduc-tion week in which the students goon excursion. In the annual excursionweek, students also go on an excur-

sion, which is often abroad. The mainstudy programme is complemented by anumber of smaller theoretically andpractically themed excursions, museumvisits, exhibitions, and so on.

Individual Study TrajectoryThe Individual Study Trajectory ( IST )is available for all students fromthe second year onwards, and aimsto broaden and deepen the study.Students can follow courses in theIST on the condition that their

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choice is connected to their designassignment of that period, and thatthe relationship between the IST choice and the assignment can beclearly demonstrated in the finalassessment. The study load and theassociated credits are appointed forthis purpose in consultation with theteam of lecturers. There are severalpossibilities available, such asfollowing a minor at Leiden Univer-sity. In addition to the electives,students can use the IST to deepentheir study by appointing more timeto the obligatory courses, or choosefrom the academy-wide IST offer and/or the interdisciplinary ResearchLabs of the department(s).As part of the Individual Study

Trajectory, students compose a studyplan that requires the approval ofthe team of lecturers and is super-vised by both the coach and thestudy advisor. The coach super-vises students for the duration ofone academic year, while the studyadvisor guides students throughoutall their years of study. Coachesstimulate their students to workcross-disciplinary as much aspossible, and to use all the exper-tise, facilities and workshops avail-able. 12 EC are appointed to the IST per year.Part-time students can benefit fromthe offer of electives. Students canalso follow courses from the full-time or part-time curriculum in theframework of the IST (on the condi-tion that places are available andpermission has been granted). Forgeneral information about the IST

please refer to chapter 6.1.3.

Programme per yearYear 1 [semesters 1 and 2]

Propaedeutic yearMission: cross-pollinationThe first year of study focuses onthe following core issues:Cross-disciplinary, test limits,experiment, (broad) orientation andconfrontation, design, learning

by doing, interaction and socialnetwork/student mixing. In thepropaedeutic year students makeoptimal use of the workshops andfacilities offered by the insti-tute. This introduces students to allpossible development and productionmethods. We also aim to interact withthe other disciplines at the KABK.

Project work is central to the firstyear. Each semester, students workon two main projects in the form ofdesign assignments that are completedin different stages. Students workhighly concentrated for a periodof 16 weeks on these projects. Themorphology domain is representedin four blocks throughout the year.

The rest of the weekly programme ismore or less appointed to the designprojects. The knowledge & contextdomain, the theory component of thefirst year, consists of three maincomponents:

/ Architectural theory andreflection: concepts andframeworks, contemporary currentsituation and context.

/ Design theory: concepts andframeworks, contemporary currentsituation, design, visual artand context. In the first yearin the media & materials domain,the student is introduced toall departments and facilities/workshops at the KABK.

/ Research and Discourse: allfirst year students follow thecourse Research and Discourse

as part of the academy-wideprogramme. The KABK alsoorganises a Studium Generalefor all students. Additionally,we organise an annual lectureseries consisting of eighteenthematic lectures.

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Year 2 [semesters 3 and 4]

Main PhaseMission: depth and connectionKey concepts of the main phase areforecasting, back-casting, visionarythinking, dreams, future, here andnow. Students also reflect on inter-national and national contemporaryissues, connect to the real world,and find their own position in theframework of the theme: ‘who am I’.

After an introduction to the disci-pline, the academy and the workshopsin the propaedeutic year, studentsapply this basic knowledge in thesecond year to position themselvesin the framework of more complex

assignments. The reality of the fieldand its specific focal points areaddressed. Students are simultane-ously encouraged to formulate thebeginning of their own vision anddreams for the future as a designer.Students are expected to show moreinitiative and they are challengedto develop and employ their personalpreferences.

In the second year, two blocksMorphology are compulsory. Eachacademic year, the research compo-nent in both the design courses andthe Morphology Labs increases insize. The department offers ResearchLabs in the framework of the Indi-vidual Study Trajectory ( IST), whichare also offered academy-wide andthus become more interdisciplinary.For more information about the IST please refer to the section ‘Indi-

vidual Study Trajectory’ above, andto chapter 6.1.3.

The knowledge & context domain of thesecond year consists of three maincomponents:

/ Art reflection: visitingexhibitions, museums, galleries,platforms of contemporary art,architecture and design projectsin the city, art in publicspaces and buildings.

/ Architectural theory: conceptsand frameworks, contemporarycurrent situation and context,anthropology and sociology.

/ Design theory: concepts andframeworks, contemporarycurrent situation and context,

anthropology and sociology.

Architectural and design theory inthe second year are linked to projectwork (Mondays or Tuesdays), so thatstudents receive direct theoreticalinput and are motivated to (also)explore the theory. This forms thefirst attempt to develop individualpreferences and (private) research.In addition, we organise lectures

and seminars for both architecturaland design theory in line with theresearch themes.

In the second year, in the frameworkof architectural and design theory,attention is given to anthropology ofspace and to the way students observeour relationship with spaces andobjects from an anthropological andsociological perspective. Studentsexamine and experience space andobject from different perspectives:from the various spaces (public/private), the various users (visitor,cleaner), (often culturally deter-mined) actions, (social) behaviourand scripts that (should) take place,and the senses (what does it smelllike?). The use and development ofempathy plays a major role.

Year 3 [semesters 5 and 6]

Main PhaseMission: depth and connectionThe key concepts of this part of themain phase are forecasting, back-casting, visionary thinking, dreams,future, here and now, reality check,skills, knowledge, practical andprofessional experience, intern-ship. Students also reflect oninternational and national contem-porary issues, connect to the real

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world, and find their own positionin the framework of the theme: ‘whoam I’. This year also centralisesthe reality check: knowledge of thepractical and professional environ-ment, employee versus entrepreneur,relation to the field, industry andgovernment, and business.

The third year follows the samestructure as year 2, with as addi-tional aspect the link with profes-sional practice. In the assignmentsin the design domain, depth ofstudy is achieved by emphasising themanufacturability of the designs.The students are made aware of theconsequences in relation to construc-tion, materials and costs that result

from a developed concept: the realitycheck.

An important aspect of the third yearcurriculum is the practice assignment:students work for external clients onreal assignments in which the produc-tion and realisation within strictbudgetary frameworks and with strin-gent planning is an important aspect.This direct link to professional prac-tice is also made in presentations inthe Netherlands and abroad, such asthe annual presentation at the Salonedi Mobile in Milan.

Students are encouraged to workcross-disciplinary, optimally utilisethe available expertise, and allfacilities and workshops at the KABK.The media & materials and knowledge &context domains are expanded focusingon specific themes and techniques.

These overarching themes emerge fromannual themes, often related to asocial context, that also guide therest of the domains.

In the fifth semester students writean internship plan. In the sixthsemester they take part in an inten-sive period in the professional fieldby interning at a carefully chosenand suitable (inter)national designor architectural bureau.The main phase is concluded with the

Memento: an assessment of the port-folio of work created in year 2 and3.

Curriculum old styleYear 4 [semesters 7 and 8]

Final phase: positioningKey concepts: manifestation, oeuvre,statement and portfolio, moreresearch, in-depth research, essay/thesis, collection development.

In addition to an intensive period inthe professional field in the formof an internship in semester 7, thestudent creates an interior archi-tecture or furniture collection insemester 8, masters the associated

techniques and is able to give hiscollection a position on the market.The primary goal of the final phase,which is concluded with an examina-tion, is the candidate’s demonstra-tion of his qualities as a designer.This means that he is able to trans-form his ideas into concepts, archi-tectural solutions, furniture andproduct solutions, form, material,technique and detail; in the contextof one or more assignments.

The exam Interior Architecture orFurniture Design consists of thefollowing components:

/ The creation of a design ormultiple designs that addressa collection of interiorarchitecture, furniture orrelated subject, in its totalityand broadest sense of the

word. This happens within theframework of both a thematicand a self-chosen assignment,in which an interior or pieceof furniture can be intensivelyproduced. The use of technicaland spatial conditions shouldbe interesting enough to arriveat a qualitative plan. Onerequirement is that the planshould allow both architecturalfurniture and object solutionsand interventions.

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/ The creation of a designor multiple designs, whichexpress the student’s personalmission and quality. Thisdesign determines the student’sposition and his collectionin its totality, and can be inline with previous projectscompleted in the IndividualStudy Trajectory.

/ Previously completed designs(from previous study years)can be part of the candidate’soverall presentation, thecollection.

/ The writing of a thesis abouta subject relevant to thediscipline/profession, with the

aim of formulating and applyingtheoretical backgrounds inrelation to the personal missionand beliefs.

/ Graduation exhibition andpresentation of the collection.An important aspect of the finalphase is the visual and verbalpresentation of the collection,during which we expect studentto position himself and tocritically reflect on thediscipline, his fascinationsand his relationship to hiscollection.

A schematic overview of the new andold curricula of the Interior Archi-tecture and Furniture Design full-time and part-time programmes, withthe corresponding credits in EC s, isincluded at the end of this chapter.

ScheduleEach semester students work on twomain projects, the design assign-ments that consist of several stages.Students are able to work veryintensely on the projects over aperiod of sixteen weeks. On Tuesdaysor Wednesdays, Morphology, the IST and the Research Labs are scheduledin. The rest of the weekly programmeis more or less available for workon the projects. Students usuallyreceive theory classes on Thursdays.

On Fridays, the media & materialsdomain is scheduled, for the moreautonomous skill exercises.

The part-time programmeThe part-time course is predom-inantly similar to the full-timeprogramme. The Individual StudyTrajectory ( IST), however, is offeredas a taught programme. There is nocompulsory internship; students arerequired to make their own connec-tions in the professional field.

2.6.4 Educational and professionalobjectives

Integral feedback

At the end of the first and thirdblock, students give a short pres-entation on the work done in theprevious period to all teachersand fellow students. This is aninformal feedback session, informa-tive and intended as an exercise inpresenting. This presentation maylead to a set of customized goals/objectives for the next block.

Individual assessmentsAt the end of each semester, studentspresent work done in the previousperiod per subject to the relevantteacher and fellow students. This canlead to a set of customized goals/objectives for the next semester.

Collective assessmentsEach semester is concluded with ashort presentation by the studenton his work from the previous period

and includes the (re)presentationof the design assignment and otherexercises. It is a formal assessmentthat is informative and intended asa presentation exercise. During thecollective assessment, the studentpresents his work directly to the(examination) committee, the team oflecturers and the audience (fellowstudents). The student receives imme-diate feedback on his work duringthe presentation, and there is roomfor dialogue. The final assessment

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and internal committee deliberationstake place without the student. Theaim of the interaction with the teamis to get an idea of the student’swork, his capacity for reflection andtogether formulate fitting short-term goals/objectives for the nextquarter or study year. The formulacontributes to the protection of theoverall quality of the programme,the student’s individual input, hisprogress and his continuity in thestudy process.

Propaedeutic year assessmentStudents receive a binding studyadvice after the first year: thepropaedeutic year. The student isassessed halfway through and at

the end of the first year to deter-mine whether he has acquired suffi-cient design skills and demonstratesvisible talent to further developinto a potentially good designer. Heis also assessed on the basis of hisability to connect with his environ-ment from the position of designer.An overview of the propaedeutic yearcompetences can be found at the endof this chapter.

CompetencesAt the end of the programme, thestudent must master the InteriorArchitecture and Furniture Designcompetences of a spatial designer.This means that the student can func-tion independently as a designer inthe professional field. His develop-ment as a generic all-round designeris the programme’s primary aim. Hehas developed in such a way that he

can apply the gained knowledge andexperience to professional situa-tions. This demands certain things ofthe person and the personality of thedesigner.

A designer educated at the KABK hasa personal vision on the profes-sion of designer and his place insociety. He knows, in a surprisingand layered manner, how to transfermeanings and to reflect on develop-ments in the discipline and society.

From an investigative attitude andan independent working process, thestudent is able to set new develop-ments in motion, pick up old existingones and continue working with them,and develop his vision, mission andoeuvre. By doing so he considersproblems and subsequently solves,materialises and translates them.

Of equal importance is the student’sawareness of the cultural, social,technological and economical develop-ments surrounding him. Engagement isthe breeding ground for his method.If the designer wants to play arelevant part, he must show empathicability; he has to be aware of hisaudience.

The student learns to developand profile his own position asa designer. This requires him todiscover, investigate, research,question and shape his own prefer-ences. To do so, he needs to have anindependent mind-set and a reflectivedesign attitude, and sufficientlybroad theoretical and artisticknowledge and insight. The studentshould have ample critical reflectionskills, to observe, analyse, inter-pret and evaluate his own work andthat of others.

The complete overview of the compe-tences can be found at the end ofthis chapter.

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Many of teachers have a profes-sional practice and work eitherindependently or in a team. Becauseof the diversity in experience andexpertise, the student is confrontedwith numerous aspects and approachesof the discipline. Specific knowl-edge of the professional practice isoffered by means of guest lectures.

Head of Interior Architecture and Furniture DesignClaudia Linders

Head of part-time programmesErnst Bergmans

CoordinatorsRoosmarijn [email protected] [email protected]

Internship coordinatorWillem Moeselaar

Study AdvisorEllen Vos

Team of LecturersDesignGert Anninga Amber BeerninkJan Harm ter BruggeMaarten Collignon Lars van EsIngeborg HorstBarend Koolhaas Sophie KrierJeroen van MechelenAura Luz Melis Wendy LegroPaul MoorWim Ros Christoph SeyferthRamin Visch

Wim De VosAdjo VreeburgJulian Wolse

MorphologyKrijn ChristiaansenCathelijne MontensEllen Vos

Media & MaterialsMarie Ilse BourlangesMarijke CobbenhagenVanessa van DamCorine DatemaSanne DijkstraChantal HendriksenElena Khurtova

Harold LinkerWillem MoeselaarSanne PeperMichaël SnitkerFrans Willigers

Knowledge & ContextLiesbeth FitInger GroeneveldErnie MellegersEric Vreedenburgh

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* Incl. Business Plan Writing in year 3


INTERIOR ARCHITECTURE AND FURNITURE DESIGN FULL-TIME

NEW STYLE (YEAR 4 IS NOT YET AVAILABLE IN THIS FORM)

Year 1 2 3 4

Course 1 2 3 4 5 6

Design 12 12 12 12 12 4

Morphology 6 6 3 3

Media & Materials 6 6 4 4 4


project week 1

Knowledge & Context 2 2 4 4 3 1

Research and Dicourse 3 3

Essay / thesis 2

Programmed career preparation * 1 1 1 2 1

Internship plan and internship 1 18

End exam projects

IST / Portfolio / collection 6 6 6 6

Total 30 30 30 30 30 30

EC after individual assessment 24 24 24 24 24 24

EC after collective assessment 6 6 6 6 6 6


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INTERIOR ARCHITECTURE AND FURNITURE DESIGN PART-TIME

NEW STYLE (YEAR 4 IS NOT YET AVAILABLE IN THIS FORM)

Year 1 2 3 4

Course 1 2 3 4 5 6

Design 10 10 10 10 10 10

Morphology 8 8 6 6 4 4

Media & Materials 6 6 4 4 4 4

Knowledge & Context 2 2 3 3 3 3

Research and Dicourse 3 3

Essay / thesis 2 2

Programmed career preparation (*) 1 1 1 1 1 1

End exam projects

IST / Portfolio / collection 0 0 6 6 6 6

Total 30 30 30 30 30 30

EC after individual assessment 24 24 24 24 24 24

EC after collective assessment 6 6 6 6 6 6

* Incl. Business Plan Writing in year 3


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INTERIOR ARCHITECTURE AND FURNITURE DESIGN PART-TIME

OLD STYLE (YEARS 1,2 AND 3 ARE NO LONGER AVAILABLE IN THIS FORM)

Year 1 2 3 4

Course 7 (9) 8 (10)

Design 1

Design 2

Visualising.presentation

Career preparation

End exam 18

Theory and profession theory

Internshio 24

Intro General Art Theory /

Academic skills

Thesis 6

IST 6 6

Total 30 30

EC after individual assessment 24 24

EC after collective assessment 6 6

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2.7 Interactive / Media / Design

2.7.1 ‘History’ of the discipline

In the short history of interac-tive media there have already beena number of radical shifts in thegeneral perception of the discipline.During the rise of the internet inthe early nineteen nineties, therewere two major streams of thought onhow this medium could develop. On theone hand there was a strong beliefthat the internet would play a vitalrole in the expansion of individualfreedom and that it would contributehighly to an accelerated media-eman-cipation of the attuned partici-pant. However, at the same time this

freedom was celebrated, most devel-opments were highly clustered aroundindividual, immobile usage. Technicaldevelopments had not advanced tothe current level; mobile communica-tion was still mainly operating inthe professional domain, broadbandinternet was only accessible to afew and only used for professionalpurposes and the costs of participa-tion were still significantly higher.Most of the applications outside ofthe professional domain were built toserve on stationary, slow personalcomputers with a very limited accessto the internet.

Today we can assess that the riseof interactive media has partly ledto the emergence of very differentapplications than could be predictedat the beginning of this journey.Developments have surfaced which

prove rather the opposite of someof the concepts of that time; forinstance the believe that internetand mobile telephones were two sepa-rated tracks or the belief that peer-to-peer communication could not becommodified. But also the assumptionthat every social-societal develop-ment would follow the same, lineartechno-economic path. Again, we knowbetter now; the most explosivelyexpanding economy is that of mobilecommunication, in which most of the

capacity is not being used for makingtelephone-calls yet it is based onthe technology developed specificallyfor that purpose. The fastest growingcompanies (like Facebook, You-Tubeetcetera) are basically re-sellers ofcontent generated by its own clients– now transformed into prosumers,being producers and consumers atthe same time - proving that it isno necessity to have a central coreof production (or any productioncapacity at all) to generate streamsof sellable content. If we look atthe techno-economic progression inmost of the African countries, we cansee that ‘the new participant’ enterson the most advanced level, in otherwords; there is no need to go through

all the in-between stages likestationary computers, fixed tele-phone-lines or even traditional tele-vision to get to the most progressedlevel of participation. Most Afri-cans have never seen their Facebookprofile on a ‘normal computer’ butonly on their smart-phone and many ofthese participants use the same phonealso to pay for their daily shop-ping (through an app like M-Pesa forinstance) not only in the shoppingmall but also on the local market.This type of usage is very advancedin comparison with regions with alonger history of usage.

Such examples show the necessity ofa re-assessment of the notions of howand where new developments (will)take place. Therefore the thinkingabout interactive media designdemands much flexibility and a keen

awareness of social developments,worldwide. The awareness of one’s ownrelation with society (at large) andthe personal position of the designerin the ever changing field condi-tions of interactivity are subjectto constant monitoring and training,equally important to the developmentof skills to express oneself.

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2.7.2 The actuality of Interactive / Media /Design

As the implementation of media-con-vergence has probably not reachedits full potential yet and as theconcepts and perceptions of whatinteractive media are keep changingat high velocity, it serves littlepurpose to actually speak of ahistory of interactive media as aseparate part of its progress. Ofall the disciplines which are iden-tified at the Royal Academy, Inter-active / Media / Design is probablythe hardest one to define on basesof what has been. A common miscon-ception is that interactive media

design is synonymous to interactiondesign. Interaction design focussesmostly on the development of soft-ware and computer-human interfaces.It is an essential part of Interac-tive / Media / Design, but explic-itly not all inclusive - for thearguments mentioned before demanda perspective which is overarchingall specific media. Designing in thetrail of ‘Moores Law’ under whicheffects processing speed, computingand memory capacity roughly doublesevery eighteen months, new poten-tial is unlocked in a constant andpredictable rate. Yet, whateverpossibilities this generates is nota given. The designer stands in themiddle and transduces notions fromthe virtual to the actual and viceversa, in which media themselves playan affording role, but not hold thekey to expose the true meaning of

this future development. The crea-tion of new interaction can never beseparated from the designer or theconditions it emerges from. New formsof interaction can be self-referen-tial, but never be detached.

This meta-medial perception is prob-ably the hardest ‘skill’ to masterduring the studies at this depart-ment, after all there is a constantdemand of producing physical products(which obviously could be digital as

well, the oxymoron of modern media)and yet there is a keen awarenessthat the real progress in mediadevelopment is not found by simplyjust crafting a new application foryour I-phone or another MMORPG .

For these reasons, the centralquestion is always; what is inter-action? If you would have addressedthis issue twenty, fifteen or tenyears ago you could expect a range ofanswers which were as true, as theywere not. Today not many know whatthe role and importance of prod-ucts like ATF-3, CD -i, altavista orsecond life was (or even what theywere at all), yet just a few yearsago these were regarded as highly

innovative and exemplary in the fieldof interactive media. The quest fora definition of interaction is keyfor the involvement of all partici-pants in this department, scholars,tutors and student alike. At thesame time all share the awarenessthat there is no singular answer. Thefocus must therefore be directed onthe capacities of the media we dealwith, rather than their properties,not because the latter will not beable to stand the test of time, butespecially because interaction onlyexists in relations, and not in theobject itself. These dynamic, ener-gising and agile conditions shapethe ‘habitat’ of a special breed ofcreator; the Interactive / Media /Designer.

2.7.3 Profile of the department

Description of the departmentInteractive / Media / Design is theyoungest department of the RoyalAcademy of Art training studentsto become designers of interactiveconcepts and processes. I/M/D laysdown the link between people andprocesses as well as those betweenpeople and products. Ideas are ourmain product and that’s why studentsat I/M/D are taught to think innon-media specific terms, which are

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later translated into a conceptand meta-medial, multi-medial orcross-medial applications.

Students work with real cases andcommissions, focusing on the inter-national market. To strengthen thestudent’s expertise and their chancesof reaching an international audi-ence the department uses English forall its courses. Since the demandfor media designers is constantlygrowing, I/M/D provides the educationnecessary for independent, social,conceptual, creative and pan medi-al-designers.

Students learn to detect cultural,social, technological and economic

trends in society and transfer thosetrends into promising new concepts.During the course of the study onelearns how to work with a varietyof media techniques necessary tocommunicate with specialists on aprofessional level and to apply thosetechniques to their optimal level.Equally important are the methodsenabling the student to keep an over-view of the process as well as thesetting and realization of goals.

The program is built up to effi-ciently engage numerous media-typol-ogies. At the start of the programthe student is immersed in coursessuch as: Interaction Design, GraphicDesign, Photography, Sound-Designand Visualizing. After this exten-sive introduction the focus shiftstowards individual development of thestudent. I/M/D pushes the limits of

media with courses such as ConceptDevelopment, Meta-Medial Thinking andPersonal Leadership, the student willbe faced with the question, “What canI do with this knowledge and whatrole do I play? With these ques-tions in mind the student goes on toencounter courses such as: MultimediaArtistic Development, Creative Lead-ership, Critical Media, Storytellingas well as more in depth levels ofInteraction Design, Concept Develop-ment and Moving-Image.

Collaboration is an essential partin preparing for the professionalcircuit. At I/M/D the students learnto assess their own expertise as wellas those of their colleagues, whichis the key in collaborating success-fully. Many projects are executedcollectively, often teaming up withstudents from different years. Thisway of working already places thestudents into a studio setting duringtheir studies.

I/M/D continues to be in closecontact with the professional fieldin order to keep informed and todeepen existing insight. Studentsare involved in this process throughdialog with the teachers; collec-

tive attendance to conferences suchas C.C.C. and PICNIC ; co-organizingsymposia as MasterMundo; creating newknowledge and inspiring networks suchas Pool of Masterminds; plus organ-izing challenging internships in theNetherlands as well as abroad.

After graduation students will beable to maneuver in branched networksat different levels, be seekers ofknowledge with the broad perspec-tives necessary to become inde-pendent communication specialists.This will allow graduates to competefor positions at large commercialor non-profit communication agenciesinternationally. I/M/D is the depart-ment for those students who have theambition to impact society throughinteractive media.

Professional profile

A graduate of Interactive MediaDesign has a variety of possiblepositions to consider. The fact thatIM D does not focus on or specialisesin one particular medium, often leadsto the misreading that it is not aspecialisation in itself. The depart-ment was started as a reaction to theincreasing demand from the profes-sional field for a type of designerwhich is knowledgeable enough tocommunicate about media specificissues with various media special-

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ists, yet holds enough distance to beable to translate clients demands andwishes into media expressions. At thesame time this designer should havea keen understanding of the rapidlychanging field of media and theirusage, which demand an attitude thatembraces change and finds solidityin instability. Positions which areenvisioned were that of art-director,concept developer, communicationstrategist or senior media devel-oper. In spite of its short history(the first I/M/D graduates receivedtheir diploma in 2010) most alumnihave found a professional position inthe described category or similar.We currently find them all overthe globe (Berlin, Hong Kong, Los

Angeles) working for a commercial ornon-profit organisation.

End-qualificationsThese qualifications are expressedin seven competencies within threedomains. The Royal Academy has draftedthese competencies in line with thenational guidelines for the studiesin design. During the four years ofstudy, our students will be testedon the development of these competen-cies, each step at a more challenginglevel. The competences are:

/ Creativity

/ Critical reflection

/ Growth and innovation

/ Organizing

/ Communication

/ Relating to the environment


/ Ability to collaborate

These competencies are the basis ofthe evaluation by the teachers at theend of each course and they are alsoused to evaluate the presentationsat the end of each semester. In turn,twice a year an evaluation meeting isheld for the students to evaluate theprogramme and suggest improvements.A more detailed description of the

requirements can be found at the endthis section of this study guide.

The students are tested on the devel-opment in this range of professionalcompetencies within three domains:

/ Artistic Technical domain

/ Theoretical domain

/ Professional social domain

The parameters for the developmentof a renewing department like Inter-active / Media / Design reflect inthe development of an enriched andrelevant set of competences. Wehave chosen to handle projectiveapproach towards the educational

goals. This means we try to keep asclose as possible to our originalset of parameters without focussingtoo much on outcome. This way I/M/Dwill remain flexible, participatorycreative/reacting and able to swiftlyadjust its course if necessary.

The parameters of I/M/D are: / Creativity and innovation

/ New thinking

/ The I/M/D staff and studentshave to work with real problems,real people and real conflicts.

/ Never out of touch with what ishappening in society.

/ Students should be brave andtake risks.

/ Creative, ambitious, curious,risk-taking, social engaged.

/ A unique educational program foryoung people who wish to make apositive difference in society.

/ How do we best unlock thecreative and innovative forcesin each individual and insociety as a whole?

/ The study has had and shouldalways have a direct linkwith the private, public andvoluntary field.

/

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/ The idea is to helporganisations and individualsmaster the capability forinnovation and creativity,leveraging the I/M/D philosophyand methodology.

/ Creating, testing, displaying,

unfolding great ideas, products,services and learning.

DiplomaThe study entitles graduates to thetitle Bachelor of Design ( BD es) andgives access to additional studyprograms on the master level.

Follow-up studiesWith the acquired diploma, alumni

could chose to enrol in a masterprogram. Some interesting programscan be found in Holland, to name afew: Master Artistic Research ( KABK),Master Media Design and Communica-tion ( PZI ), Master Interactive Mediaand Environments ( FMI), Master MediaStudies (UvA).

Admission-procedureCandidates apply through theinternet, they fill out the applica-tion form and receive a document witha specification of the documents theyhave to produce before the admissioninterview. After examination of thesedocuments, candidates are invitedfor a day of admissions; during thisday candidates are asked to work ona task, specifically design to testsome of the specific qualifications.Besides this they will be interviewedby a panel consisting of a coor-

dinator, several tutors and occa-sionally also students. During theinterview all kinds of questions areput, hopefully not only by the panel;during the day it is really meant todetermine if the candidate fits inthe department and if the departmentfits the candidate, it is not an examin anyway.

Specific Admission requirements

Letter of motivationIn the letter of motivation candi-dates describe:

/ their creative past (see alsoportfolio);

/ forms of interactivity, mediaand design they are interestedin;

/ techniques mastered;

/ software mastered (basicknowledge of Adobe Photoshopis a big plus. Some experienceof Adobe Illustrator, AdobeInDesign, Flash, After Effectsis helpful.);

/ previous education;

/ what they want to achieve intheir studies;

/ general interest in culture,society, communication,technology at large;

/ specific interests in genres,styles, other disciplines andtechnology;

/ what they want to contribute tothe learning environment;

/ questions they have regardingthe study (reflecting an abilityto transform opinions intoquestions; this is importantsince exploration, research,clear communication andunderstanding are basic elementsin the program);

/ curriculum vitae (resume);

/ the new niche they want tocreate in the design practice ofcreative industries.

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PortfolioIn the portfolio candidates compre-hensively describe earlier works,performances, interactive, media ordesign projects or other contribu-tions to the field of communication.Illustrated with photos, drawings,reviews, etc. The portfolio maybe illustrated with recordings oncd-rom, video DVD, audio cd, anycommonly used data carrier that workson a modern computer or web links.Candidates should mark a maximum of3 minutes they absolutely want tobe viewed or heard by the selectioncommittee. General note: we recom-mend to make a selection of a maximumof three relevant projects. The bestproject should always be the first

project to be shown. We would like toreceive (a selection of) your port-folio by email together with yourletter of motivation. Make sure thatyou do not exceed a maximum file sizeof 5 MB per email. So when neededsend multiple emails, with a clearsubject and please number them. Youcan, of course, also disclose yourportfolio online.

Official documentsA copy of your passport, a visa (whenapplicable), a copy of your diplo-ma(s), two passport photos and youremail address should be sent in ortaken to the interview. Note thatsome of these documents could behanded in later if not yet availableat this moment (visa, diploma etc.),but should in any case be ready totransfer at the moment of acceptanceto the academy.

2.7.4 Overview of the study-program

Interactive/Media/Design is offeredas a full-time program, which laysthe emphasis on research and self-de-velopment. The courses are struc-tured according a logical pedagogicalline of development, which does notrecognize very sharp boundaries; itis unlikely that anyone would everbe able to stop learning or would

disregard anything that is useful inthe development of one’s interest. Itis rather a fluently shaped scale,allowing for acceleration of thelearning curve at almost any stage.The structure of the program unfoldsinto five major phases;

/ Skill development

/ (Advanced) Skill application

/ Research-development

/ Exploration of the professionaldomain

/ Self-development

These phases are divided over thefour year program, but - as argued

before – do not always require a hardcut in between them. For instance onecould imagine that whilst masteringa certain skill, one could alreadybe working with another skill ona much more advanced level at thesame time, or that as a result ofa particular research interest thenecessity arises to master yetanother skill-set. This is translatedinto a certain clustering of coursesand leaves room (from the secondyear on) for a fully personalized,individual study-trajectory, whichallows for the in-depth explorationof a specific field of interest. Thisprogram ( IST ) needs to be constructedby the students themselves and cancontain the development of an orig-inal project in or outside the schoolor could be filled by taking coursesin other departments or at LeidenUniversity, varying from very prac-

tical to the very philosophical.

The development of the competen-cies through the five phases can bedivided over the three major domainsas follows:

Artistic Technical domain\

/ Skill development

/ (Advanced) Skill application

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Theoretical domain

/ Research-development

/ Self-development


/ Exploration of theprofessional domain

/ Self-development

Programme

Year 1 Propedeuse Skill development

In the first year students are intro-duced to a range of skills and will

construct a set of mental modelswhich will allow them to get controlover the newly discovered domainsof this department. The goal is toprovide the student with enoughknowledge to be able to independentlyproduce media expressions using themastered skill-sets and lay the foun-dation for the advanced developmentof those skills. Many students havea preferred medium they like to workwith and usually this selection ismade during this year. After havingsuccessfully completed the firstyear you will receive a diploma whichgives access to the second year,but also allows to enter the secondyear of similar programmes in termsof requirements. The courses in thefirst year are:

/ Concept Development

/ Interaction Design I

/ Moving Image I

/ Graphic Design

/ Art Theory

/ Visualizing

/ Sound Design

/ Connecting the Dots

/ Introduction into Science

/ Academiebrede PropedeuseProjectweek (ABPP)

These courses can be roughly dividedover the three major domains asfollows:

Artistic Technical domain / Interaction Design I

/ Moving Image I

/ Graphic Design

/ Visualizing

/ Sound Design

Theoretical domain / Concept Development

/ Art Theory

/ Introduction into Science

Professional social domain / Concept Development

/ Academiebrede PropedeuseProjectweek (ABPP)


To give an example of one of thecourses, the detailed description ofInteraction Design 1:

How to create intelligent, respon-sive media environments and shapethe two-way communication betweenthe human and the machine? Whatfactors are essential in thedesign of interactive applicationsappealing to our senses, triggeringemotions, influencing our behav-iour and way of thinking? Interac-

tion Design focuses on masteringelementary conceptual, visual andtechnical skills required in manyinteractive media productions. Thestudents work on projects based onindividual concepts, create theirown visuals and animations, butmostly develop one of the most chal-lenging and fundamental elementsunderlying the structure of inter-active systems – the code. Exercisesin scripting graphics, programmingfeedbacks, coding interfaces are

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evaluated in terms of beauty, func-tionality, usability and other issuesrelated to user experience.

Year 2 (Advanced) Skill application andResearch-development

During the second year the emphasisof the study shifts more towardsthe application of the acquiredskill-sets and the development of amore distinct personal interest ina specific direction. This is alsothe time to start the IndividualStudy Trajectory ( IST) which allowsto spend one day a week solely onone topic or course. Obviously allyears are important, but the second

year is rather a special year in thesense that it demands a much moreoutspoken view on the why rather thanthe how and what. This journey willlay the personal foundation for therest of the study and is generallynot regarded to be very easy. Afterall, it is not a light task to finda way to identify your own strengthsand weaknesses and connect a set ofimportant decisions to that. But thisis not something one has to do alone,guidance is integrated into thecourse and there is also a specialguide for devising the individualstudy trajectory. As writing is anessential part of modern communica-tion, a special course is designedto improve the student capacitiesto express themselves in the writtenword, obviously using the Englishlanguage:

Writing Life is designed for studentsto achieve fluency in the art ofwritten communication. Englishlanguage skills are essential toreaching an international audience.Much of today’s information, whetherthrough the internet or more tradi-tional means is exchanged through thewritten word. Although an artist’swork is image based, written commu-nication is required if she/he wantspeople to gain a deeper knowledgeof their expertise. Through various

writing exercises, critique andassignments covering commercial,academic and creative writing, thestudents will come away with knowl-edge and skills that will give themconfidence in world of written inter-action.

The courses in the second year are:

/ Interactive Architecture / 3D

/ Interaction Design II

/ Moving Image II

/ Photography

/ Writing



These courses can be roughly dividedover the three major domains asfollows:

Artistic Technical domain

/ Interaction Design II

/ Moving Image II

/ Photography

Theoretical domain


/ Writing


/ Interactive Architecture / 3D


Year 3 Research, self-expression andexploration of the professional domain

The third year consists of two verydifferent parts, the first semesteris devoted to the critical reflec-tion of all that has been acquired inknowledge and skills and the secondsemester is reserved for the execu-tion of the internship. The coursesin the first semester aim to connectthe personal, creative developmentto the possibilities and demands

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of the outside world, not only asa preparation for the internship,but also to reflect on trends andoverly celebrated gadgetry as beingalmost circumstantial, rather thanessential. The internships vary inexecution; there have been highlycommercial jobs in very competitiveInternational environments but alsofully research driven ecologicalawareness programs for large Interna-tional non-profit organisations - andeverything in between – yet all havein common that they we perceived asvery satisfying collaborations, whichin some cases even directly led to ajob offer. The critical standpoint isclearly reflected in this course:

Critical Media;Engage critically with contemporary society.The Critical Media Course has theambitious goal of critically exam-ining contemporary society. Suchcritic can only be honest andprolific when based on introspection.The students of Interactive, Media,Design are proposed to first andforemost revise in a critical mannertheir working methodology, togetherwith their sources of information andinspiration. Grounded on the impor-tance of information and knowledgefor contemporary society, questionsof control and power are fundamentalto understand and engage activelyin society. “Who controls the infor-mation flow?” and “How is knowl-edge produced and distributed?” arequestions that are discussed in thiscourse based on insights from contem-porary philosophers and thinkers such

as Noam Chomsky and Jean Baudril-lard. Once critical thinking has beenseeded, the next step is to pointcreative experiments that are busywith the exposed questions. Tacticalmedia and hacktivism are two possibleapproaches that include art organ-izations like “The yes men”, Jodi,HeHe, Ubermorgen and art projectlike “Google will eat itself”,“Image Fulgurator” and “anti-so-cial networking”, etc. Finally andmost importantly, during the course,

critical projects are developed inorder to experiment and test some ofthe concepts discussed. The courseends with a public event where theoutcomes are discussed with a largeraudience.

The courses in the third year are:

/ Writing Life

/ Multimedia Artistic Development

/ Cultural Hacking

/ ALEPH

/ Internship

/ Workshop 3D

These courses can be roughly divided

over the three major domains asfollows:



Theoretical domain

/ Writing Life

/ Multimedia Artistic Development

/ Cultural Hacking/ ALEPH


/ Internship

/ Workshop 3D

Year 4 Self expression

The final year of your studies willprovide many moments of excite-ment and joy, but obviously demandsalso a long period of hard work andmany difficult decisions need to bemade. The final exam is not only theclosure of your studies, but (equallyimportant) the start of your careeras an interactive media designer. Theacademy takes much pride in organ-ising the exposition of the finalwork because it is very aware thiscould be the catalyst for the indi-

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vidual designer to distinguish him orherself in the professional field.During the final year, there areseveral important issues to addressand boxes to be ticked. You have toproduce a thesis, which researchesa field of your interest, which isclosly related to your final exam.You will also have to produce a busi-ness plan, assuring that you willhave been properly introduced in thefield of the legislative and finan-cial side of your practice as (inde-pendent) designer. And of course youwill have to produce a spectacularand innovative venture, which willserve as your graduation project. Inorder to ensure that you will haveall the attention directed towards

this you will be guided by severalexperts. During individual and/orcollective meetings you will gradu-ally progress to the final stage; theexhibition of final exams.

The courses in the fourth year are:

/ Senior Seminar

/ Exam and Concept Guidance

/ Thesis

/ Business plan


/ Final Exam


/ Concept Development 3

/ Interactive Architecture

Theoretical domain

/ Thesis


/ Business plan

2.7.5 Educational- and professional goals

Interactive / Media / Design doesnot focus on a particular medium,

the development of conceptual andtheoretical skills is just as impor-tant as the development of practicalskills. The program offers these corevalues by applying a point of depar-ture which rest on three specificparameters:

/ Integrated Theory: Apart fromthe clearly theoretical drivencourses (like Art Theory), mostcourses have an integratedtheoretical component. Thismeans that skills are notpresented without theircontext and history, personaldevelopment is connected tolarger systems in society andmethods are always critically

tested. This ensures that allstudents gain a built-in layerof theory, which they cannotalways identify, but will becomevisible once they start toput their accomplishments inpractice.

/ Intrinsic professional bounding:Intrinsic bounding with theprofessional practise is reachedthrough the expertise and

connectedness of our teachingstaff. Almost all staff-membershave their own professionalpractice and they will connectthe practice of the actualityas much as they can to theeducational goals. This leads toa very high percentage of actualcase-studies with which thestudents can work and severalintegrated projects have beenundertaken in collaboration withthe professional-field.

/ Self-development: AlthoughInteractive / Media / Design isa department that specificallyoperates in the realm of design,we are very much aware of theopportunities given by the factthat we are part of an artacademy, as opposed to a beingembedded in a more technicalsetting or being part of a veryskills driven environment. We

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take the legacy of the finearts tradition very seriouslyand strive to embrace a totalconceptual freedom, althoughthe products produced might bedesigned out of a concrete andpragmatic brief. In order tobe able to fully address theindividual students potential,we invest much time in thedevelopment of the artistic andconceptual qualities of thestudents.

Within the three major domains inwhich students will master their setsof competencies, Interactive / Media/ Design has attached some specificqualification to the deployment of

their key values. Artistic Technical domainAs argued, the development of theartistic domain as a ‘freestanding’quality is regarded as highly valu-able at our department. From the verystart we engage an open and construc-tive dialog with our students. Inthis specific field, where we cannotbe sure of the effects of new devel-opments, we believe it is instru-mental and essential to maintain anopen vision in which the (practical)research done by all participants(scholars, lecturers and students)delivers crucial information whichcontributes to the better under-standing of future developments, bothin the practical, as well as in theartistic domain.

Theoretical domain

The integrated intake of theoreticalcomponents through the applicationin and attachment of these notionsto very concrete course goals, setsthe ground for a fundamental under-standing of the need to contextualizethe work and leads to the investi-gation of one’s own position in thisfield of labour. Theoretical intakecannot be seen separated from itsapplication, theory and practise areconfined to each other. By deliber-ately steering away from the clas-

sical models of theoretical input, westrive to prevent the ‘airlock’ whichoccurs when the connection betweentheory and practise is not made clearand theory is ‘superimposed’ on thereality of practice, rather than beenmade elementary part of.

Professional social domainModern designers cannot afford totake a fully soloistic attitude; theprofessional domain brings a widevariety of collaborations and hybridforms of authorship. By the intrinsicinsertion of haptic, virtualand actual communication and byconstantly working with real commis-sions and projects, we endeavourlinking our students to the emerging

network of co-designers and profes-sionals which is quintessential forthe design industry. Students startbuilding the valuable networks whichwill prove to be economically essen-tial in their career from the firstday they enter the academy, we helpthem understand the importance ofthat and support any kind of expan-sion by connecting and interlinkingnetworks of all involved; inside andoutside the academy.

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4.6.6 Organisation of the department

The coordinators have the responsi-bility for the department’s policyand all aspects which are directlyconnected to this policy. The staffreflects the content of the depart-mental policy and a broad profes-sional set-up. A large number of thestaff is employed in the professionalfield, where they work individuallyor collectively. By confronting thestudents with a wide variety of indi-vidual viewpoints and values, theywill develop a positive yet crit-ical stance towards the profession.Specific knowledge is offered in theform of Master classes, workshops and

attending conferences.

I/M/D can be reached through:[email protected]

Coordinators:

In charge of content:Marc [email protected]

In charge of organisation:Dave [email protected]

Lecturers (in alphabetical order):Anna ArovMarc BoumeesterArthur ElsenaarMaartje Fliervoet

Johan GustavssonGuy HafkampMichael van HoogenhuyzeJonathan LoomanRemus OckelsGitta PardoelPawel PokutyckiShayna SchappJan TreffersRaymond Taudin Chabot

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INTERACTIVE/MEDIA/DESIGN FULL-TIME

Year 1 2 3 4

Semester 1 2 3 4 5 6 7 8

Visualising 5 5

Sound Design 5

Interaction Design 6 6

Graphic Design 5 5

Moving Image 6 6

Photography 6

Workshop 6

Interactive Architecture 6

End exam projects12 18


project week 1

Ideas in Reality 4

Creative Leadership 6

Internship 24

Business Plan 6

Concept Development 6 6 6 6

Conceptualisation 6 6

Writing Life 6 6

Critical Media 6

Theory: thesis 6


Individual Study Trajectory (IST) 6 6 6 6 6 6

Total 30 30 30 30 30 30 30 30





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2.8 Textile & Fashion


Please note: at the KABK, thespecialisations textile design andfashion design are represented inone programme. However, they eachhold their separate place in theprogramme, to provide students withthe possibility to graduate in eitherfashion design or textile design.

History of the disciplineTextile has always been, and stillis, an important expression ofculture and zeitgeist. The dictionarydefines textile as ‘a cloth, espe-cially one manufactured by weaving

or knitting; a fabric’. Initially,climate and weather circumstancesgave textile a primarily protectivefunction.

Origins, community and tradition intextile form are global points ofrecognition. One can easily learnabout important events, personalhistories and lifestyles throughouthistory from textiles. Textile alsoreflects recognition, acknowledg-ment and status. Wealth, vision andaesthetics are strongly expressedby textile and party influence thebehaviour and values of a culture.The influences from a rich history oftextiles are an important source ofinspiration for a textile designer.Textile as a status symbol and tradehas evolved in such a way over time,that the two have become inseparable.Fashion, the phenomenon of an ever-

changing taste in clothes, did notoriginate until in the Renaissanceaccording to some, while others sayit came into being at the court ofLouis XIV, where the mistresses ofthe French court started to decidewhat was fashionable. The realbreakthrough came in nineteenthcentury with the emergence of thebourgeoisie, the acceptance of theEnlightenment and the appointment ofconcepts of individuality and person-ality as central to modern culture.

Charles Frederick Worth (1825-1895),the Englishman and founder of Frenchhaute couture, is considered to bethe first couturier. After sevenyears of training in the Londontextile industry, he arrived in Parisas a 20-year-old fashion designer.Worth was the first fashion designerwho grew to stardom because he gavehis garments artwork status. Further-more, he presented a new collectionevery year, with which he establishedthe sales-enhancing constant renewalof fashion, from which designersstill profit today. He designed theartificial crinoline, the ‘cul deparis’, and several cutting tech-niques without which the fashionhistory would not be the same today.

Worth was the first designer tocombine an English cutting techniquewith French glitter and glamour.

Current situation of the discipline‘Fashion is a temporary transient,but at some time generally assim-ilated, social or artistic custom,particularly of clothing and attire’(dictionary definition). Fashiondemonstrates its approaches totime and history in a specific way.Fashion design can therefore bedescribed as a visual expression ofa period, as a reflection of societyand as a form of communicationthrough the language of clothing.Those involved in fashion, especiallyfashion designers, will thereforeconstantly question the ethics andaesthetics of fashion. By exploringthe boundaries of the discipline,designers are encouraged to find

innovative forms, new colour combi-nations and ways of processing ordeveloping new fabrics.

A fashion designer has a naturalinterest in the unknown and the new.Each season he re-invents himselfand creates a new system of mean-ings. Textile design is a disciplinethat is explored both autonomouslyand in relation to associated disci-plines. It is equally essential thatthe designer finds a personal balance

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between the textiles and the timeperiod. The urge to communicate bymeans of materials, craft and tradi-tion through form and structure keepsevolving, whether or not connectedto form, dimension and content.Fashion, and textile by association,has become an international language.Fashion designers use the semioticsof clothing to extend boundaries andto experiment with identities andappearances.

2.8.2 Study profile

Contemporary professional practice:the professional profileBelow is the description of the

professional profile on which thestudy programme Textile & Fashion atthe KABK is based.

Textile designers and fashiondesigners have a natural interest inthe new and unknown. They have that‘visionary’ talent, which can alsobe observed in visual artists, thatseems to enable them to predict whatthe future will look like and whatan industry will need. This impliesthat the designer is aware of thetime period and society, and that heis able to think and act interdisci-plinary. This presupposes a flexibleattitude, because in order to keepafloat in this evolution, designershave to keep re-inventing them-selves. The field has laid down rulesconcerning research, visualisation,visual language, execution, pres-entation, professional demeanour and

potential possibilities for growth.In order to guarantee the evolu-tion, growth and expansion of theirwork and the discipline, individualdesigners must be able to apply,manipulate and help determine theserules.

Fashion designerA fashion designer demonstrates abroad and general interest and showssocial involvement. He is interestedin sociology, anthropology, semi-

otics, psychology and visual culture,which provide him with a sufficientartistic, practical and theoreticalframework with which to develop hisown views and create an authenticimage in the form of a collection.

Textile designerA textile designer has to be able todevelop a personal view and imagefor independent spatial textileworks related to the time period. Thedevelopment and processing of mate-rials and forms in relation to theirsurroundings is equally important.This can concern the beautifyingan interior, clothing, industrialneeds, product development or auton-omous expression. Textile designers

provide answers to questions posedby society and those that arise inthe areas of technology, art andfashion. Additionally, textile designis the translation of a feeling aboutsurface and/or the manifestation ofform in relation to space.

Description of the programmeStudents are educated to becometextile or fashion designers. Uniqueat the KABK is the fact that thespecialisations textile design andfashion design are represented inone programme. However, they eachhold their separate place in theprogramme, to provide students withthe possibility to graduate in eitherfashion design or textile design.In 2003, the specialisations werecompletely restructured according tothe model of the fashion departmentat the Royal Academy of Fine Arts in

Antwerp.

The aim of the programme is totrain students to become independentdesigners. Students are encouragedto develop their own personal viewand signature, for which they haveto create a relevant balance betweenthe fashion and textile aspects intheir work, and show the abilityto interconnect these aspects. Thedesigning of a collection is centralto the programme. The programme does

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Admission procedure

Applicants can find information aboutthe programme on the KABK website.Those who wish to apply can registerwith the student administration foran entrance examination and providethe appropriate documents. The candi-date will then receive an invitationfor the selection day and is asked tobring the following:

/ portfolio;

/ own work;

/ sketch books;

/ collections;

/ subjects or images that relateto his own fascinations.

During the selection day the candi-date is shortly introduced to theprogramme and will take part in:

/ a practical test (morning);

/ a drawing test (afternoon);

/ an interview based on partlyon the candidate’s portfolioand work.

The candidate is informed whether hehas been accepted or not within twoweeks of the selection day.Specific admission requirementsDuring the selection day, the candi-date will be assessed with variousmethods on a number of aspects.

The drawing test provides informationabout:

/ the ability to observe; / dexterity;

/ drawing skills;

/ visual skills;

/ insight;

/ perseverance;

/ personal approach;

/ personal signature.

The discussion of the portfolioprovides:

/ insight into personal interests;

/ information about thecandidate’s environment and wayof thinking;

/ information about thecandidate’s dexterity and/orsensitivity to materials;

/ insight into candidate’s abilityto organise and initiate.

The emphasis is on the student’s ownwork (sketchbooks, notes, collec-tions) that have been made inde-pendent of an assignment or school.The candidate’s answers during the

interview illustrate his:

/ personal interests;

/ ability to reason;

/ general knowledge;

/ knowledge of art, history,culture, textiles, fashion,architecture, etc.;

/ motivation;

/ ambition;

/ personal goals.

The written motivation provides:

/ information about thecandidate’s ambition andpassion;

/ insight into the ability tocommunicate in words.

2.8.3 Study programmeoverview full-time

The study duration is four years.Completion of the first year (thepropaedeutic year) entitles studentsto continue in the main phase of theprogramme. Completion of the secondand third year subjects entitlesstudents to enter the final phase,which consists of finishing aninternship, a thesis and the gradua-

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tion project: the collection (finalphase).

Students make a definite choicebetween the specialisations textiledesign or fashion design for thesecond, third and forth year, nolater than the beginning of thesecond year.

/ Textile and Fashion Design, year1 (propaedeutic year)

/ Textile Design year 2 (mainphase) or Fashion Design year 2(main phase)

/ Textile Design year 3 (mainphase) of Fashion Design year 3(main phase)

/ Textile Design year 4 (finalphase) of Fashion Design year 4(final phase)

The various programme components areclustered as follows:

/ Design I: Textile Design,Fashion Design

/ Design II: Technical design- Textile, Technical Design -

Fashion / Visualizing: Visual Development,

Photography

/ Drawing: Model Drawing, 2D Formsand Colour Studies, FashionDrawing

/ Theory: Art history, FashionTheory, Thesis

/ Other: Internship, Individual

Study Trajectory

Propaedeutic year

Textile & Fashion Year 1

/ Design I: Textile design andFashion design

/ Design II: Technical design -Textile, and Technical design -

Fashion

/ Visualising: Visual Development,Photography

/ Drawing: Model Drawing, FashionDrawing, 2D Forms and ColourStudies

/ Theory: Introduction to GeneralArt History, Introduction toScience, Art History and FashionTheory

Main Phase

Textile Design Year 2 (main phase)

/ Design I: Textile design

/ Design II: Technical Design -Textile

/ Visualizing: Visual Development,Photography

/ Drawing: Model Drawing, 2D Formsand Colour Studies

/ Theory: Art history, FashionTheory

/ Other: Individual StudyTrajectory

Fashion Design Year 2 (main phase)

/ Design I: Fashion design

/ Design II: Technical Design -Fashion


/ Drawing: Model Drawing, 2D Formsand Colour Studies, FashionDrawing

/ Theory: Art history, FashionTheory

Textile Design Year 3 (main phase)




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/ Drawing: Model Drawing,2D Forms and Colour Studies

/ Theory: Art history,Business Plan Writing


/ Fashion Design Year 3(main phase)

/ Design I: Fashion design



/ Drawing: Model Drawing,Fashion Drawing

/ Theory: Art history, FashionTheory, Business Plan Writing


Final phase

In the final phase of the studyprogramme, external assessors fromthe field are invited to the depart-ment of Textile & Fashion. Some oftheir important responsibilitiesinclude taking a critical look at thedesign process, reading the thesis,attending the ‘walk-through’ andconcept evaluation, and the finalevaluation of the presentation of thecollection.

The interaction between students andthe external assessors helps studentsto better attune their final results

to the situation in the professionalfield. Students measure their resultsagainst the external professionalcontext. The final evaluation of thefinal phase is one of the impor-tant parts of the career prepara-tion. The presentation of the textileand fashion collections is held atvarious locations in the city (asimulation of professional routes inParis, Milan and New York). Studentscomplete the final presentation byadding their own surroundings or

context and by directing the pres-entation themselves.

By following an organised textile andfashion route, the members of thefinal examination committee evaluatethe graduation candidates and theircollections. This route also offersthe students the opportunity todisplay their work to the press anda large audience. The second phase ofthe evaluation is the general textileexhibition and fashion show organisedby the KABK.

Textile Design Year 4 (final phase)




/ Drawing: Model Drawing

/ Theory: Thesis

/ Other: Individual StudyTrajectory, Internship

/ Fashion Design Year 4 (final

phase) / Design I: Fashion design



/ Drawing: Model drawing

/ Theory: Thesis

/ Other: Individual Study

Trajectory, Internship

2.8.4 Educational and professionalobjectives

The basic structure and objectives ofthe study programme are outlined perstudy year. They are strictly focusedon the completion of the final goal(the collections), which should servethe students as a guide towards anindividual and personal final pres-

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entation. This basic structure can bedivided into four phases and is stim-ulated and guided by teachers fromtheir own specific domain.


Propaedeutic year: orientation in theprofessional fieldThe propaedeutic year is primarilyaimed at the orientation of theprofession of both the textile andfashion designer. The control andknowledge of materials, techniquesand visual images are developedthroughout the entire period of studyand are an important point of depar-ture of the programme. This intro-ductory phase offers a wide range

of supporting subjects that developtechniques and professional knowl-edge, and which, together with visualdevelopment, form the necessary foun-dation for concept development andthe shaping of the design process.All the elements needed to initiatethe study process are included inthe propaedeutic year and are theoperating base for the further studyprocess.

At the end of this year, studentspresent, together with the resultsof all clusters, a mini-collectionof three outfits (a skirt, dress andtrench coat) and three textile worksin relation to textile books.

Second year: historical and social researchIn the second year of the programme,historical and social research isadded to the study process in the

form of the student’s individualcollection.

The student selects a historicalcostume and uses this historicalperiod as a guideline, a source ofinspiration and analytical tool todesign a contemporary, personalstyle in the form of a collection.At the end of the academic year, thestudents present, in combination withthe cluster results, a replica ofthe historical costume and a coherent

collection of four outfits or fourtextile works in textile inspired bythe costume.

Third year: delving into the diversity ofpopulation groupsAfter having acquired historicalknowledge, third-year students willexpand their views and further extendtheir knowledge of the large diver-sity of population groups. Theseinsights into personal ethnic andcultural characteristics serve as aguideline, source of inspiration andanalytical tool to design a contempo-rary, personal style in the form of acollection.

At the end of the third year, the

students present, in combinationwith the cluster result, a replicaof the ethnic costume or object anda coherent collection of six outfitsor six textile works that have beeninspired by the costume.

Graduation year: individual collectionIn the final phase of the study, asynthesis of the student’s personaldevelopment is made in the form of anindividual collection and a relatingthesis. The emphasis in this lastphase is primarily on the individualand autonomous creative process andthe personality of the designer intraining. The subject and the sourceof inspiration serve as a guidelinein creating a contemporary image atthe hand of the student’s personalblueprint and signature. In the finalyear students present, togetherwith the cluster results, a coherent

collection of ten outfits or eighttextile works.

Walk-through and concept discussionThis is the presentation of a‘collection’ to a team of lecturers(analogous to a presentation in thebusiness world or of an independentdesigner working alone or in a team).

Technical design - Textile: thematerialisation and realisation ofdesigns, the application of tech-

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niques, the preparation and creationof the intended final result arefurther explored and developed. Inaddition, students work on developingtheir own style, methods and char-acter; in short, all of the aspectsof the area of textile are addressed.Knowledge of textiles is extremelyimportant for the textile designer.During their education students mustmaster all the possible techniquesand applications necessary to createhis designs.

Technical design - Fashion: theingredients of this part of the studyprogramme include gaining insight inthe study of form, gaining knowl-edge of patterns, moulding, draping,

modelling, machines and materials,converting a two-dimensional imageinto a three-dimensional form, exper-imenting with all possible techniquesand finishing touches of use in theexecution of a design or piece ofclothing, gaining skills relatedto the profession, such as sewing,taking measurements and fitting.The education of the fashion designerinvolves a large number of technicalskills that are necessary to workprofessionally and to develop a crea-tive idea into a product.

Supporting courses

Visual developmentThe main aim of this study componentis the development and personalisa-tion of an authentic blueprint andindividual visual language. In this

course, the student learns to inde-pendently develop images and solidifythem. Personal orientation in rela-tion to photography and visual devel-opment is applicable here. Studentslearn to transform research, experi-ments, ingenuity, creativity, obser-vations, knowledge, intuitions andemotions into an image.

This visual analysis will supportstudents in their development ofthe individual collection and their

views. They also learn to applyknowledge and insights to communi-cate the various meanings of images,forms, materials, relationships andcolours. The various layers of themanifestation of forms are thoroughlyresearched.

From the third year onwards, studentsdevelop their individual style, abook of collections and a portfoliofor various ends, such as an intern-ship, the press, competitions and jobapplications.

PhotographyPhotography teaches students in thefirst place how to look and, later,also how to visualise. The next step

is interpretation. This means thatthe student is trained in developingan idea into an image through obser-vation.

Model drawingStudents draw both live models andstill lives. They observe, discoverand document proportions in combina-tion with technique and the develop-ment of a personal drawing style. Thestudents’ powers of observation arestrengthened and developed, with anemphasis on the discovery and docu-mentation of proportions.

2D forms and colour studiesIn this subject the relationshipbetween line, colour and surfaces isexplored. Students receive supervi-sion in the development and experi-ence of their talents is developedby means of experiments and with the

help of materials, structures andcolours. Students work towards apersonal signature, to learn how todocument impressions and emotions,and to search for their own expres-sion in two-dimensional forms andcolours.

Theoretical Domain

Art historyAll students at the academy need asolid theoretical base. This does

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not only imply knowledge, but alsoinsights into the history, para-digms, theories, processes and so on,which are related to the student’sdiscipline and to other disciplines,to the extent that they contributeto the student as a person and adesigner. A basic knowledge of arthistory and philosophy is essentialto meaningfully substantiate thetextile and fashion design professionin the general framework of artisticdevelopment.

Fashion theoryFashion theory addresses the rela-tionships between fashion andsociety, fashion and context, andfashion and culture. Students are

introduced to the social and substan-tial functions and relevance offashion. The course is an orien-tation on surroundings, society,behaviour and standards in relationto the fashion trends. In addition,students develop a critical attitudetowards fashion trends and fashion ingeneral. Students are given a chron-ological overview of the history ofWestern costume and clothing historyand research the relation betweenlifestyle, crafts and techniques.

ThesisWhen starting the final year,students have knowledge of the mostimportant developments in art anddesign. They are able to reflect,undertake independent research andpresent their findings verbally andin writing. In this study compo-nent each student is individually

supervised in the completion ofthe programme with a thesis thatis relevant to the work, that hassubstantial depth and that providesinsight into the student’s views andopinions about art and design in acontemporary and historical context.Students are also expected to providea written explanation of the work fortheir final examination with a coredescription of themes and stand-points.


Professional development:

The final assessment in the finalphase also heralds the completion ofthe career preparation. The pres-entation of the textile and fashioncollections takes place at variouslocations in the city (a simula-tion of the professional route inParis, Milan and New York during thefashion weeks). Students completethe final presentation by addingtheir own surroundings or contextand by directing the presentationthemselves. By following an organ-ised textile and fashion route, themembers of the final examination

committee evaluate the graduationcandidates and their collections.This route also offers the studentsthe opportunity to display their workto the press and a large audience.

The second phase of the presentationevaluation is the general textileexhibition and fashion show organisedby the KABK.

/ Synthesis of design procedurewith signature (total collectionof ten textile designs/outfits)

/ Internship

/ Development of personal style(image)

/ Completion and solidifying theportfolio

/ Development of general style(textile and fashion route)

/ Prepare to collaborate withexternal agencies (graphicdesign agency, model agency,etc.)

/ Prepare the individualpresentation and reception(showroom)

/ ‘Textile and Fashion route’

/ Prepare the general graduationshow/exhibition

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Propaedeutic Year

Assignment

/ Design and create, on the basisof preliminary studies, a dress,skirt and trench coat in a giventheme. Present in a suitablecontext and/or background.Design and create, on the basisof preliminary studies, textilebooks with a personal signature.

/ Design and create, on the basisof preliminary studies, textilebooks with a personal signature.Design and create, on the basisof preliminary studies, a dress,skirt and trench coat in a giventheme. Present in a suitablecontext and/or background.

CoursesAll scheduled courses serve thepurpose of creating an individualcollection. Students are given addi-tional assignments and tasks in thedifferent courses.

/ Design I: Textile design andFashion design

/ Design II: Technical design -Textile, and Technical design -Fashion


/ Drawing: Model Drawing, FashionDrawing, 2D Forms and ColourStudies

/ Theory: Introduction to General

Art History, Introduction toScience, Art History and FashionTheory

Propaedeutic year competencesThe competencies for the propaedeuticyear are:


/ Creative ability: the studentcan create new work in which heexplores new methods based on theexperiences and insights he hasgained through the programme.

/ Capacity for criticalreflection: the student is able

to reflect on his work andcan evaluate its quality andeffectiveness.

/ Capacity for growth andinnovation: the studentdemonstrates the will to makenew discoveries and acquires newknowledge, skills and insightsand is able to apply them on atheoretical and practical level;the student is driven, curious

and investigative. / Organisational competence: the

student can organise his ownwork process and is able todocument and archive his work.

/ Communicative competence: thestudent is able to substantiatehis choice for, and deploymentof, resources, materials and/orvisual solutions.

/ Situational awareness: thestudent shows a broad interestin social, sociological andcultural developments and isable to distinguish differentvisions of design.

/ Collaborative competence: thestudent can achieve his owngoals while collaborating withothers.

Main Phase / Year 2

Assignment

/ Research and create a replicaof a historical costume withpreliminary studies as practicein form and style. The replicamust be in white and thematerials should be faithful tothe original. The costume mustbe presented in the appropriatecontext and with a correct

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/ Drawing: Model Drawing and2D Forms and Colour Studies,or Model Drawing and FashionDrawing

/ Theory: Art History, FashionTheory, Business Plan Writing


Competences year 3During this phase of the studystudents should master the followingcompetences:

These competences are under construc-tion, please refer to the website for

the most up-to-date information.

/ Creative ability: the studentis able to formulate a designproblem and employ research tofind a solution.

/ Capacity for criticalreflection: The student canrelate his work to developmentsin the field in a cultural andsocial context and define his

position. / Capacity for growth and

innovation: the student developsa personal vision on design froman open attitude.

/ Organisational skills: thestudent can create a balancebetween design-related,facilitating and production-related activities.

/ Communicative skills: thestudent is able to convincinglypresent and explain his own work(methods).

/ Situational awareness: thestudent is able to connect hisown work to that of others, andhis own work to the public; thestudent can adequately addresshis target groups with his work.

/ Collaborative skills: the

student can purposely place

himself in the work processin different roles and withdifferent responsibilities.

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Final Phase / Year 4

AssignmentComprehensive collection, includingpreliminary studies:Design, fully create and present acomprehensive image, in an appro-priate context and with suitablecasting, of a collection of tenfashion outfits or ten textile worksbased on a individually chosen,well-substantiated theme.

Courses

/ Design I: Textile design orFashion design

/ Design II: Technical design -Textile, and Technical design -Fashion


/ Drawing: Model Drawing

/ Theory: Thesis

/ Other: Individual StudyTrajectory, Internship

Competences final phaseThe competences of the final phasecorrespond to the final qualifica-tions of the study.



With the exception of some, allteachers have a professional practiceand work either independently or ina team. Because of the diversity inexperience and expertise, the studentis confronted with numerous aspectsand approaches of the discipline.Specific knowledge of the profes-sional practice is offered by meansof guest lectures.

Head of Textile & Fashion departmentErik Verdonck,[email protected]

CoordinatorGerrit [email protected]

Internship coordinatorGerrit [email protected]

Administrative employeeSanne [email protected]

Team of Lecturers

Els de BaanEric HirdesMirjam IngramNico LaanNatasja MartensJurgi PersoonsGerrit UittenbogaardRoy VerschurenRobert VolmerEllen VosMarina Yee

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At the time of printing this guide,the specific final qualificationsof this study year had not yet beenfinalised. Please refer to thewebsite for the most up-to-date information.







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You are able to relate yourartistic practice to the artistic

and social context.



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INTERACTIVE/MEDIA/DESIGN FULL-TIME

Year 1 2 3 4

Semester 1 2 3 4 5 6 7 8

Design 1: Textile design 7 6 6 6 6 6

Design 1: Fashion design

Design 2: Textile design 6 7 6 6 6 6

Design 2: Fashion design

Visualising: Visual development 7 7 5 5 5 5

Visualising: Photography

Drawing: Fashion drawing 6 6 4 4 4 4

Drawing: Model drawing

Academy-wide propaedeutic yearproject week

1

End exam 18

Internship 24

Art History/Fashion Theory 1 3 3 3 3


Thesis 6

IST 6 6 6 6 6 6

Total 30 30 30 30 30 30 30 30

EC after indiviudal assessments 24 24 24 24 24 24 24 24

EC after collective assessments 6 6 6 6 6 6 6 6


* Design in year 3: incl. Business Plan Writing


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3. Preparatory courses

3.1 Preparatory courses

The Royal Academy of Art offersprospective students the followingopportunities in preparation of aBachelor’s programme at the academy:

/ School for Young Talent (vmbo-tl, havo, vwo)

/ Preparatory year (one-year,full-time programme, post-secondary education)

/ Orientation Course (Saturdaycourse)

/ Combined Education (classes forsecondary school students in theart plan programme or the Schoolfor Young Talent)

/ Kids Club (9-12 year olds,grades 7 and 8 of primaryeducation)

Additionally, the KABK collaborateswith several secondary schools, whichgives students attending these schoolsthe possibility to participate in artclass programmes at the academy. TheKABK is able to provide art classesin upper secondary education (as partof the KUBV course) and meets theexamination requirements set for thiscourse. The partners are:

/ Segbroekcollege The Hague

/ Bonaventura College Leiden

/ Rijnlands Lyceum Wassenaar

/ Zandvlietcollege The Hague

At present, a pilot is in progresswith new schools in the regionsAlphen aan de Rijn en Zoetermeer,to enlarge the offer of art classprogrammes and their coverage in thearea of The Hague.

3.1.1 General information PreparatoryCourses

The KABK offers a wide range ofPreparatory Courses. All coursesare aimed at introducing people toart education and to offer them aprogramme that matches their ownneeds and level. Our keywords areselection and orientation. The KABK wants to provide talented peoplewith the opportunity to furtherdevelop, so that they can eventu-ally enrol in an undergraduate artor design programme. The Prepara-tory Courses can also give partici-pants the opportunity to investigatewhether studying at the academy andthe prospect of a career as an artist

or designer is a possibility. Partic-ipants are able to switch between thedifferent courses, which facilitatesthe finding of a suitable trajec-tory. Several internships are avail-able for those studying to become anart teacher at a secondary educationinstitution.

To participate in one of the Prepara-tory Courses it is necessary tofollow a selection procedure. Duringthis selection the candidate shouldbring as much (different) work aspossible. To make an appointmentplease contact the Student Adminis-tration.

Additional information

Main coordinator Preparatory CoursesZanne Zwart

Coordinator Preparatory yearNieke [email protected]

Office hours admission:by appointment.Office hours for students and parents:by appointment.

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3.1.2 School for Young Talent

The University of the Arts in TheHague accommodates the School forYoung Talent ( SYT ) for elementaryschool students (grades 7 and 8) andsecondary school students. The schooloffers programmes at the levelsvmbo-tl (theoretical vocationalsecondary education), havo (highergeneral secondary education) andvwo (pre-university secondary educa-tion). The school welcomes studentswho wish to continue their educationat the KABK, the Royal Conservatoireor the Dance Department of the RoyalConservatoire. The School for YoungTalent is a small programme thatprioritises individual attention.

We offer programmes in the profile‘Cultuur en Maatschappij’ (Cultureand Society) (havo, vwo) and thesector Economics (vmbo), with astrong emphasis on the culturalformation and development of thestudents’ talents. Other profilesor subjects are available throughintensive cooperation with the Rijn-lands Lyceum in Wassenaar. The SYT collaborates on an administrativelevel with the Haagsche Schoolver-eeniging and the Rijnlands Lyceumin Wassenaar. The schedule allowsstudents following the art programmeto attend classes at the academy atleast three times a week. The regularsubjects are taught in the secondaryschool building located in the RoyalConservatoire. Here, art studentsfollow classes together with studentsof the dance and music programmes.

ParticipationTo participate in the combined educa-tion programme of the SYT and theKABK, applicants enter an admissionprocedure consisting of two compo-nents. Although students can applywhen they are still in the finalyear of primary education, the SJT art programme is only available ona secondary education level. Candi-dates are assessed on whether theirartistic level is sufficient. When

the outcome is positive, the candi-date meets with the director of theSYT to determine whether the levelof education is adequate and corre-sponds with the offered curriculum.When both parts have been accorded,the candidate is accepted to theKABK/ SJT . It is possible to jointhe programme throughout the year,in all years and at all levels. Inpractice, this does not apply to thesenior year. When a student wishes tojoin the programme when the academicyear has already started, this canonly be done in consultation withthe student’s previous school. Onan individual basis there are manypossibilities for the student toattend both regular secondary educa-

tion, and prepare for the academy.

The tuition fee for the SYT for theacademic year 2013/2014 is set at €1,650. Additional costs are the costsfor materials and excursions. Formore information please refer to theSchool for Young Talent brochure.See also www.svjt.nl / www.koncon.nl

Students who have been accepted tothe art and design programme followclasses at the Royal Academy of Art( KABK) in The Hague, which is locateda short ten-minute walk from theRoyal Conservatoire. In the loweryears, students are offered variouscourses in which they are introducedto different materials and techniquesand learn how to express and developtheir ideas. In these courses theyobtain a solid foundation on whichto base their choices in the higher

years. In the higher years theyenter a more individual trajectoryto prepare for their continuation ofstudy in art education. In the finalyear, the students create a diverseportfolio adhering to the admissionrequirements of their chosen depart-ment at the KABK.

The curriculum of the art programmeincludes, among others, the coursesDrawing/Painting, Photography,Graphic Techniques, Spatial, Concept

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Development, Theory, Interdisci-plinary and Art Theory, as well asadditional modules that provideguidance on the different specialisa-tions available at the KABK. Studentscan also work independently at theacademy and make use facilities suchas the library, the computer, wood,metal, graphic and textile workshops.Customised programmes are possiblein consultation, and only if theprogramme allows it. Students canbe found at the KABK at least threedays a week. They are supervised byteachers who are well acquainted withthe secondary educational system andthe KABK. The teachers have activeart practices.

Twice a year the collective assess-ments take place. During theseso-called Christmas and summerassessments, the students presenttheir work of the past semester atan appointed place in the academybuilding. All teachers view thepresentation, question the studentand assess him together. Should theChristmas assessment have a nega-tive outcome, then the student isgiven time to improve until the nextassessment. If the summer assessmentis negative, then the student willgenerally not be able to continuewith the programme. In specialcases it may be decided to allow thestudent to redo the art component,to give him a task, or to have himconditionally enter the next year.Important components of the curric-ulum are the excursions, culturaltours and visits to exhibitions.

Students also participate in manydifferent projects. Students mayuse the facilities at the KABK, incompliance with rules on safety asso-ciated with their age. The studentshave their own classroom, which isreserved specifically for students ofthe School for Young Talent.

Study varietiesStudents can enrol in the SYT fromthe first year of secondary educa-tion onwards. Even younger students

are able to take some courses, incombination with the programmeat their primary school. Studentscan also enrol in the programme inlater years. Students with a vmbo-tldiploma from another secondaryschool can apply to obtain theirhavo diploma at the School for YoungTalent in the art programme. If astudent obtains his vmbo diplomaat the School for Young Talent, hewill usually have to take additionalhavo-courses, or complete the fullhavo-programme, on contract basis.Students who only take a few addi-tional havo-courses may combine themwith the Preparatory year.

Director SYT

Jan van Bilsen

Head of Department SYT Visual ArtsZanne [email protected]

3.1.3 Preparatory year

The Preparatory year is intended formotivated people who are inadequatelyprepared to already be accepted tothe intended programme or have theneed for a broad orientation andpreparation before commencing witha programme at the academy. ThePreparatory year prepares studentsfor all study programmes offered atthe academy. The objectives of thePreparatory year are orientation,selection and incentive.

Admission procedure

To apply for the Preparatory yearcandidates have to enter an admis-sion procedure. During the selectionday candidates display their workand engage in a conversation with theadmission committee. After the finalassessment in the Preparatory year,students might be accepted, dependingon their study results, into a studyprogramme at the academy.

In addition to the possibility ofapplying directly for the Prepara-

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tory year, candidates who apply fora study programme at the KABK mightalso be advised to first completethe Preparatory year. The Prepara-tory year is intended for peoplewho already have their vwo, havoor mbo 4 diplomas. If applicants donot meet this admission requirement,it is possible to obtain the neces-sary diploma at the School for YoungTalent ( SYT ), the KABK’s secondaryschool. For more information on this,please refer to the section ‘Specialcombined education’ below. It isalso an option for applicants to doa special test that indicates whetherthe applicant has a havo-level ofthinking. We therefore advise allapplicants without a havo, vwo or

mbo diploma, to take this test assoon as possible. A negative outcomeof the admission means the candidatecannot enrol in the programme, andthe attempt is made to find anothersuitable programme.

For more information it is possibleto make an appointment during thePreparatory Courses office hoursvia the Student Administration:070-3154770.

Study programmeThe programme consists of variousclasses taught by teachers of theKABK. The courses can be describedas ‘perceiving and processing theworld around you’, ‘perceiving andprocessing the art world’, ‘presenta-tion’ and ‘work groups’. The coursesfocus on the student’s communicativeskills and the ability to transform

experiences and observations intoimages. The emphasis is on the studyattitude and mind-set needed to studyat the academy.

The year is divided into threeperiods. The period prior to theChristmas holidays has a broad orien-tation as its foundation, duringwhich students are given generalassignments to complete, accordingto their own ideas. In this firstperiod, students gain a lot of

experience by visiting exhibi-tions, watching films and observingother cultural expressions, andthey learn how to give a response tothese expressions. This first periodincludes a subscription to eventsand screenings at the Filmhuis andTheater aan het Spui. Students areexpected to make a full-time commit-ment, show an independent attitudeand actively participate.After this first semester, thestudent chooses in which direction hewants to continue working, and thesecond semester is therefore morespecifically focused on a particulardiscipline. Contact will be made withthe chosen department.

The third period consists of sixweeks, starting in March, duringwhich the student works in the chosendepartment to prepare for the admis-sion that takes place in the begin-ning of May. The programme’s struc-ture is thus based on differentlevels of submergence into the chosendiscipline. Deviating programmes area possibility, if the rest of theprogramme allows it. Students canalso participate in excursions.

AssessmentsThere are two assessment moments. Thefirst is in December. The heads of thevarious departments are involved inthis assessment. The second assess-ment takes place at the end of April/beginning of May. Students receivea report on the basis of the finalassessment. The final assessmentis accompanied by an admission. The

student presents his work and choosesa department to which he wants toapply. A special committee of thisdepartment assesses students from thePreparatory year during a separateselection moment. Should the studentbe rejected, he then has ample timeto improve his portfolio and partic-ipate in the regular applicationrounds of the specific departments.The Preparatory year is successfullycompleted when the student is admittedto his chosen programme.

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Workplace

We advise all students of thePreparatory year to create a work-place/studio, so that they can alsowork peacefully at home and haveaccess to all kinds of materials.

MaterialsThe necessary materials are speci-fied for each discipline. Within theacademy building there is an art shopwhere students can buy materials.The final cost of materials is veryindividual and depends greatly on thestudent’s ideas and choices.

General InformationParticipants of the Preparatory yearare not registered as a student and

do not receive financial support. Thecost of participation of the Prepara-tory year are € 2,000, which includesan amount of € 250 for the theatreand film subscription and excur-sions. Parents may be eligible forsupport in the form of child supportif financial support is not availablefor the programme. More informationcan be found on: www.duo.nl.

In case of premature termination ofthe Preparatory year after November1, 2013, the tuition fee and addi-tional costs cannot be refunded. Toapply for the Preparatory year andfor further information please callthe KABK at 070-315 47 70 and make anappointment for the admission inter-view via the Student Administration.

CoordinationZanne Zwart

Nieke [email protected]

3.1.4 Collaborations withsecondary schools

To improve the relationship withsecondary education and to offersecondary students the chance toadequately prepare for further studyin the arts, the KABK has a numberof partnerships with schools insideand outside of The Hague. Additionalprojects are still in the pipe-line. Secondary schools focus moreand more on art and culture; with agood example being the establishmentof the so-called cultural profileschools.

Secondary school students often findit difficult to form a realistic

image of what it’s like to studyat an art academy. In addition, artacademies regularly require differentqualities than those developed inthe art classes in secondary educa-tion. The subject matter in theseart classes is often insuffi-ciently focused on talent. Nowadays,different groups of the participatingsecondary schools visit the academyon one afternoon a week, and studentsfollow classes that complement theirown study programme. This happens inall years. When possible, the classesat the academy, and consequently thestudy load, are integrated with theregular study programme.

Students from these programmescontinue on to more intensive forms ofpreparation, such as the Preparatorycourses, the School for Young Talentor the Preparatory year. In the near

future, students from external schoolsmay also be able to take their artexams through the KABK.

Set-up and coursesIn the first three years of the ‘artplan’, students get acquainted withthe various studies offered by theacademy. They acquire a solid baseto help them make choices later on.In the first three years we meetthe core objectives as stated by theMinistry of Education, namely:

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1. Core objective 48: Producing art

“The student learns to investigatethe power of expression of differentartistic disciplines by using basicskills and apply them to express hisown feelings, capture experiences,develop his imagination into images,and establish communication.”

Reflection is an important partof each class. In all assignmentsstudents are encouraged by theirteachers to make use of their imag-ination. Students are stimulated torepresent their imaginative world intwo and three-dimensional creationsand digital products. They recordtheir experiences in a notebookor sketchbook, and later use them

when making preliminary studies andcoming up with topics for independentassignments. The notebook is apersonal journal in which the studentalso works outside of class. Thisbook is an important contribution tothe achieving the core objective. Theobjective mainly concerns the produc-tion of art, and that is exactly whattakes place in every class, in thebroadest sense of the term.

2. Core objective 49: Presenting personal work “The student learns to present, aloneor in a group, his own artistic workto others.”

The presentation of the student’swork often takes place in each sepa-rate class and after completion ofa block of lessons within one disci-pline. In addition, the studentlearns to discuss his work in the

context of the group and is taughtthe necessary concepts to optimallytell his story. At the end of anacademic year, students collectivelypresent their work to those inter-ested. In a group exhibition, createdby the students themselves, they canobserve and talk about the work.

3. Core Objective 50:Learn to observe and listen to art

“The student learns, on the basisof some background knowledge, toobserve visual art, listen to musicand watch films, and theatre anddance performances.”

The art plan elaborately focuses onthe observation of art during theexcursions. Each group can go onseparate excursions per discipline,but all students also go on a collec-tive excursion. During these excur-sions the student experiences art andculture, and learns to understand andappreciate art. Each excursion hasa related assignment, and studentsalso write a report in their note-

book. Students can also visit theregular exhibitions in the KABK. Ineach discipline, attention is paid toexhibitions of the relevant disci-pline, so that students can take theinitiative to visit the exhibitionoutside of class.

4. Core objective 51: reporting on experiences“The student learns, by using visualor auditory means, to report on hisparticipation in artistic activities(as a spectator and as participant).”

In his notebook, the student reportson his experiences with art andculture. The reports are discussedand reviewed in class. The studentlearns to write down and verballyexpress the experiences that he gainsby observing the art works of others,including those of professionalartists. Forming an opinion is very

important in this. Students playfullylearn to develop an extensive vocabu-lary that enables them to communicateabout art.

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5. Core objective 52: Reflecting on artistic work

“The student learns to reflectverbally and in writing on his ownwork and that of others, includingvisual artists.”

In the art plan, students learn toarticulate their ideas and opinions,and what they have learned during thecreative process.

The art plan is designed for studentswho have an above average interestin art. In the context of this plan,they are introduced to the variousdisciplines offered at the KABK. Weaspire to offer these students thebest and most diverse programme aswe possibly can, which helps students

reach the core objectives. We hopethat students will be encouraged tocontinue studying and working in theart world. With the art plan we givethem a solid foundation to do so.

CoursesThis year we offer the followingcourses: Fine Arts, Graphic Design,Interior Architecture, ArtScience,Textile & Fashion, Graphic Designand Photography. These courses areoffered in modules of approximatelysix classes.

CollaborationThe KABK currently collaborates withthe following schools:

/ Segbroekcollege: first to thirdyear: ‘plan visual art anddesign’, also referred to as the‘art plan’. Higher years: KUBV

(Art Visual Development); alsosee www.kunstopsegbroek.nl ;

/ Bonaventura College Leiden:all years: ‘plan visual art anddesign’, also referred to as the‘art plan’;

/ Rijnlands Lyceum Wassenaar:first to third year, andpossibility of KUBV in thehigher years, also referred toas ‘art class’;

/ Zandvlietcollege The Hague:first to third year, andpossibility of KUBV in thehigher years, also referred toas ‘art class’.

The KABK also strives for an improvedrelation with higher vocationaleducation (mbo). The development ofcontinuous learning trajectories isone of the possibilities.

Admission procedureTo participate in one of the artplans applicants must enter an admis-sion procedure. The admission isorganised by the schools in coop-eration with teachers of the KABK.Please contact the secondary schools

for more information about the proce-dure and admission requirements.

CoordinationZanne [email protected]

3.1.5 Special Combined Education

Students can follow art courses atthe KABK in combination with theirsecondary school education. Theprogramme is then usually adapted tofit the individual student’s needs,because the two schedules do notalways fit. Usually students areable to (partially) follow the sameprogramme as the students at theSchool for Young Talent. To enrolin this programme, students mustenter an admission procedure. Wherepossible, the student’s teachersadvise on how the participation

in the preparatory programme canbe fitted into the regular schoolprogramme. For this form of partici-pation payment of a fee is required,which is calculated on the basisof the amount of classes/sessions.Students can apply after obtainingthe havo diploma. To apply, studentsenter a separate admission procedure,connected to the end exam presenta-tion of the visual work.

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Admission procedure

To participate in the combined educa-tion programme at the School forYoung Talent and the KABK, studentstake part in an extensive admissionprocedure. Students can enrol at theSchool for Young Talent after thestart of the academic year. To apply,please make an appointment with theStudent Administration of the RoyalAcademy of Art (telephone number:070-3154770). On the selection daythe candidate should bring a port-folio: a folder carrying self-madework. The candidate is also allowedto bring a laptop, on which he canshow videos, photographs and/orother digital creations. The candi-date is expected to show recent work.

The admission committee looks forcreative ability, motivation, apti-tude, idea formation, uniqueness/originality, potential for growth,and a diverse use of materials andtechniques. During an interviewon the selection day these aspectsare discussed. After the selectionday, the committee decides whetherthe candidate is suitable for theprogramme or not, or decides torequest a second interview, with orwithout an additional assignment. Ifthe candidate is deemed suitable,he is invited for a second admissioninterview with the director of theschool to discuss the educationalcomponent. If this is also suffi-cient, the candidate is accepted.

“Speccies”Students who are enrolled inthe special combined education

programme, are sometimes referred toas “speccies”. Because the schedulesof the academy and the schedules oftheir own school change each year,we ask these “speccies” to contactthe coordinator at the beginningof the school year to organise thetwo schedule so that they do notoverlap. This might mean that astudent takes the course Drawing/Painting on Thursdays during oneyear, and switches to the Wednesdayslot in another year. Students have

the possibility to take one or twoclasses a week.


3.1.6 Orientation Course

The Orientation Course is primarilyintended for people who are consid-ering applying to one of the bach-elor’s programmes at the KABK.Students in the Orientation Courseare introduced to the mind-set,methods and study attitude neededto study at the academy. The coursetakes place on fourteen Saturdays

(including a one-day excursion).

First course:5 October 2013 – 25 January 2014From 10:00 - 15:00(break from 12:30 to 13:00)

Second course:22 February, 2014 – 21 June 2014From 10:00 - 15:00(break from 12:30 to 13:00)

The Orientation Course at theKABK offers students the opportu-nity to develop their work and getto know the different disciplines.The emphasis of the programme is onworking process-based and on thediscovering and developing of thestudent’s artistic ambition. Socialorientation plays a major role.

Students can expect a journey that

challenges them to develop an inves-tigative, visual attitude. Theoffered techniques and exercisesare tools to achieve this attitude,and not a goal in themselves. Theemphasis is mainly on the process,and less so on the end product.Students regularly receive take-homeassignments that support the process.During the classes, students workon creating their portfolio, whichdoes not only show the student’sabilities, but also his sources of

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school where, similar to the Schoolfor Young Talent, secondary educa-tion and art education are combined.The KABK participates in severalprojects in The Hague that are aimedat familiarising young children withVisual Art and Design. Examples ofthese projects are the Kunstbendecompetitions, projects at Nest,Rewire Festival, TodaysArtFestivaland various galleries and museums.Also included in the curriculumis the organisation of exhibitionsand showing work in galleries andat other locations. We also informsecondary school students about thepossibilities of studying at the KABK at information markets throughoutthe year. Together with the Faculty

of Arts we are developing our ownart pedagogical model, which willbe continued to form in the comingyears.


Kids ClubThe kids club is a group of childrenfrom primary school grades 7 and 8(age ranging between 9 and 12 yearsold) who are interested in learningmore about art in addition to whatthey are offered at their own school.The kids club also includes childrenwho are considering applying for theSchool for Young Talent or one of theart plan schools. During the classesthese children show what they arecapable of and work on their port-folio at the hand of assignments.

When, how and whereThe Kids Club takes place every Fridayfrom 16:30 to 18:00 in room PB 125of the Royal Academy of Art at thePrinsessegracht 4 in The Hague. It isup to the student whether they want tojoin weekly, or just participate once.New students can send an email to theaddress below, and will be picked upat the reception. The costs of a classare € 7.50, which includes materialand a drink and snack.

Exhibition

All works made over the course ofsix months are kept at the academy.At the end of each semester, once inDecember and once in June, all worksare presented in an exhibition. Formany children this is their firstexhibition. Everyone is welcome atthese exhibitions, and afterwards allworks are taken home.

MaterialsThe class fee includes materials.There is no need for students tocarry around around jugs of paint. Westrive to use a different materialin each class. In the past six monthswe used paint, paper, clay, charcoal,wire, plaster, fabric, ink, chalk,

sheets, etching pens, etching ink,etching paper, etching press, wood,plastic bags and other materials.During their first class, studentsreceive an overview of which mate-rials will be used when. If studentshave materials at home they wouldlike to use, they are free to bringthose along.

Coordinator and teacherZanne [email protected]@kabk.nl

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4.1 Post Graduate CourseIndustrial Design

The Post Graduate Course IndustrialDesign ( ID) was founded in 1950 andis the oldest accredited course inDesign and Industrial Design in theNetherlands. Prominent personal-ities like Gerrit Rietveld, Fransde La Haye and Renny Ramakers wereassociated with the course either asstudent or teacher. ID is a part-timecourse for students from an interna-tional field, and positions itselfbetween industrial design and design:a precise mix of concept, skills,culture and industry.

Programme

The programme is taught by teacherswho have a full-time practice in thefield. Teachers and guest lecturersare invited on the basis of relevanceto design assignments and requiredknowledge and skills. This givesID a highly realistic content. Thedifferent backgrounds of the studentsalso provide added value.

Schedule and locationThe Post Graduate Course IndustrialDesign consists of six separateblocks of six months. The studentreceives a certificate for each blockand eventually the diploma. Classestake place in the KABK building atthe Prinsessegracht 4, The Hague.Outside class and during the acade-my’s opening hours, students can makeuse of the various workshops. Classestake place on Wednesdays and Thurs-days, from 16:00 to 21:45. Students

should expect to work on assignmentsapproximately ten to fifteen hoursper week.

Design Courses

Industry & CultureThe design assignment is based on anintegrated approach to industry andculture. The combining of different(design) disciplines and skills iscentral: industrial design, design,

applied arts, engineering, marketing,manufacturing of small series andmass production, consumer market,retail and business to business. Thestudent finds his way between Milanand Frankfurt, and between Delft andEindhoven.

Real ArtistIn this design course, the person-ality of the student is centralisedin relation to the produced work. Thestudent is given a clear overviewto the world of galleries, museums,cultural events, institutions,grants, magazines, presentationsand in-house production. Atten-tion is also paid to determining thestudent’s position as an independent

designer in relationship to curators,journalists and opinion makers.

Cool IndustryThe design assignment is set inthe context of the process side ofindustrial design: marketing, corpo-rate identity, technical expertise,dealing with customers, quotationsand acquisition. The reality ofworking in an international fieldis discussed. Clients, producersand consumers are, after all, oftenlocated outside the Netherlands.The student will be introduced tothe world of managing directors,marketers and researchers.

Design drawing & sketching andComputer skills

Design drawing & sketching

Hand Drawing is an extension of thestudent’s visual expressive abili-ties. Students learn basic skills inmanually presenting and designing 2Dwith various techniques and mate-rials. He works individually on theset assignment. The classes aretaught in the context of the designcourses.

Computer skillsComputer skills in the context ofthe design courses are an extension

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of the student’s visual expressiveabilities. Central are basic knowledgeand extensions of computer skills,and extension-programmes and renderingtechniques. The skills are transferredper item and in a transparent manner.

Personality, contemplation and culture

Personality skillsDesigners should not only deliver agood design, but should also be ableto communicate it from their personalperspective to all those involved. Inthese classes, we address matters suchas personality development, communi-cation skills (verbal and written),negotiation, and consultancy and

project management skills.

ContemplationThe student learns to take a stand inthe social and theoretical context ofthe design discipline and to positionhis design vision in this context.The teacher presents various viewsand opinions on this matter. Discus-sion and development of the student’sown vision is characteristic to thiscourse.

Culture carriersThe student is introduced to thecultural and commercial embedding ofdesign. The lecturer(s) are renownedauthorities in the cultural, politicalor business field. They can be cura-tors of museums, members of the munic-ipal executive of economic affairs orrepresentatives from a cultural fund.They familiarise the students with the

context and objectives of such bodies.Students can determine their own posi-tion in these organisations. CultureCarriers provides knowledge on thecontemporary context of the design.

Registration and feesPotential candidates can apply byfilling out an application form andsending in a CD - ROM with own work.The admission procedure includes anassessment interview with an admis-sion committee. ID is fully funded by

tuition fees paid by students. Thisamounts to € 1925, - per semester (2),excluding the required materials.The schedule, content and structure ofthe curriculum are subject to change.A list of the lecturers is availableon request. The Post Graduate CourseIndustrial Design can only commencewith enough entries.

Staff

Head of departmentErnst Bergmans / [email protected]

CoordinatorJacob de Baan / [email protected]

Team of LecturersJacob de Baan / [email protected] Erland Bakkers / [email protected] Steur / [email protected] Alfred van Elk / www.alfredvanelk.com Jantje Fleischhut / www.jantjefleischhut.com Maaike Roozenburg / www.maaikeroozenburg.nl

Guest teachers, among others:Patrick Belli / www.bellidesign.nlJoris Castermans / www.syntens.nlMaurice Ciapponi / www.ciapponi.nlTheo van DusseldorpMaartje de Haan / www.meermanno.nlSam van Haaster / www.dokmedical.nlSiem Haffmans / www.ragbag.eu Frans de La HayeIneke Heerkens / [email protected] Ket / www.milouket.com Josée KoeneWilfred Löwensteyn / www.tokohome.nlHans Menkveld / www.tesink.nlBruno Ninaber / www.ninaber.nl

Ingeborg de Roode / www.stedelijk.nlChris Sluter / www.chrissluter.nlNicole Uniquole / www.uniquole.nlLoes Wagemans / www.gewoon.nl

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4.2 Type & Media (MDes)

In September 2002 the Royal Academyof Art in The Hague started itspost-graduate course in Type andMedia, formerly the course in TypeDesign and Typography. It is a full-time one year course that givesparticipants the possibility ofdelving deeper in type design fordifferent media: not only type forprint, but also for film, television,video and interactive media. Althoughwe live in an increasingly pictorialculture, type design and typographyhave lost none of their value. Sinceits Accreditation it is a Master ofDesign in Type and Media.

At Type and Media, students workintensively in small groups of nomore than twelve persons. They workunder the guidance of expert andenthusiastic teachers from the perma-nent and visiting faculty. Althoughthe student’s personal motivation isgiven primary place, collaborationwith other students is of fundamentalimportance.

The many aspects of type design inrelation to typography for differentmedia are covered in various assign-ments. Assignments are both practicaland theoretical and in some cases inco-operation with the media industry.Discussions with a number of leadinggraphic designers –each with adifferent view- provide theoreticaldepth. The various excursions andconferences, like the yearly confer-ences of ATypI – Association Typo-

graphique Internationale – and TypoBerlin, are also worth mentioning.The master course also organizesdifferent activities in the field oftype design, like the three-yearlyGerrit Noordzij Award. Students Typeand Media play an important role inthe activities concerning this Award.

The regular teachers are:

/ Jan Willem Stas (coursesupervisor, professor intypography);

/ Erik van Blokland (professor intype design);

/ Peter Verheul (professor in typedesign).

/ Paul van der Laan (professor intype design).

Visiting teachers, attached to theregular course in Graphic Design atthe Royal Academy of Art are:

/ Frank Blokland;

/ Just van Rossum.

Visiting teachers are:

/ Françoise Berserik;

/ Peter Bi’lak;

/ Petr van Blokland;

/ Christoph Noordzij;

/ Fred Smeijers;

/ Gerard Unger.

Anyone wishing to register for theMaster of Design Type and Mediacourse is invited to make an appoint-ment with the course supervisor, JanWillem Stas ( jw.st [email protected] ).

Candidates must be graduates of anart or design academy and must have

sufficient practical experience. Thecandidate should present his or hermotivation to register for the mastercourse, partly based on a portfolioof work. They should, of course, befascinated by type design, typographyand different media, and be acquaintedwith developments in the field.

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4.3 ArtScience (MMus)

Overview of the master ArtScience

As part of the ArtScience Interfac-ulty, the Royal Academy of Art andthe Royal Conservatoire have beenoffering a two-year interdisciplinarymaster since 2002. At the ArtScienceInterfaculty students and teachersare developing new forms of interdis-ciplinary art, and the goal of theteaching programme of the Interfac-ulty is to investigate and possiblyshape the intersection betweenartistic concepts and recent develop-ments in science and technology.

Every year, the programme of courses

and projects is partly updatedaccording to current themes from thearea where art, media, science andtechnology overlap. Possible artisticresponses to recent developmentsare formulated by experimenting withnew contexts and forms in which artcan play a role. This discussion iscontinually related to an interdisci-plinary base in which the continuitybetween media art, music, theatre,film and visual art is considered tobe self-evident.

Participants in the master’sprogramme of the ArtScience Inter-faculty are admitted on the basis ofa research proposal, and dependingon the research topic the studentchooses two personal coaches. Thethree of them together then draw upa study- and research plan that willinclude course modules, projects

and labs offered within the ArtSci-ence Interfaculty and which canalso include other courses fromthe Royal Conservatoire, The RoyalAcademy of Art or Leiden Univer-sity. This choice will be basedon both the research topic and thebackground of the student; also theratio between self-study and coursemodules will be different for eachstudent. Complementing this indi-vidual track are a number of intro-ductory courses that are obligatory

for all ArtScience master students.Also there are collective activitiesespecially geared towards the mutualcontribution to the research offellow students. The progress in theindividual work is being monitoredin evaluations by the ArtScienceteachers two times a year.

Goals of the programmeThe master’s programme is gearedtowards students who have alreadyfinished some form of higher arteducation and who already have atleast the beginning of an inde-pendent artistic practice. Duringthe master’s study they can pursue atwo-year personal research projectwith the aim to develop or trans-

form their own artistic niche withinthe broad field of the arts andsciences. Depending on the researchproposal and the background of thestudent a study and research planis made that enables the student toacquire the skills, research methodsand conceptual background necessaryfor their research. Because of thetailored nature of the individualstudy trajectories, master’s studentsare expected to further develop theirindependence, self-organizationand critical thought during theirstudies.

On top of this there are a numberof collective activities for allmaster’s students, with the aim tooffer solid theoretical, methodo-logical and historical knowledge ofthe ArtScience field and in order tostimulate the exchange of skills,

knowledge and viewpoints betweenstudents.

The students are challenged todevelop a range of professionalcompetencies regarding three domains:

/ The artistic-technical domain;

/ The professional world;

/ The theoretical domain.

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viewpoints. In the first year themaster’s are expected to follow anumber of introductory courses thatare offered at ArtScience, of which‘Media Art Histories‘ and ‘Nine Snap-shots‘ are compulsory. These intro-ductory courses give a historical andtheoretical overview of the ArtSci-ence field.

Twice a month there is a master’smeeting: a gathering of all master’sstudents under the guidance ofArthur Elsenaar and Horst Rickels.These meeting focus on presentingthe reults of the research by thestudents in spoken and written formand on discussing matters of meth-odology. Students will be helped to

develop a critical context for theirresearch and to structure theirresearch process. Master’s studentsare asked to produce a writtenaccount of their critical context andresearch process, as part of theirthird presentation, half-way thesecond year.

Presentations and evaluationsIn January and in June there arecollective presentations. Themid-term presentations in Januaryhave the form of a discussion wherethe students are asked to show theprogress of their research and wherethis progress is discussed with allthe teachers. At the presentationsin June the student is expected toshow a new work that will be judgedin the context of the research of thestudent and with the general compe-tences for the master programme in

mind.

At the end of May the graduates ofthe bachelor and the master willorganize a public preview of thefinal exam projects. These shouldbe completed by this date, so thatthe remaining month can be used forrehearsals and fine-tuning.

Admission to the Master’s programmeof the ArtScience InterfacultyStudents are admitted to the master’s

programme ArtScience on the basis oftheir previous artistic work and aresearch proposal. Only candidateswith a bachelor’s degree in the artsor sciences can apply.

Those interested in applying forthe MMus programme ArtScience areinvited to contact head of the Inter-faculty, Joost Rekveld (via e–[email protected]) fora first, general assessment whetherthe profile of the applicant matchesthe programme and for feedback on afirst draft of the research proposal.Master’s candidates should also fillin the online admission form on thewebsite www.koncon.nl.

In order to apply for the ArtScienceMMus programme we ask you to sendus your research proposal, a curric-ulum vitae (resume), a portfolio anda number of official documents. Allwritten materials should be in Dutchor English. After a preselectionbased on these materials, candidateswill be invited for an interview.European candidates are expectedto be physically present at thisinterview, with candidates outsideof Europe we will propose a skypemeeting.

The deadline for application is the1st of april. Candidates must sendall required materials in one packageadressed to Joost Rekveld, Master’sProgramme ArtScience, Royal Conserv-atoire, Juliana van Stolberglaan 1,2595 CA Den Haag, The Netherlands.Students are admitted to the master’s

programme ArtScience on the basis oftheir previous artistic work and aresearch proposal. Only candidateswith a bachelor’s degree in the artsor sciences can apply.

Research ProposalIn your research proposal we askyou to give an overview of where youstand now in your artistic activi-ties, to propose a research projectand to indicate how doing thisresearch would change your artistic

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future. You are free to choose a textformat that suits your proposal andbackground, but it should be betweentwo and four pages A4 of text long.The text should cover the followingpoints:

/ Please give us some backgroundto your artistic past; brieflyexplain the motivation behindgetting involved in art andbehind the artistic choices youhave made so far.

/ Please describe the artisticdisciplines you have beeninvolved or interested in sofar.

/ Please give a clear description

of your research topic and thefields this topic relates to.

/ Please explain your motivationfor choosing this researchtopic. How do you think doingthis research will transformyour work?

/ Please indicate how yourresearch topic is related to theArtScience curriculum.

/ Please make a first choice fortwo ArtScience teachers whocould coach you in your research(you can look at the FacultyBiographies on the website or inthe ArtScience study guide).

/ Please describe two concreteprojects you would like torealize as part of this researchproposal.

/ Please indicate the materials

and facilities you will need foryour research.

/ Please give an outline of whatyou hope to achieve duringyour studies at the ArtScienceInterfaculty.

/ Please describe how you thinkyou will be able to contributeto the learning environment atthe Interfaculty.

Curriculum Vitae (Resume)This should cover:

/ your previous education;

/ your artistic past(see also portfolio, below);

/ work experience;

/ languages.

PortfolioIn the portfolio you should show usdocumentation of works of art youmade. These original works can be inany art form or medium, while thedocumentation should be a short textdescribing each work, illustratedwith photos, drawings, reviews, etc.Please include audio on CD and video

on DVD, in which case you should marka maximum of three minutes you abso-lutely want to be viewed or listenedto by the selection committee.Digital documentation should run onboth Mac and PC, can be on CD or DVDand should use standard file formats(jpeg tiff pdf mp3 flash aiff quick-time avi powerpoint).Please do not send us originals. Forpractical reasons we can not alwaysreturn your portfolio.

Official documentsA copy of the candidate’s passport,a visa (when applicable), a copyof relevant diplomas, two passportphotos, and email address should beincluded.

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Credit Points Overview YEAR 1

Excursion Ars Electronica...........1Introductory theoretical Courses....4ArtScience Colloquium...............2Participation in ArtScience Labs....8participation in ArtScience..........research project....................7Master Meetings.....................4Individual study trajectory..........(individual researchplan)..........18Presentation 1......................8Presentation 2......................8

YEAR 2ArtScience Colloquium...............2Participation in ArtScience Labs....8Master Meetings.....................4

Writing Assignment..................4How to Survive the World Outside....2individual study trajectory..........(individual research plan).........12Presentation 3......................8Presentation 4: Final................examination project................20

Staff at the ArtScience Interfaculty

Head of InterfacultyJoost Rekveld

CoordinatorLeonie Zweekhorst

Core teachersCocky EekArthur ElsenaarEdwin van der HeideKasper van der HorstMichiel PijpeRobert PravdaJoost RekveldHorst Rickels

Joel RyanTaco Stolk

Guest teachersNadine BongaertsEva BrinkmanLex van der BroekSonia CillariEvelina DomnitchWim van EckDmitry GelfandVincent van Gerven OeiMarcus GrafGosse de KortKatinka MaracNenad PopovSanne van RijnTeZ (Maurizio Martinucci)Frank TheysCaro Verbeek

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4.4 Film and Photographic Studies(MAFPS)

Film and Photographic Studies – aspecialization of the MA MediaStudies – is a unique programme inThe Netherlands that integratesscience and art. The master is initi-ated by the Institute of CulturalDisciplines, the department of ArtHistory and the Print Room of LeidenUniversity Library and the RoyalAcademy of Art in The Hague.A high degree of cross-discipli-nary thinking is encouraged, as iswitnessed by the close collabora-tion with the Department of ArtHistory and other departments ofLeiden University as the Print Room/

Division of Special Collectionsof the Leiden University Library.The various courses are offered bymeans of lectures, meetings, semi-nars and excursions and throughself-study based on specific textsor photographic objects, (histor-ical) photographic sources and filmsand in-depth analysis of history andcriticism of photography, film, andvideo.

IntroductionFilm and Photography are currentlythe focus of considerable interest.The Amsterdam Film museum, duringmore than sixty years of its exist-ence, has built up a reputation withan appealing and daring programme.Photography museums have been estab-lished in Rotterdam, The Hague andAmsterdam. Moreover, articles onphotography regularly appear in the

art pages of leading newspapers. Artmuseums and university libraries paymore and more attention to their ownphoto collections. Furthermore, theLeiden University Library housesone of our country’s oldest and mostcomplete photo collections.

As a result of this increasinginterest, there is a growing needfor well-trained individuals withspecialist knowledge in this field.These individuals are professionals

who can approach and analyse film andphotography both as independent mediaand in relation to other disciplines.The master specialization in Filmand Photographic Studies at LeidenUniversity is the only programmethat focuses specifically on filmand photography while maintaining aninterdisciplinary approach as wellas providing academic (intellectual)skills.

Areas of attentionThe master specialization in Film andPhotographic Studies aims to provideyou with a broad academic and socialorientation on film and photographyas well as insight into researchabout photographic practice and

history of film. Particular areas ofattention include:

/ interdisciplinary methods inthe academic study of lm andphotography;

/ theories of lm, photography andvideo;

/ the signicance of lm andphotography as a means ofcommunication and a mass mediumwith specic underlying strategies;

/ the interconnections among lm,photography, video, visual cultureand other forms of visual art;

/ the forms of presentation forlm and photography (exhibitions,internet, publications, reviews,etc.);

/ lm and photographic practice asresearch;

/ strategies in the eld ofcollecting, conservation andmanagement.

As a result of the increasinginterest in film and photography andthe growing role played by film andphotography in society, the surround-ings in which film and photographycan be investigated are increasing.Therefore, recent developments suchas digital photography and new mediaare also discussed in the programme.

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4.5 IN SI DE Interior Architecture(MDes)

INSIDE: Design for the real world(Victor Papanek)

The Royal Academy of Art in The Haguelaunched INSIDE , an entirely newMaster Interior Architecture sinceSeptember 2011. This internationallyorientated course is a meeting placewhere students, designers, theoreti-cians, architects and critics partic-ipate on broadening and deepening thecontent of interior architecture andcontribute to solving social issuesthat really count.

INSIDE is a two-year, full-time,

English-taught programme, whichtargets the real world, a world thatis changing. Large-scale interiors,a changing relation between privateand public space, sustainability anda greater demand for social cohesionare themes that call for new forms ofinterior architecture.

The content of INSIDE is focused onan annual social theme and a setof problems of residents or usersof interior architecture. Sustain-able, humane solutions for problemsare developed and presented throughresearch, conceptualisation andspatial design.

More informationVisit the website www.enterinside.nl ormail at [email protected]

If you have any further questions,

please contact:

Royal Academy of ArtINSIDE, MA Interior [email protected]

Head of the master programme

Hans Venhuizen

Programme CoordinatorMarja van der Burgh

The team of internationally orientated architects,designers and theoreticians:Elma van Boxel andKristian Koreman (ZUS) URBANAnne Holtrop INTERJan Jongert (2012 Architecten) FLOWSJan Konings SPACE

Other people involved in the programme:Bert van Meggelen

Arienne MatserTimo de RijkEllen van Loon

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4.6 Introduction (MMus)

The Master Artistic Research ( MAR)is a two-year interdisciplinaryMaster Trajectory for Research inthe Arts for students working in thefield of visual art and/or music. Theprogramme is a collaboration betweenthe Royal Academy of Art and theRoyal Conservatory in the Hague, andwas established in September 2009.

The articulation of artistic researchas a demarcated activity emergedin relation to questions regardingwhether artists produce knowl-edge, and if so, how this knowl-edge relates to academic knowledge.Artistic research makes space for

research in the arts by artists (asopposed to research about the artsby non-artists). From the point ofview of academic discourse, artisticresearch facilitates more insightinto artistic practice. For artists,and for students participating in thecourse, the primary goal of artisticresearch is the further developmentof artistic practice.

Visual artists and musicians havealways researched, without it beingnamed as such. Artists working in thefield of artistic research are taughtto develop a heightened self-reflex-ivity about their artistic practice,to explicitly position their prac-tice in relation to wider artisticand non-artistic discourses and toexpand their knowledge bases intoareas that fall outside of the realmsof art discourse, but are relevant to

their individual artistic practice.The Master Artistic Research extendsstudents’ research skills, includingthe ability to gather relevant mate-rial, to undertake close reading,listening and looking, to locateand understand connections withinand across that material and to makeinformed judgments about the valueand relevance of ideas from sourcesexternal to their practice. Theylearn to use insights gained throughreflection to improve their artistic

work. The result of the researchis, in the first place, an artisticproduct in the broadest sense of theword.

The Study ProgrammeThe research proposal of each indi-vidual student, submitted on appli-cation to the course, forms thepoint of departure for the two-yearMaster trajectory. This proposaloutlines areas of specific interestfor investigation as well as areasof practice that the student wouldlike to further develop, extend orbreak open. This proposal is revis-ited and revised during the course ofthe study, and results typically ina series of artistic products rather

than an academic research outcome,unless the student explicitly wishesto undertake a formal written thesis.

The methodologies artistic researchentails are as diverse as artisticpractice itself. Research methodsused by students of the MasterArtistic Research include inter-per-sonal dialogue, reading artists’writings, critical texts and academicessays, gathering aural, visual andphysical materials, forming image-based, textual, musical and soundarchives, watching and making films,doing interviews, visiting exhibi-tions, attending performances andcarrying out collaborative experi-ments with people in other fields.An exploratory, focused approach tothese activities and the contin-uous further development of lines ofenquiry define them as research.

The study is conceived as being 60%‘practical’ (practice and research)and 40% ‘theoretical’ (explorationand research). In real terms, theseactivities are approached as an inte-grated practice. It is understoodthat the status of what constitutesresearch or an artwork can be fluid.Students are provided with the oppor-tunity to develop, strengthen andreflect on the relationship betweenpractice and theory in their work

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through ongoing dialogue with theirallocated practice and theory tutorsas well as their fellow students. Oneimportant focus of the core teachingcurriculum lies in developing theappropriate form for the work inprocess, based on the demands of thecontent of the material being workedwith. Students are provided with aworking space and have access to allof the general workshop facilitiesof the Royal Academy and the RoyalConservatoire.

During the course students learn todevelop their critical reflection ontheir own work and areas of interest,to analyze and explore their ideasand findings, to communicate these

with others through speech and onpaper. The research trajectory isdocumented and explored through aseries of research reflection papers,in which students reflect on andanalyze their unfolding artisticprocess, exploring external inputfrom within the course programmeas well as outside. These reportsprovide insight into the departurepoints, methods and outcomes of theartistic process and form an impor-tant basis for dialogue with tutors.They encourage students to thinkabout what they have done, what theymight have done differently, howthey feel about the process, and howthey might change it to extend theirlearning curve, using insight gainedthrough reflection to improve theirown and other students’ work.

All students participate in one

artistic research group, a smallcluster of students guided byspecialized theory and practicetutors to engage with a shared areaof interest (eg. Art and politics).They work together weekly throughgroup dialogue, engagement witheach others’ practices and that ofrelevant artists and thinkers. Thestudents follow a number of relatedworkshops per year and work togethertowards a collaborative event andpublication. Each research group is

supported by guest lectures and pres-entations, as well as studio visitsby practitioners within the fields ofmusic, art and other disciplines suchas choreography or academic fieldsthat are relevant to the work ofcurrent students.

Additional guest lectures supportartistic development at large. Thereare also guest lectures and workshopsorganized to address professionalpractice skills, such as the processof applying for funding or residen-cies.

During the course of the academicyear, a number of exhibitions andevents are organized during which

students can practice presentingtheir work at a professional level.These events are guided by coretutors and sometimes by a curator orother expert from the field. Studentsare asked to critically reflect onthe process and outcomes of theseevents, treating them as a learningopportunity as well as a means todisseminate their work to a widerpublic. These exhibitions and eventstake place within the galleries andauditorium of the Royal Academy ofArt as well as at selected externalvenues.

The Master Artistic Research has aclose working relationship with theAcademy of Creative and PeformingArts. Students are invited to partic-ipate in selected courses and events,fostering the students’ involvementin a wider artistic research commu-

nity and introducing Master studentsto discourse at PhD level. The MasterArtistic Research in The Hague alsocollaborates in organizing an annualexchange with students of the MasterArtistic Research in Amsterdam witha view to further extending thisresearch community. Students are alsooccasionally invited to attend and/orparticipate in related conferences orevents related to artistic research.

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The Musical Dimension of the course

The Master Artistic Research courseoffers a research environment forexpanded practice. For visual artistsit can open up or further develop anengagement with sound and perfor-mance. Some of the students’ prac-tices operate on the borderlinebetween music and art. For thesestudents it offers a chance for adeeper dialogue, for critical reflec-tion on the significance of thisposition, and for a greater level ofexpertise in the field that has notformed their primary working back-ground.

Other students express the wish toextend their media into the field of

visual art or music. For a visualartist, the musical dimension of thecourse can allow further develop-ment of areas of their art practicethat touch on sound – such as thedevelopment of sound for installa-tion art works or producing experi-mental sound to accompany video andfilm work. Music can also offer themeans to establish entirely new waysof working. This includes exploringsound as a medium in itself,including the creative potential ofinstruments and the voice, as well asallowing the ideas and methodologiesrelated to musical composition andperformance to trigger new lines ofartistic thinking. Visual artists canparticipate in selected courses atthe Conservatoire to increase theirknowledge about specific areas, aswell as having individual guidancefrom music tutors.

For the musician access to visualart’s wide variety of media and waysof working opens up new creativepossibilities for an expanded musicpractice. This includes the reper-toire of performance art, which canextend and challenge conceptions ofperformance in music, as well as theuse of video and other visual mediaunder the guidance of artists who arefamiliar with its creative scope. Itincludes the potential of working in

space and the possibility of usingsculptural or choreographic elementswithin an expanded musical practiceas well as considering the percep-tual arenas the use of the visualopens up. Experimental musicians cangain support to develop their videodocumentation of live performance,experiencing how artists use documen-tation to form new work in its ownright.

Through theoretical seminars andguest lectures as well as coreteaching, musicians are exposed tonew discourses coming out of thefield of art specifically as wellas wider cultural theory, which caninspire new areas of work and support

the musician to articulate complexareas of their practice. They areguided individually in this processby a theory tutor with an interdis-ciplinary professional background aswell as by a writing tutor.

The Master Artistic Research offersa supportive environment for thecreation of collaborative worksand the establishment of collabora-tive practice. To date the resultingartistic output can be positionedon the borderline between art andmusic, being received differentlybut with interest by audiences fromboth fields. Students also take partin wider interdisciplinary activi-ties within the Royal Conservatoire,including MAsh_UP (an interdiscipli-nary platform within the Conserva-toire) and C.A.S.S. evenings (a plat-form for students of Composition,

Artscience, Sonology, MAR).

General learning objectives

/ The Master Artistic Researchteaches students to criticallyreflect on and analyze theirartistic practice to developtheir artistic output to alevel suitable for autonomousprofessional practice in thefields of music and/or visualart.

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/ Students are led to explorean expanded field of practice,extending into new areas andfurther developing aspects oftheir practice that may havereceived limited support dueto the restrictions of theirdisciplinary backgrounds.

/ Students learn to position theirpractice within wider debateswithin their respective fieldsand in relation to wider socialand academic discourses.

/ Students are taught how topresent their artistic workwithin the professional contextthrough the putting together ofexhibitions and events, with

critical reflection and inputfrom tutors and professionals intheir field.

/ The Master Artistic Researchteaches students discursivewritten and oral means tocommunicate their practice anddisseminate their research toaudiences within and outside oftheir field.

Study point requirementsMaster Artistic Research students areobliged to carry out the followingactivities to fulfill their studypoint requirements for graduation:

/ Attend regular individualtutorials and group classes withpractice and theory.

/ Regularly present new worksto tutors and fellow studentsto demonstrate the student’sartistic evolution and therelationship between his/herresearch process and artisticwork.

/ Write or digitally recordreflection papers on his orher artistic development andresearch trajectory.

/ Actively participate in oneartistic research group,

attending the related meetings,guest lectures, theoretical

seminars and workshops.

/ Attend a general guest programmeof lectures and seminars.

/ Periodically exhibit or performnew work in MAR exhibitions andevents and actively contributeto the organization and puttingtogether of these events.

Cooperation with Leiden UniversityTogether the Royal Academy of Art andthe Royal Conservatoire constitutethe University of the Arts in TheHague. There is also close coopera-tion with the Academy of the Arts ofthe University of Leiden, which makesit possible for students of the RoyalAcademy of Art and the Royal Conserv-

atoire to take optional subjects orto follow minor or master programmesat the university.

The Royal Academy of Art in The Haguealso hosts two unique, high-qualityPh.D. trajectories: in fine art anddesign, leading to a PhArts, and inmusic, leading to a DocArtes. ThePh DArts programme for Research inand through Artistic Practice offersartists the possibility to obtain aninternational doctorate in art anddesign. Ph DArts is a collaborationbetween the Leiden University Academyof Creative and Performing Arts andthe Royal Academy of Art.

ApplicationThe Master trajectory is officiallyenrolled at the Royal Conservatoire,as a research path of the Interfac-ulty ArtScience. Practically this

means the student is officiallyregistered at the Royal Conserva-toire, even if the study direction isvisual arts. At the completion of thestudy the student will receive thetitle Master of Music.For admission to the master trajec-tory, a Bachelor in one of thedisciplines of the arts from a Dutchuniversity of applied sciences ( HBO / Hogeschool) or an equivalent Bach-elor of Arts diploma earned abroad isrequired, as well as a demonstrable

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affinity with theoretical researchand / or artistic reflection. Englishis the working language of the mastertrajectory, and proficiency in bothspeaking and writing is required.Applications and motivation lettersshould be written in English.When these entrance requirements aremet, the applicant is judged on thebasis of: a portfolio of artisticwork, a research proposal and / orstudy plan, in which an understandingof, and affinity with researchare clearly evident as well as aninterview about his / her work andaffinity with research in the arts.

How to applyPlease visit our website

www.masterartisticresearch.eu and send thefollowing documents and materials [email protected] before 1 April 2014:

/ completed application form;

/ portfolio (in PDF format. Ifthe portfolio is too large tosend by email, it can be sendby regular mail to the addressbelow on CD-ROM or DVD, or byusing WeTransfer or a similar

service); / in addition please send these

documents by post to the addressbelow:

› a photocopy of your diploma(s)/degree(s);

› a photocopy of the relevantpages of your valid passport(showing passport numberand expiry date) or EU/EEANational Identity Card;

› recent passport photo (3×4 cm;please write your name on theback. Only original photos!Photocopies are not accepted);

› OPTIONAL: portfolio (only ifthe portfolio is too large tobe send through email).

We do not accept incomplete appli-cations. All documents sent by postshould be in our possession on 1April 2014.

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4.7 Media Technology (MSc)

Media Technology Master of Science( MSc ) is a joint initiative of theComputer Science programme of theFaculty of Mathematics and NaturalSciences, Leiden University and theInterfaculty ArtScience. It providesa place where students, artists andresearchers are given the opportu-nity to formulate their own personalresearch questions. The participantsare encouraged to translate theirpersonal inspiration and curiosityinto manageable and relatively smallresearch projects.

The programme acknowledges thatcreativity is an important factor

in scientific innovation. It there-fore wants to provide a place wherestudents, artists and scientists cando research by finding innovativesolutions for questions - inspiredby results and principles of science.In order to achieve this objective,the curriculum focuses on crea-tive discovery and understanding ofscience and technology. Studentsare encouraged to make use of theextensive knowledge available atLeiden University and the ArtScienceprogramme of the Royal Academy of Artin The Hague.

Keywords of the Media Technologyprogramme are creativity, technologyand scientific research. We want toencourage innovation and creativityin scientific research. It can besaid that Media Technology trainsautonomous scientists; just as art

academies educate autonomous artists.

The Media Technology programmeprepares students for a future inwhich creative and critical thinkingplay an important role, and inparticular a future in scientificresearch. On graduating, studentsreceive a Master of Science ( MSc )degree from Leiden University, aninternationally acclaimed title.Alumni occupy positions ranging fromPhD candidate to creative entrepre-

neur. In general, science and thecreative industry are the clients ofour students. Actually each positionwhere creativity is combined withscientific thinking is appropriatefor our alumni.

EnglishThe programme is entirely taughtin English. This allows students,teachers and artists of differentnationalities to participate. Alllectures, discussions, presentationsand reading materials are in English.

More informationFor more information on the master’sprogramme Media Technology pleasecontact:

Annebeth Simonztelephone number: +31 (0)71 5276994Email address: [email protected]

For course descriptions, examplesof projects and other information,please visit our website:mediatechnology.leiden.edu

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4.8 PhDArts

PhDArts offers an international, high-level doctorate in art and design.The PhDArts research trajectoryconsists of two elements: indi-vidual research and participationin the doctoral study programme. Anappropriate team of supervisors issought for each doctoral student.The doctoral study programme, whichconsists of lectures, seminars,trainings, and workshops, is anessential part of the research envi-ronment in which the student under-takes his or her research. PhDArts isa collaboration between the LeidenUniversity Academy of Creative andPerforming Arts and the Royal Academy

of Art ( KABK) in The Hague.

PhDArts is a platform for artistswho consider theoretical reflectionand artistic practice as intrinsi-cally related and complementary toeach other. Together with a team ofsupervisors, staff members and guestteachers, the doctoral candidates ofPhDArts form an inspiring and chal-lenging research environment. As aunique programme in the Netherlands,PhDArts creates new possibilities forart and its practitioners by ques-tioning and breaking down existingboundaries between the disciplines ofart theory and practice.

About PhDArtsIn practice-based research, orresearch in and through art, prac-tical action (the making) and theo-retical reflection (the thinking) go

hand in hand. The one cannot existwithout the other; in the same waythat action and thought are inextri-cably linked in artistic practice.

This type of research does not havea predetermined methodology. It hasan open character, which is deter-mined by the desire to reflect one’sart or design practice, in collab-oration with others. Research hasalways been an integral part of theartistic practice of visual artists

and designers, but over the pastdecades, attention for the researchaspect of art and design practice hasincreased. Contemporary artists anddesigners often position themselvesas researchers in both the socialand the artistic field. In some casesthe research has become the art workor design itself; matter and mediumfunction as the instruments in theresearch or ‘thinking process’.

The artist/designer-as-researcherdistinguishes himself from otherartists by taking it upon himself tomake statements about his thinkingprocess and the production of work.The researcher allows others toparticipate in this research process,

entering into a discussion withothers and opening himself up tocritique. The researcher seeks thediscussion in the public domain.Without public discussion and theexchange with peers the researchlacks its reason for existence. Whenthis exchange takes place in anacademic context, within the frame-work of research for a PhD , certainconditions apply. For example,the research needs to yield freshinsights, not merely into one’spersonal work but into art or designin the broader sense as well. Super-vision plays a crucial part in crit-ically evaluating the contribution tothe artistic domain.

Language, in whichever way, playsan important part in the research.Without language it is impossible toenter into a discourse. Inventing a

language which enables the researcherto communicate with others andwhich enables the evaluation of theresearch is as important as devisinga viable research methodology.

PhDArts doctorateResearch in and through art is aninseparable part of the artistic ordesign practice of the researcher.Consequently, research-in-art (asopposed to research about art, suchas art history) does not have a set

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goal or expected result, nor arethere predetermined general proce-dures. The outcome of the researchis open. This openness is a conditionfor conducting research in art anddesign.

There is a unique relationshipbetween the artist/designer, theresearch method and the outcome ofthe research. This research is onlypossible thanks to the artist’sartistry and, the other way round,the artist develops his artistrythrough the research. The outcomeis therefore an artistic product,combined with a discursive product,the dissertation, which does justiceto the artistic one.

This final result of this type ofresearch, which is by its naturespeculative, cannot be restricted toone particular form. The criteria forthe form the research may take aretherefore kept as open as possible.Also, there is no fixed ratio betweendissertation and artistic production.The requirements that the researchmust satisfy and the researcher’smethodology derive in part fromthe assignment that the artist ordesigner has given himself.

Certain conditions apply to thePhDArts doctorate. A high level ofartistry/design is a prerequisitefor acceptance in the PhD programme.The applicant should have a clearresearch theme as well as a researchplan. In addition, the context of theresearch should be clearly described.

The research should offer newinsights, not only in the work ofthe maker but also in art and designin the broader sense; the researchshould contribute to knowledge aboutart/design and the internationaldiscourse in the field of research.The researcher is expected to bein the vanguard of his field ofresearch.

The research must take place in anappropriate research environment.Experimentation is an important partof both the process and the result.Critical engagement is inseparablyrelated to the research theme and itsresults.

The final product must be communi-cated both visually and in writing,and thought and reflection must beclearly present in several ways.Firstly, a report on the researchproject must provide insight intothe departure points, methods andresults. Secondly, the work itselfmust be deliberative: reflection mustbe an intricate part of it. Researchthat fulfills these conditions will

be innovative and relevant to contem-porary developments in the world ofart and design.

At the end of the PhDArts trajec-tory, the work must be presented to acommittee of experts for evaluation.

As part of the research, the doctoralstudent is expected to attend thedoctoral study programme, includingthe various evaluations. The studentshould actively and passively partic-ipate in conferences (lectures,papers, conference reports) andevents. In addition to this, thedoctoral student should periodicallyexhibit new artwork to illustrate theartistic evolution and the relation-ship between the research and theartistic work, as well as publishwritings on one’s work, developmentand research.

PhDArts doctoral programme The PhDArts doctorate programmeconsists of individual research andthe doctoral study programme.

Individual researchEach research trajectory is indi-vidually supervised. The role ofthe supervisors consists of helpingstudents to develop a suitable

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research environment. The super-vising team consists of the DirectingSupervisor and one or two assistingsupervisors.

The Directing Supervisor is themain person responsible for thestudent’s supervision. He or she is,in principle, selected from withinthe institute. One or two supervi-sors, who are experts in specificaspects of the research, assist theDirecting Supervisor. After admis-sion, the doctoral student choosesthe assisting supervisors in consul-tation with PhDArts staff. The choiceof the assisting supervisors has tobe practically feasible.

The tasks of the supervisors includecontinuously monitoring the qualityof the research by keeping closetrack of the student’s progress andby supplying the necessary researchmethods and tools to sharpen thestudent’s critical approach to hisresearch.

The supervisors also follow thestudent’s preparations for presenta-tion moments and the final pres-entation by ensuring that there isa good balance between written textand art-specific means, so that theresearch results may be communicatedin an optimal fashion.

Furthermore, the supervisor guaranteesthe required in-depth investigationand broadening of the research topic,as well as possibilities for contex-tual research and frames of reference.

Also, the supervisor ensures thatthere is a proper balance of artisticwork and reflection.

The doctoral study includes a numberof presentation moments throughoutthe course of the research, amongothers in the form of a QualifyingHurdle after the first year, AnnualProgress Reports in the subsequentyears, and finally a public pres-entation and a public defense of theresults of the research.

PhD students are responsible for theprogress of their research. It is thestudent’s task to update the super-vision team on his development andnotify them of his presentation andevaluation moments. It is up to thestudent to initiate and maintain thecontact with his supervisors and thePhDArts directory.

Doctoral study programmeThe doctoral study programme issupplemental to the supervision ofindividual research in the PhDArts research trajectory.

The research community enables PhD students to exchange ideas. It is aframework which stimulates construc-

tive and content-based criticism ofthe work of the students among them-selves and with supervisors, visitinglecturers and staff. The researchcommunity is an important expan-sion of the possibilities for theundertaking of one’s practice and anexpansion of the discourse.

The study programme in the fallsemester (September – December)includes an aesthetics and philos-ophy of science course, and a coursecovering presentation and informationtraining and writing techniques, withpresentations by and discussions withresearchers from various disciplines.

In the spring semester (January –June), the study programme consistsof monthly meetings of one ormultiple days. These meetings takeplace in the form of workshops or

colloquia. Workshops consist ofpresentations by and discussionswith prominent visual artists anddesigners as well as with theorists,in combination with presentationsby students. During the workshopstheoretical aspects of the researchwill be explored. During the end ofyear colloquium students present onthe progress of their research fortheir fellow candidates, and exchangeideas, thoughts and experiences.Students are expected to attend the

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colloquium throughout the entireduration of their doctoral studyand to attend at least half of thecourses and training sessions inthe first semester and half of theworkshops in the second semester.Precisely when this happens is up tothe student, but it is advisable tofollow courses and training sessionsat the beginning of one’s doctoralstudy. It is recommended to attendthe full study programme.

The research community is formedduring the doctoral study programme,and also through the research facil-ities offered by PhDArts . Thesefacilities differ depending on theresearch project. They include access

to libraries, availability of studiospaces for presentations and ofequipment and computer facilities,and cooperation with partner institu-tions.

Admission

The yearly application deadlines forPhDArts are 1 April and 1 October.Accepted applicants can join theprogramme in September or January ofeach year.

Applicants must have a Master’s ofArts degree or proof of study ata comparable level. English is theworking language of PhDArts , andproficiency in both speaking andwriting in English is required.

Because PhDArts is a practice-as-re-

search doctorate, the applicant mustfirst and foremost demonstrate thathe is a highly accomplished practi-tioner in some aspect of the artsand/or design.

On a theoretical level, the applicanthas to demonstrate that his ideas arealready quite well-formed and that hehas begun to place his own contribu-tion within the context of existingresearch or innovative practice. Theapplicant will need to show a strong

sense of intellectual curiosity andbe able to justify what the urgencyfor this particular research is.

The application process consistsof two phases. The first phase isthe assessment of the applicant’sresearch dossier. The researchdossier will be assessed by an Advi-sory Group, with representatives fromthe Royal Academy of Art The Hagueand Leiden University (Academy ofCreative and Performing Arts). In thecase of a positive assessment by theAdvisory Group, the applicant entersthe second phase of the applica-tion process, and is invited for anEntrance Examination. The EntranceExaminations take place at the Royal

Academy of Art, in The Hague.

Applicants must put together aresearch dossier for the applicationprocedure. The application must bewritten in English.

The research dossier consists ofthree elements:

/ Application form

/ Detailed curriculum vitae / Portfolio

For more information on the programmeand application procedures pleasevisit: www.phdarts.eu

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5.1 Research Domains

What is a research domain?Research domains (in Dutch: lector-aten) are the research groups ofUniversities of Applied Sciences,whose purpose it is to make connec-tions in socially relevant areasbetween education, practice and prac-tice-based research. The appointedprofessor leads a research group,which consists of a number of visualartists, designers and theoristsfrom various disciplines. Addition-ally, contact is kept with thosewho are active or do research in thefield of the research domain. Peopleboth inside and outside the academycan contribute to the research of

a research domain. Sometimes alsostudents work on (research) projectsin the context of their studyprogramme. Research domains shareknowledge with companies and institu-tions, conduct applied research anddevelop new knowledge in co-produc-tion. They maintain partnerships withcompanies and institutions on local,regional, national and internationallevels.

5.2 Research domain Art Theoryand Practice

Head of Lectorate: Janneke WesselingSince 1 February 2007 Janneke Wesse-ling has been professor and head ofthe Lectorate Art Theory and Practiceat the University of the Arts. She isco-director of Ph DArts, PhD programmefor visuals artists and designers

at the Academy of Creative andPerforming Arts at Leiden University.Wesseling also writes as art criticfor NRC Handelsblad.

The Lectorate ‘Art Theory and Prac-tice’ researches how to naturallyconnect art and theory in art educa-tion. This occurs on a BA, MA andPhD level, at the University of theArts and at the Academy of Crea-tive and Performance Arts at LeidenUniversity. An example is the

honours programme initiated by theLectorate, which offers interdisci-plinary workshops for BA students.Wesseling organises pilot projectsin which education in art practiceand art theory are integrated, inclose cooperation with the differentart departments of the Royal Academyof Art. Aditionally, the Lectorateorganises symposia, workshops andlectures with different partners inthe field of artistic research.

Research in and through art, orartistic research, is becoming moreand more important in art education.This is a consequence of the factthat both artists and theorists areincreasingly focusing on the theoret-

ical aspect of the artistic practiceand the cognitive function of the artwork: art as a tool to gain knowl-edge about reality. The artist-asresearcher has become a familiarphenomenon. The practice of contempo-rary artists is, in many cases, char-acterised by a continuous reflectionon the artist’s own actions.

The attention for theory and researchis accompanied by the re-structuringof higher education. The establish-ment of the Bachelor/Master struc-ture on a European level asks forreflection on the research contentin artistic practice. Wesseling’sLectorate plays a pioneering role inthe reciprocal exchange between arteducation and research.

5.3 Research Domain Interior

Architecture: Inside Flows

Researcher/Lector: Jan Jongert, 2012ArchitectenContemporary interiors increasinglydepend on a complex of connectingflows. The researchgroup ‘insideflows’ investigates the specifica-tions and behaviour of these flows tosupport the development of sustain-able designmethods.

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From at least 13 different flowtypesvarying from energy, water and foodto knowledge, money and users, prac-tical knowledge will be developed forapplication in design and research.Next to their content, as well themeans to represent flow-systems willbe subject of research. Conclusivelythe research group supports theflow of knowledge within the Mastercourse, providing a knowledgebase/encyclopedia and connecting differentstudent projects by giving access tothe accumulating knowledge from theperspective of flows.

5.4 Research domain InnovativeVisualization Techniques (IVT)

Professor:Yolande KolsteeSupport and junior researchers:Reba Wesdorp and Mariana Kniveton

Research domain InnovativeVisualisation Techniques (IVT)The research domain InnovativeVisualisation Techniques in arteducation focuses on the role andsignificance of innovative visualis-ation and interaction techniques inart (and design) education in rela-tion to developments in the culturaldomain and the creative industry.

Never before were the possibilitiesto realise artistic and creativeideas with a computer as enormousas today. This is not only becauseof the increasing capabilities of(mobile) computers, but also because

of increasingly user-friendly designsoftware. New visualisation andinteraction techniques are developingrapidly worldwide, and offer, as newmedia, unprecedented possibilitiesfor art and design. The new visual-isation, interaction and productiontechniques are an extremely fasci-nating field of interdisciplinarypractice and research.

This includes, for example:

/ Computer-controlled equipmentsuch as 3D printing, 3Dscanning, laser cutter, millingmachines, textile machines;

/ Augmented Reality *) or other

forms of mixed reality; / Digital interactive

installations;

/ (Interactive) applications(apps) for smartphones andtablets (iOS or Android).

The research domain promotes learningto use and experiment with new(computer-controlled) equipment suchas 3D printers, while it simultane-

ously recognises the importance ofthe old techniques.

Website WorkshopsThe research domain IVT has enabledthe development of a KABK Workshopswebsite, on which where all, oldand new, equipment of the academy islisted in an organised manner.

Workshop Labs: RemediateThe overarching theme is Remediate.There is a lot of literature avail-able on this subject, from, forexample, J. David Bolter and RichardGrusin. In very rough lines, itconcerns the incorporation of ‘old’media in new media (e.g. film onthe Internet). The question is thento research what is new about newmedia and what its added value iscompared to existing media. Thistheme is not accidental: the academy

might organise a major internationalconference on this theme in 2015.

Per IST per block, one workshopcontaining new equipment is central-ised. Students will explore how theycan make one or more projects withthis new equipment/software, whichare then presented during a festiveconcluding event; like for examplethis year in cooperation with StudiumGenerale lectures (just as at thePop-Ups).

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The professor, the workshop managerand possibly a guest lecturer super-vise the labs.Subscribe via the IST registrationsystem.

Other opportunities to work withthe research domain IVT:Teachers:Workshop Labs: RemediateProjects:Teachers can propose projects thatare relevant to the area of research.Research:Teachers can contribute by doingresearch and write articles thatmight be published in the AR[t] Maga-zine or in another leading journal.

Teachers with ideas for the Work-shop Labs: Remediate, projects orresearch, or for an article, candiscuss this with Yolande Kolstee( [email protected]).

StudentsStudents can participate in differentways:

/ Workshop Labs: Remediate

/ AR Lab projects in the IST(7 Wednesdays), often incollaboration with a museum

/ Own projects

/ IST course 3D Animation andInteraction design

/ Thesis guidance

/ Internship

The mission of the research domain IVT is:1. Knowledge development by under-taking artistic, experimental,scientific and market research on therelevance of new visualisation andinteraction techniques for art educa-tion, and expose the results to thewidest possible audience in a rele-vant way for each type of research.

The research domain aspires to give aboost to:

/ Students, to familiarisethem with new visualisationtechniques and their use in thecultural field through projectsthat often take place in amuseum context, for example inthe academy’s Augmented RealityLab (AR Lab).

/ Teachers, to inform them aboutnew technical developments inthe field visualisation andinteraction.

/ Fellow professors of researchdomains, to increase theimportance in the academy ofdoing research in differentfields, by collaborating withexternal research domains.

Cooperation with TU Delft and Leiden UniversityWe are working on an inventory ofcourses/modules that are open toRoyal KABK students on AR and relatedissues both at the TU Delft andLeiden University.

2. Network expansion and consolida-tion of a network relevant for theprofessional practice in the fieldof new visualisation and interac-tion techniques in relation art (anddesign) education.

The research domain IVT wants tosolidify and expand already existingtheoretical and practical collabo-rations in the field of visualis-ation and interaction techniquesbetween art education and (tech-nical) science. We collaborate withresearchers from three different

faculties of the Delft Universityof Technology (Robotics, IndustrialDesign and Technology, Policy &Management) and with researchers fromMedia Technology at Leiden Univer-sity.

The research domain also seeks topromote international cooperation,and does so, for now, mainly via theAR Lab.

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The network built up by the AR Labconsists of artists and designers,and also of museums, large and smallcompanies and numerous art events.There is a close relationship withthe professional field, from whichfrequent questions concerning theapplication of new visualisationtechniques reach us on almost aweekly basis.

Impact on art production and designNew visualisation and interactiontechniques, or production techniques,have a great impact on the creationof art, on improving the image of ourcultural heritage, on marketing andgraphic design and on several othermore technical areas. Particularly

graphic and interaction designerswill come into contact with it, andphotographers equally so. Spatialdesigners in textile, fashion, inte-rior and furniture design will alsobe exposed to the techniques inthe future. For visual artists andstudents of the ArtScience depart-ment, it is a question whether it isdesirable and possible to make art inand with the new visualisation tech-niques.

Examples of already completed projectsin collaboration with the AR Lab:

/ The new visualisation techniquesare of interest to alldisciplines. Already in 2008in Milan, at the Salone delMobile, virtual furniture andfabrics were exhibited by thedepartment Interior Architecture

and Furniture Design and Textile& Fashion.

/ Students from the Graphic Designand Photography departments haveworked on, among others, an ARset-up in the Kröller-MüllerMuseum.

/ Students of the Fine Artsand ArtScience departmentsparticipated in a three-month exhibition in the MuseumBoijmans Van Beuningen.

/ IMD Students participated inan AR exhibition at the EscherMuseum in the Paleis.

/ Fine Arts and Graphic Designstudents have been working withAR and have even made it intotheir graduation projects.

/ Students Industrial Designdesigned a headset (‘eye-wear’)for mobile AR for the secondtime.

/ Mixed groups of students haveworked on exhibitions at the VanGogh museum and the TemporaryStedelijk Museum.

/ ArtScience and Interactive/Media/Design students workedon an experiment with Layaron mobile phones for the OpenDay in 2012. With differentstudents, and in collaborationwith the Norwegian CollegeGjøvik, we made an AR game forKLM for mobile phones.

/ In 2012, Fine Arts, ArtSienceand Interactive/Media/Designstudents worked on a digitalvisualisation at the performanceof an opera (the Walküre) byWagner in collaboration with theRoyal Conservatoire.

/ From June 2011 until the moveto the Hermitage in 2012, theVan Gogh Museum held a highlyregarded application that wasdeveloped by a group of studentsfrom different disciplines.

/ Students of the Graphic Designdepartment collaborated with

the AR Lab, their professorGert Dumbar and Studio MaaikeRoozenburg, on the project‘Smart Replicas’ Museum Boijmansvan Beuningen in Rotterdam(opened in June 2013).

AR Lab (Augmented Reality Lab)The research domain InnovativeVisualisation Techniques in arteducation is closely linked to theRaak- PRO project AR- VIP: ‘augmentedreality, visualisation, interaction

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and perception’ of the AR Lab.This project has as goal to enableartistic, experimental and scien-tific research aimed at developingnew content and ways of interactionbased on the technical possibili-ties of modern interactive visualis-ation tools such as AR. The researchprimarily takes place in the AR Lab,an experimental lab of the KABK,based in the Bleijenburg building onthe first floor ( BB .103).The website of the AR Lab is:http://www.arlab.nl

In the AR Lab, Wim van Eck is theexpert on 3D animation and applica-tion development.

*) Augmented Reality is the real-timeadding of digital virtual images toreality. Augmented means: increased,enriched, added. The virtual imagesare digital 3D objects or 3D scenes.

Digi-Drinks 2011-2012In 2011-2012, the research domain IVT organised five digi-drinks to getto know the new workshops and/or newequipment knowledge.

Pop Up Gallery 2012-2013In academic year 2012-2013, studentsand guest artists realized fivePop Up Galleries under guidance ofteachers from:Graphic Design, Photography, FineArts and Interactive Media Design. Aspecial Pop Up Gallery was made intoa contest to generate Victory BoogieWoogie in code on a display. Thiscompetition was organised by Wiskun-

demeisjes, the Gemeentemuseum, andSet-Up. The Code Lab from the ArtSci-ence department delivered variousworks during this Pop Up.

5.5 Research in the Arts

Professor: Henk Borgdorff

Henk Borgdorff is Professor inResearch in the Arts at the Univer-sity of the Arts, The Hague. Since

1 September 2010, he combines thisposition with a Visiting Profes-sorship at the Faculty of Fine,Applied and Performing Arts at theUniversity of Gothenburg, Sweden.In both positions he focuses on thepolitical and theoretical rationaleof ‘artistic research’. In thisemerging research field, the practiceof the arts (creating, designing,composing, performing) is central tothe research process and art prac-tices and products (images, composi-tions, installations, performancesetc.) partly form the outcome of theresearch.

In The Hague Borgdorff is one of theproject leaders of the project ‘The

Artistic Research Catalogue’. Inthis project, funded by SIA- RAAK, 19national and international partners(among them Van Abbemuseum, RietveldAcademy and Royal College of Art,London) are building a digital plat-form for the world wide documenta-tion, exposition and distribution ofresearch by artists.

On behalf of The Hague he supportsthe international Society forArtistic research (co-founded by himin Mach 2010); he will work as editorof the Journal for Artistic Research;and he will chair the ‘Valida-tion’ working group of the Erasmusacademic network SHARE , which aimsto strengthen the third cycle in arteducation in Europe. Borgdorff isa member of the Strategic WorkingGroup on Research of the The Nether-lands Association of Universities of

Applied Sciences ( HBO -raad).Henk Borgdorff occasionally givesseminars in the doctoral programmesDocArtes (music) and Ph DArts (visualarts and design) and in the master’sprogramme Artistic Research at theKABK.

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5.6 Academy of Creative andPerforming Arts

The Academy of Creative andPerforming Arts is a collaborativeeffort between Leiden Universityand the University of the Arts inThe Hague. The University consistsof the Royal Conservatoire ( KC) andthe Royal Academy of Art ( KABK). TheAcademy of Creative and PerformingArts works on combining art andacademics. This offers many inter-esting perspectives for studentsin Leiden and The Hague, and forteachers and other researchers whoare testing the boundaries of theirabilities and knowledge. In theAcademy of Creative and Performing

Arts, art and academics cometogether.

Art education is mainly taught inThe Hague at the KABK and KC, andacademic education mostly at LeidenUniversity. For the practice coursein the arts admission requirementsapply. These requirements apply toall performing and creative subjects(vocal, instrumental, visual). Moreinformation about registration,admission and registration at LeidenUniversity, the Royal Conservatoireand the Royal Academy of Art, can befound online at: www.leidenuniv.nl.

Leiden University has more than16,000 students and employs morethan 1,500 assistant professors andacademic staff. The programmes atLeiden University are grouped intofive faculties: Archaeology, Humani-

ties, Medicine, Law, Social Sciences,and Science.

The Academy of Creative and PerformingArts publishes the curriculum andother activities on its website. Boththe guide with the curriculum, infor-mation about lectures and seminars,and a prospectus with the programmeof the Master Photographic Studies areavailable in writing. Please refer tothe website of www.hum.leidenuniv.nl under ‘Education’.

The Academy Creative and PerformingArts offers the following possibili-ties:

/ electives at the RoyalConservatoire (KC) and RoyalAcademy of Art Art (KABK);

/ minors at the Royal

Conservatory; / PhD in the arts.

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6. General study information

6.1 Educational Structure

The purpose of studying at the RoyalAcademy of Art ( KABK) is to preparestudents for the profession ofartist or designer. The educationalprogrammes have been designed to makethis feasible. The educational struc-ture consists of the propaedeuticyear and the main phase, which isdivided into the main study phase andthe final phase.

Over the past couple of years, theKABK has slowly incorporated compe-tence-based education. The offeredprogrammes can be seen as a foreshad-

owing of professional practice. Wepay close attention to career orien-tation and preparation. Importantto these aspects is the expectationof an increasing degree of self-study from the student. This is veryexplicit in the case of the Indi-vidual Study Trajectory. Addition-ally, students are acquainted witha wide range of different teachingformats. A very important part ofcareer preparation is the internship.

6.1.1 Competences & Domains

Competences, or abilities, indi-cate the coherent set of knowledge,skills, attitudes and other personalqualities of an individual thatenable him to adequately and success-fully carry out tasks, and find andapply solutions in a specific work

situation.

A student is competent, or is suit-able for a particular job or assign-ment, when he is able to effectivelyintegrate the appropriate knowledge,skills, and attitude in successfulbehaviour in specific situations. Inother words, the student should notonly know how and why something musthappen, he must also show he is abledo it. Competence-based art educa-tion is characterised by an integral

approach to knowledge, skills andattitude. It is an educational formwith a high degree of self-studythat is aimed at the future careersof the students. The emphasis on thestudents’ personal (talent) devel-opment results in flexible educationwith a variety of study trajecto-ries. In the programmes, the profes-sional field is always representedby teachers who work as an artistor designer in addition to theirteaching practice. Advisors and guestlecturers from different disciplinesare frequently invited.

The following competences areaddressed in the programmes:

/ Creative ability / Capacity for critical reflection

/ Capacity for growth andinnovation

/ Organisational ability

/ Communicative ability


/ Capacity for collaboration

Creative ability, capacity for crit-ical reflection and capacity forgrowth and innovation are the keycompetences for art education. Situa-tional awareness is equally relevant.It stresses the importance of currentdevelopments in professional practice.

The capacity for critical reflec-tion and situational awareness have astrong interrelationship. The differ-

ence is the respective internal andexternal perspective. Organisational,communicative and collaborative compe-tence are the remaining competences.

DomainsThe competences can be divided intothree areas (domains). These domainsoverlap. The division focuses moreon a difference in emphasis withinthe domains than on creating a sharpdemarcation.

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In the artistic technical domain,students specifically develop theircreative ability and the capacity forcritical reflection. These abilitiesor competences are considered mosttypical and important for the grad-uating student in visual art educa-tion. All art and design coursesdevelop the students’ abilities inthis area. Furthermore, this fieldincludes the capacity for growth andinnovation, which means that thestudent’s artistic or design prac-tice (the personal interpretation ofthe professional situation) can befurther developed and deepened.

Theoretical domain

The making of art and design isintellectual work. Art and designare judged on the basis of artisticobjectives for their relevance to(inter)national standards of profes-sional practice. This means thatknowledge of the theory of theprofession is a necessary componentof the skill-set of the artist ordesigner. This theory covers severalareas: historical and contempo-rary art history, art theory and arthistory related to the discipline.The socialisation of the art anddesign process also requires knowl-edge of disciplines such as philos-ophy, media history and communi-cation science. We distinguish arttheory in this. Art theory, in thissense, includes art history, philos-ophy, art observation and artists’theories, as well as special work-shops and lectures guided by art

theory teachers. Also, the practiceteachers contribute by basing theirinsights on theoretical arguments. Inthe theory courses of the differentdomains and disciplines, the history,background and departure points ofthe disciplines are further discussedand analysed.

Professional social domainThis field involves almost all compe-tences: capacity for critical reflec-tion, capacity for growth and innova-

tion, organisational, communicativeand collaborative competence, andalso situational awareness. Art anddesign have always had a strong foot-hold in society, and are created as aresult of interaction with the socialdevelopments in almost every area. Inalmost all study components studentswill therefore be faced with examplesof how things work in the practiceof an artist or designer. Part ofthe career preparation is the busi-ness element. This includes skillslike presenting work, dealing withbudgets, interacting with clients andso on.

In the descriptions of the variousdisciplines, the heading ‘profes-

sional/social domain’ focuses on thebusiness side of professional prac-tice preparation. We want to ensurethat students are able to appro-priately function as an artist ordesigner after, or sometimes evenduring, their education; whetherindependently, as part of a partner-ship such as an artists’ initiative,or working at a design bureau or acombination thereof.

6.1.2 Teaching formats

During their study at the KABK,students are confronted withdifferent teaching formats.

Theory educationTheory education takes place invarious ways:

/ lectures;

/ seminars;

/ work discussions;

/ supervision of papers and thefinal thesis.

The seminars include discussions,analyses and debates at the hand ofcontemporary and historical visualmaterial, exhibitions and texts,presentations on theoretical subjectsand personal statements.

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Practice educationPractice classes are designed indifferent ways:

/ Supervision and instruction forthe entire group, usually duringthe first weeks of a course.

/ Collective work discussions andprogress meetings of teacher(s)and students.

/ Studio-based supervision: theteacher visits the studentat his workplace or studioand discusses the work onlocation. This can occur inan individual and in a groupsetting. Many senior students

of the Fine Arts departmenthave their own workplace inthe academy. Students of theTextiles & Fashion and InteriorArchitecture departments work inshared studio spaces.

/ Workshop-based supervision:students work independently andwith assistance in a workshop,under the supervision ofworkshop managers.

/ Work discussions: the teacherdiscusses work of individualstudents often in a groupsetting, so that the studentscan learn from each other.

/ Digital supervision:especially in Graphic Designand Interactive/Media/Designstudents can be supervisedonline when face-to-face contactis not crucial.

Internship and other participation inthe professional fieldStudents intern at a company, insti-tution or with an independent artist,designer or photographer. In FineArts and ArtScience less internshipsare available, so instead studentstake part in external productions andprojects.

Special activities: visiting exhibitions, project weeks,excursions and workshops

In addition to, and integrated with,the curriculum, a number of activ-ities are organised each year. Theorganisation of these special activ-ities, such as workshops, projects,excursions and project weeks, ispredominantly the responsibilityof the different departments. Theactivities are therefore often disci-pline-related.

For first year students an acade-my-wide Propaedeutic Year ProjectWeek is organised.

Project weeks and excursions some-times have a very specific purpose,

such as a visit to a fashion tradefair, and sometimes a much broadercharacter, such as a visit to Berlinor the Venice Biennale. In the lattercase, students from a not-organisingdepartment can often participate aswell. The travel and accommodationcosts associated with the excursionsand project weeks are covered by theparticipants. A contribution from theSchool Fund is possible and is alwaysmade collectively. Students maysubmit proposals for an excursion,project week or workshop to the headof the department. Special activitiesare also organised by ‘t Hart andStudium Generale.

Activities ‘t Hart‘T Hart organises lectures, filmand video screenings and discus-sions in the KABK. ‘T Hart alsoprovides discounts on special theatre

and opera performances. Informa-tion can be found, among others, atthe stand of ‘t Hart in the hall ofthe academy. ‘T Hart organises manyactivities in collaboration withstudents.

If you are interested in this, pleasecontact Christie van der Haak:[email protected].

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Studium Generale

The activities of the StudiumGenerale ( SG ) are designed to broadenstudents’ knowledge and keep themup to date with cultural and socialdevelopments. During the StudiumGenerale activities, all students ofthe KABK are invited to look beyondthe boundaries of their discipline:to question the current events takingplace in the world around them, andto be confronted with ideas fromother disciplines. By doing so theydevelop a critical way of looking attheir own discipline, and they engagein conversation with other students.The exact content of the SG programmefor 2013-2014 will be published onthe website.

For more information about theprogramme and participation pleasevisit: www.studiumgeneralekabk.nl

Self-studyStudents work independently on theirart or design work for a large partof the programme. This can take placein the academy and at home.

6.1.3 Individual Study Trajectory

In the academic year 2004-2005, theKABK established the Individual StudyTrajectory ( IST) in the main phase ofthe programme. The IST is focused onthe discovery and development of thestudent’s fascinations and prefer-ences, and his personal artisticattitude. It is important that thestudent discovers what his personal

possibilities and ambitions are.Competence-based education requiresthat students learn to set their ownlearning objectives (self-study).The IST -plan is an excellent opportu-nity for students to customise theirstudies.

The Individual Study Trajectory caninclude the following:

/ taking one or more electives orintroductory courses at the KABK;

/ taking one or more electivecourses outside of the KABK;

/ participation in externalprojects;

/ undertaking practice-based ortheoretical research;

/ enrolling in a minor at theAcademy of Creative andPerforming Arts;

/ engaging in variousorganisational activities forthe KABK.

General proceedingsEach student makes a IST -plan atthe hand of the IST -form. The plandescribes the proposed activities,motivation and learning objectives.

The IST -plan should be discussed withthe coach. In the conversation withthe coach the IST-plan is evaluatedon the basis of whether it can indeedfunction as a broadening and/or deep-ening of the study programme. If theplan is approved, it can be started.After the activity or activities, aformal, external evaluation is carriedout (in case of, for example, theminors and electives). In addition,the student is asked to assess thelearning results and proceedings. Thecoach provides a final assessment.

Practical informationWednesdays are exempt from compul-sory study components for full-timestudents from the second year andabove. The Wednesdays are intendedfor individual scheduling to deepenand specialise the curriculum. Tothis aim, the introductory courses

and electives are scheduled in onWednesdays. Part-time students arealso given space in their schedulesfor the IST .

IST and the internshipThe credits reserved for the IST inthe internship semester can be usedfor the internship or for the contin-uation of a minor.

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IST credits (EC)

The Individual Study Trajectory doesnot start until after the propae-deutic year. 12 EC are allocatedto the IST per year. In total, thisamounts to 36 EC in three yearsfull-time programme and part-timeprogramme (new style). Please referto the appropriate discipline for therelevant credit overview.

Credit allocation ISTThe work carried out in the frame-work of the Individual Study Trajec-tory may not always be part of thecollective assessment. This is thecase when it, for example, concernsa minor or elective at Leiden Univer-sity. Students are then assessed

externally. The coach provides aCredit Statement: a form that isavailable at the Student Administra-tion. After the final evaluation andsigning of the coach, the credits areadded to the collective assessmentform. The credits are allocated afterthe collective assessment.

6.1.4 Electives

Internal Electives at the KABK

Since several years, the KABK offersinternal electives in the form of theStudium Generale and the PracticumGenerale. The Practicum Generaleconsists of electives, workshops andintroductory courses.

Introductory coursesThe KABK offers a wide range of

courses that offer students an intro-duction to a wide range of tech-niques. Introductory courses are opento students from all departments fromthe second year and above. With theapproval of the coach, the introduc-tory courses can be followed in theframework of the Individual StudyTrajectory.

Keep an eye on the KABK website forthe up-to-date course offer:www.kabk.nl/introductory .

The courses take place on Wednesdays.The courses last seven weeks and havea size of 2 to 3 EC .

Electives at Leiden UniversityFor main phase students of the RoyalAcademy of Art, the Royal Conserva-tory and students of Leiden Univer-sity, it is possible to reciprocallyfollow electives at Leiden Univer-sity, through the Academy of Creativeand Performing Arts.

Please note: A student who wishesto enrol in an elective at anotherinstitution must have the consent ofthe examination committee of the hostinstitute and his own institute.

/ Up-to-date information can befound in the electronic studyguide of Leiden University:www.studiegids.leidenuniv.nl .

/ For more information onelectives at the KABK contact:[email protected] .

/ For more information onelectives at the RoyalConservatoire contact:[email protected] .

/ For more information onelectives at Leiden Universitycontact the Student AffairsDesk: +31 (0)71 527 8011

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Application and admission forelectives in Leiden

A: Electives at the Academy ofCreative and Performing ArtsThe Academy of Creative andPerforming Arts has developed anumber of electives taught in Leidenfor students from Leiden and TheHague, such as in Capita Selecta inEarly Music, History and Theory ofPrintmaking, Music Theory, Historyof Western Music, World Music,Performing Arts, Multiform Typog-raphy, Philosophy of Music etc.Students can sign up for these elec-tives at the secretariat of LeidenUniversity, email: [email protected]

B: Electives at other faculties of Leiden UniversityStudents of the Royal Conservatoireand the Royal Academy of Art in TheHague can follow electives at LeidenUniversity. An overview of the elec-tives that explicitly focus on visualarts, music and dance, and infor-mation on the management and policycan be found on the website: www.studiegids.leidenuniv.nl.

To participate in an elective,students must be in possession of avwo diploma or should have success-fully completed the hbo propaedeuticyear. Students who are enrolledin the Conservatoire’s or KABK’sPreparatory year, cannot follow elec-tives at Leiden University.

To apply for an elective (a + b)students follow the following steps:

/ Register at theeducation secretariat(onderwijssecretariaat) of thedepartment that offers theelective.

/ Apply for a guest student cardat the Student InformationCentre Plexus, Keizerstraat 25,Leiden, phone number:071 527 80 11, email:

[email protected] .

To sign up for an elective at LeidenUniversity the student must submitthe following:

/ Registration form (availablefrom the secretariat ofthe Academy of Creative andPerforming Arts);

/ Permission, in writing, fromthe student’s department atthe KABK or Royal Conservatoire(available through thedepartment coordinator), statingthe students is allowed to takethis elective and a similarstatement from the departmentof Leiden University wherethe student wants to followthe elective, stating that thedepartment does not object tothe student studying there;

/ Proof of payment of theUniversity of the Arts tuitionfee, to be obtained from thestudent administration at theKABK or Royal Conservatoire.

If all conditions are met, thestudent can send the forms and the

statement to the Student Administra-tion of Leiden University

(PO Box 9500, 2300 RA Leiden,visiting address: Student Informa-tion Centre Plexus, Keizerstraat 25,Leiden, phone number: 071 527 80 11).

After registration the studentreceives a guest student card. Withthis card students can use the facil-

ities offered by the university, suchas the University Library and Black-board, the digital learning environ-ment of the university.

Electives at the Royal Academy of ArtStudents from Leiden University whowant to follow an elective at theRoyal Academy of Art ( KABK) needto register in all cases with DaveWillé, coordinator of the Academy ofCreative and Performing Arts at theKABK, email: [email protected]

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Students need some experience toparticipate in the electives. Admis-sion is based on the successfulcompletion of an admission assignment.

When the student has officiallyapplied by sending in the applicationform and has handed in the permis-sion statement, he can apply for afacility card.

Electives at the Royal ConservatoryStudents from Leiden University whowant to follow both a practical anda theoretical elective at the RoyalConservatoire need to register in allcases with the coordinator of theAcademy of Creative and Performing

Arts at the Royal Conservatoire,email: [email protected] .

In addition, students must officiallyregister as a guest student of theConservatoire. No additional costshave to be paid to follow practicaland theoretical electives at theRoyal Conservatoire.In consultation with the head of therelevant department it is determinedhow the student can best join a theo-retical elective.

Practicum Musicae(individual instrumental/vocal elective):The student should perform at amusical level that corresponds tothe basic level of a student enrolledin the Preparatory Course of theRoyal Conservatoire. Furthermore,the student should have the abilityto develop in such a way during the

first year of the Practicum Musicae( PM 1), that he reaches the samelevel at the end of the elective yearas that of a student enrolled in aBachelor’s programme at the RoyalConservatoire. Before a student isadmitted to the PM 1 he has to audi-tion, during which he is assessedaccording to the above. A smallcommittee of teachers determineswhether the student will be acceptedinto this course.

6.1.5 Minor Programmes

The minors available in the academicyear 2013-2014, which are offered inparticular for students from LeidenUniversity, can be found on:www.studiegids.leidenuniv.nl .

Minor Entrepreneurship in the ArtsThe minor is offered in collaborationwith the Centre for Business Studiesat the Leiden University. Everysecond year student of the RoyalConservatoire or Royal Academy ofArt in possession of a propaedeuticdiploma can start the minor Entrepre-neurship in the Arts in September.

The minor is also intended for

students who want to start their ownbusiness as an independent artist,designer or musician.

Modules of the Minor Entrepreneurshipin the Arts as electiveThe minor consists of a number ofmodules. The Entrepreneurship inthe Arts is intended for studentsaspiring careers in the culturalsector, where matters such as organi-sation, leadership, coordination andprogramming play an important role.The minor is also useful for studentswho want to present themselves as anindependent artist, designer or musi-cian, or who want to set up their ownbusiness. The minor teaches studentshow to effectively and relevantlyachieve artistic ambitions. Theprogramme prepares students for thelife after graduation. They learn allabout networking, investing, the ins

and outs of the Dutch cultural world,marketing, project management and themaintaining of a financial admin-istration. This will increase theirchances on the labour market. Commit-ment and motivation are required,also because self-study is a largepart of the minor.

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More information can be found on thewebsite: www.bedrijfswetenschappen.leidenuniv.nl under Education. Forproblems with registration you canemail Tim Soekkha:[email protected] .

6.1.6 Internationalisation

The KABK strives for an interna-tional learning environment forits students. Firstly, by creatingan international climate in thebuilding, and secondly by the encour-aging temporary trajectories abroadin the shape of:

/ study;

/ internships;

/ post-graduate programme.

The advantage of a temporary trajec-tory abroad is the contact withdifferent cultural and living envi-ronments and teaching methods. Inaddition, students learn to func-tion in an international context,which will benefit their futurecareers. Through different mobilityprograms, the European Union ( EU ),Dutch government and several founda-tions offer many scholarships everyyear for students to follow a partof their programme, internship orresearch abroad. In most cases, thestay abroad takes place in the thirdyear of the programme. The lengthof stay varies from three months toa full academic year. The Erasmusexchange has a maximum of six months.

Temporary study abroadA well worked out study plan is thebasis for applying to study abroad.The student can obtain advice andinformation about academies abroadfrom the internationalisation officeand the head teacher. The head ofdepartment makes the final decisionconcerning the study period abroad.When the study abroad takes inEurope, the student is eligible forthe Lifelong Learning Erasmus schol-

arship. For more information on theKABK’s European partners, the appli-cation process, the application formand the scholarship amount can befound on www.kabk.nl or at the Inter-national Office of the KABK. Deadlinefor application: check the website ofthe institutions.

Inside and outside Europe we haveestablished relationships with artschools in:

/ Tirana, Albania

/ Jerusalem, Israel

/ Tokyo, Japan

/ Beijing, China

/ Minneapolis, United States

/ Bangalore, India

/ New Delhi, India

/ Seoul, South Korea

On the KABK website the most currentlist of partner institutions can befound. CumulusThe KABK is a member of the interna-tional network of leading art schools‘Cumulus International Associationof Universities and Colleges ofArt, Design and Media’. This member-ship gives students the opportunityto temporarily study at one of themember schools. This has signifi-cantly expanded the internationaloffer for KABK students. An over-view of associated art schools can befound at www.cumulusassociation.org.

InternshipAlso read the general information oninternships (chapter 6.1.9)!

Internships can take place both inand outside Europe. For questionsabout internship position studentsare referred to their own department.The KABK offers scholarships forinternships abroad, also through theLifelong Learning Erasmus Programmeof the EU .

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More information on the criteria, theapplication process and the scholar-ship amount can be found on www.kabk.nl or at International Office of theKABK.

6.1.7 After graduation

Post-graduate programmeWhen students want to continuetheir studies abroad after gradua-tion, there are several high-qualitypost-graduate programmes available.Timely preparation is necessary,however. Most admission proceduresof foreign post-graduate programmesstart in January. This means studentsshould start their orientation on theoffer at the beginning of the exam

year.

Students can make use of thefollowing websites in their search:

/ www.cumulusassociation.orgInternational Association ofUniversities and Colleges ofArt, Design and Media;

/ www.elia-artschools.org/members indexEuropean League of Institutes of

the Arts; / www.aicad.org Association of

Independent Colleges of Art andDesign (US);

/ www.penrose-press.com/idd/edu International Directory ofDesign.

Funds and scholarships

Studying at a post-graduate insti-tute abroad is a costly affair. Itis not unusual that a student needson average € 30,000 for one academicyear for the tuition fee, travel andaccommodation costs. Students canapply at several funds for a schol-arship. It is possible to applysimultaneously at different funds.Possible funds are:

/ VSB Fund scholarship programmewww.vsbfonds.nl/beurzen ;

/ Culturele Verdragenwww.nuffic.nl/cultureleverdragen ;

/ Fulbright scholarship programme(for US) www.fulbright.nl;

/ Institute for InternationalEducation (for US)www.fundingusstudy.org ;

/ Prins Bernhard Culture Fundwww.cultuurfonds.nl ;

/ Fonds voor Beeldende Kunsten(BKVB) www.fondsbkvb.nl .

Look for more funds onwww.beursopener.nl .

Important tips for when applying fora scholarship:

/ Make sure the application lookspresentable and does not containlanguage mistakes;

/ Give arguments for your plansin a well-written letter ofmotivation;

/ State in the application if you

have already been admitted tothe institution of choice.

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VSB Fund ScholarshipStudents qualify for a VSB FundScholarship when they graduatebetween 1 March 2013 and 31 December2014 from their Bachelor’s programmeand want to study abroad after grad-uation for an additional programme orresearch. The additional programmeshould last a minimum of three anda maximum of 24 consecutive monthsand should be completed within thatperiod. The grant can amount to amaximum of € 10,000. The scholar-ship is not intended for internshipsand the applicant cannot be olderthan 29 years at the start of theprogramme. The application form isavailable on the website of the VSB Fund. All applications can be handed

in, with original documents, at theInternational Office of the KABK.The first written and oral selectionis performed by an internal selec-tion committee of the University ofthe Arts in The Hague. The selectioncommittee proposes a, by the VSB Fundpredetermined, number of candidatesto the Executive Board of the Univer-sity.

More information on criteria andprocedures can be obtained from theInternational Office or the website:www.vsbfonds.nl/beurzen.

6.1.8 Career orientation and preparation

In the course of study, the studentincreasingly approaches the levelof a starting professional, whichcontributes to the further profes-

sionalisation of his own work in thechosen profession or occupation. Theeducational programmes of the academycan be seen as a foreshadowing ofthe future professional practice:students encounter it in differentforms throughout their years of studyand master its different components.This begins with an introduction toprofessional practice in the courses,which are taught by artists anddesigners that almost all have theirown professional careers. The link

with the professional field is moreexplicitly made by participation ininternal projects, presenting workin internal and external exhibitionsand attending lectures and workshops.Externally, the link is made duringvisits to exhibitions and (partic-ipation in) manifestations. Duringthe course of study, students gainknowledge and experience at the handof career orientation and later on atthe hand of career preparation. Theability of the student to functionindependently becomes increasinglyimportant. In the main phase, we offerthe course Writing a Business Plan.

Career orientation/field orientation during thePropaedeutic year

Especially in the first year it isof importance to the student and tothe academy that career orientationtakes place. Both the KABK and thestudent must be able to determinewhether the student has enrolled inthe right programme. Students visitexhibitions, a designer or artist ingroups or independently and reporton the visits. This can also serveas a training of written expressionskills and the student might reflecton it further in an oral presenta-tion. This type of career orienta-tion is part of the study programmeof each department.

Career Preparation in the main phaseMain phase students are becomingincreasingly independent, and havemore technical and artistic skillsand more conceptual and theoreticalknowledge. Students want to be an

artist or designer and their profes-sional career draws near. Partici-pation in workshops and projects orproductions is a method to intensifythe career preparation.

Each department employs methods thatare best suited to the discipline.Some methods to prepare the studentfor the profession and to teach himhow to present as a designer orartist are:

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/ case study: the practiceeducation includes a seriesof fictitious assignments(sometimes simulations) thatteach the student to dealwith an authentic practiceproblem (case) reflecting realassignments;

/ (learning) to document own workin a (digital) portfolio;

/ digital recording of project,production and workshop reports;

/ describing the work that ispresented at the collectiveassessment and giving an oralexplanation of the work.

Career preparation in the final exam

trajectory/final phaseAlready early on in the programme,but explicitly in the final phase,the student shows that he can workindependently as a professional.His supervision will therefore takeplace from that perspective. Thefinal thesis and end exam work aretwo elements in which the student canmake an artistic statement. In thefourth year, the full-time studentsInterior Architecture and FurnitureDesign, and Textile & Fashion work attheir internships.

6.1.9 Internship

The internship is part of the careerpreparation for the professionof artist or designer. During theinternship, the student experiencesworking conditions, methods, tech-

niques and limitations of his futureprofessional field. It is an impor-tant part of the career preparation.The KABK attaches much value tothe internship. A strong relation-ship with the professional field isconsidered as an essential part ofthe programme. As of yet, the intern-ship is not compulsory for part-timestudents. For full-time students ofthe Fine Arts and ArtScience depart-ments it is difficult to arrangean internship, so they work on

(external) projects.

The ability of the student to func-tion as an aspiring artist ordesigner during his internship is animportant addition to the programme.The defining of learning objec-tives prior to the internship andthe assessing of whether they wereachieved at the end by student,client and teachers, creates thepossibility to arrive at an assess-ment of what the student has achievedso far. By working in the profes-sional field the student also getsthe opportunity to gain importantcontacts.

An internship does not qualify as

an internship unless supervision isavailable on location. When a studentparticipates in a project instead,the KABK arranges regular supervi-sion. The KABK guarantees the effec-tive contribution of the internshipto the programme at the hand ofinternship guidelines for the interimand final evaluation. Guidelines havealso been created for the communica-tion with the internship company.

Every department has an internshipcoordinator who is often also theinternship supervisor. For informa-tion and tips, students can consultnumerous websites. On the KABK website students can find an overviewof a number of useful sites.

Internship objectivesThe internship must offer thestudent the opportunity to demon-

strate insight in situations that aretypical of the future profession, andon the basis of that, students shouldact appropriately. Students formulatetheir own learning objectives for theinternship. The internship has as aimto prepare the student for his latercareer, and therefore the studentmust, during the internship:

/ familiarise himself with theprofession and his futurecareer;

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/ acquire the professional skillsand professional attitude of astarting professional (designer/artist);

/ learn to participate in theworking/business world;

/ learn to integrate theory andpractice;

/ discover his own qualities andlearning objectives;

/ explore a possiblespecialisation;

/ network: establish contactsto make the transition to theprofessional field as small aspossible;

/ obtain an understanding of, andgaining experience in, the fieldunder professional conditions;

/ gain experience in professionalmanufacturing methods andtechniques;

/ where applicable: learn to workin teams and learn to work withclients, production deadlinesand, where applicable, carry outacquisitions, make quotations

and manage budgets.

Internship supervision / The department coordinator

accompanies the internship.During the internship contactis kept with the internshipcompany according to pre-definedarrangements.

/ The internship company has acontact person, with whom theinternship supervisor has, ifnecessary, talks throughout theinternship, but at least a finalconversation.

/ If the internship takes placeabroad, contact will mostly bekept by email or telephone.

/ The KABK supervisor contactsthe internship company and thestudent at least once during the

internship.

/ The department can organise acollective internship meetinghalfway through the internshipperiod.

/ The coordinator always visitsnew internship companies whenthe student is present. With

already known internshipcompanies, contact is kept bytelephone, if so desired.

/ If the internship company and/orthe student encounter problems,please contact the coordinator.

/ The coordinator must handle theinternship contract.

Organisation of the internship

The internship brochure containsdetailed information about theinternship procedure. The brochure isalso contains an internship contractand the interim and final evaluationforms. The departure points of theinternship policy and contract inEnglish are also included.The interim and final evaluationforms are available in Dutch andEnglish and can be obtained from theStudent Administration.The internship lasts at least halfa semester and has a maximum ofone semester. During the actualinternship period sufficient timeis devoted to an (oral or written)interim report. Participation inthe mid-internship return days,timesheet, activities overviewsigned by the student and intern-ship company, and the internshipreport are inextricably linked to the

internship. No separate credits willbe allocated for writing the report.

The following steps should be taken(refer to the internship brochure formore information):

/ create an internship work plan;

/ find an internship or internshipreplacement place;

/ apply;

/ prepare an internship contract;

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/ write an interim report;

/ where applicable: participationin a return day;

/ receive a mid-term review of theexternal internship supervisor;

/ receive a final assessment fromthe internship company;

/ write the final report;

/ where applicable: create avisual presentation about theinternship period.

For situations where internships aredifficult to obtain, such as FineArts, the internship is replaced withother activities (see the sectionInternship Replacement Activities

below).

Starting conditionsBefore students can start the intern-ship, the internship plan must beapproved and prior study compo-nents must be completed. In excep-tional cases, the head of departmentcan authorize an internship beforecompletion of the prior programme.It is necessary to make the neces-sary preparations in the period priorto the internship by, for example,attending the internship return daysthat take place half way through eachinternship period. Students are alsoadvised to make use of the internshipbrochure.

Internship replacement activitiesIt is more difficult to find aninternship position for students ofthe Fine Arts and ArtScience depart-

ments than for design students. Occa-sionally, a single student might workin the studio or on a project of anartist, but these positions are verylimited. A non-continuous period,for example in the form of one ortwo days per week, offers a solutionin those cases. Institutions such asStroom Den Haag, the GE M , Museum ofContemporary Art, the Gemeentemuseumand artists’ initiatives provide aproper context for doing research onmore general issues, such as how the

process of making art available tothe public works in the professionalfield. Fine Art students participatein, for example, external projects orthe organisation of exhibitions.

Students of the interfaculty ArtSci-ence work on productions and projectssuch as the Sonic-Art Festival.Within this department education,research and production are prefer-ably seen as a whole.

The head of department appointsa supervisor for the internshipreplacement activity. The rulesregarding credit allocation and theconclusion of an internship arethe same as formulated for regular

internships. The writing of a reporton the replacement activity iscompulsory.

6.2 Assessing in art education

AssessingDuring their study at the KABK,students are assessed in a specific,extensive and very thorough manner.In art education we use methods thatdiffer from those used in other formsof higher education, where studentsare usually assessed on the basis ofexams. At the KABK, this specific wayof assessing can already be observedduring the admission: the appli-cant’s former education is not theonly decisive factor, because his orher creative abilities, motivation,ambition and the potential for talentdevelopment are equally important in

making the decision to accept thestudent to the KABK.

The individual development of thestudent puts special demands on themethod of assessment. The assessmenthas primarily a didactic purpose:it should provide the student withinsight on how his development asan artist or designer is advancing.The assessment does not only concernthe form of the work, but also thestrength of the concept, the way

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the result has been achieved, theprocess, and the student’s theoret-ical knowledge. This analysis of thework or design is made during theindividual and collective assess-ments. The conclusions form the basisfor a discussion with the student.The coordinator or head of depart-ment leads the conversation, to beable to clarify the specific issuesat hand. Information on the differentassessments, the composition of thedifferent assessment committees andtheir authoritative reach, are setout in the Education and Examina-tion Regulations (chapter 7). It isparticularly important for first yearstudents to read the rules on thepropaedeutic assessment.

In Fine Arts, the individual andcollective assessments are combinedin one assessment.

Individual assessmentIn the design departments, theteacher individually assessesstudents after completion of astudy component. At the end of eachsemester, an integral assessmentof each student takes place; theso-called collective assessment. Inthe individual assessment atten-tion is given to the requirements ofprocesses, products and competencesrelated to the work or assignment.

Collective assessmentThe collective assessment assessesthe integral development of thestudent, the processes, products andskills. In addition to the evalua-

tive purpose of the assessment, italso has a didactic objective: thestudent receives feedback on hisattitude, the work and the way thework or assignment was approached,the strength of the concept and histheoretical knowledge.

The starting point for the collectiveassessment is the presentation ofthe student’s work, and its devel-opments in comparison with previousassessments, taking into account the

feedback from the teachers of thevarious study components. See alsothe section ‘Credit Allocation’.

The competences of the visual commu-nication/product/spatial designer andthe competences of the visual artistare described in their original formin the Educational Profiles of theOBK . The competences are describedper academic year in the descriptionsof the curriculum per department.

Registration and archiving / The head of department signs

in the name of the assessmentcommittee for all collectiveassessments.

/ All students receive aform signed by the head ofdepartment, in which the resultof the collective assessment isstated.

/ A copy of the form is keptin the student’s file at thestudent administration.

6.2.1 Credits, EC

As a result of the introduction ofthe Bachelor-Master structure ( BAMA)in higher education in 2002-2003,European Credits (abbreviated EC ,both plural and singular) are used.The system’s full name is: EuropeanCredit Transfer and AccumulationSystem.The purpose of the system is tocreate a singular unified high-er-education system in all Euro-

pean countries. By applying the samesystem in all participating coun-tries, now already more than forty,it has become much easier to compareprogrammes and diplomas. This verymuch benefits the possibility ofexchange.

European credits are a unit of meas-urement to calculate study load.The study load includes all theactivities a student undertakesin the framework of one specific

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study component, which does notonly include the contact hours andclasses, but also the independentstudy hours. A study year consists of42 weeks of 40 hours, so 1680 hoursin total. One EC equals a study loadof 28 hours. There are 60 EC a yearin a full-time programme: 60 x 28hours = 1680 hours.A bachelor’s programme covers fouryears of 60 EC each. Students mustobtain sufficient EC to continue theprogramme and must receive all of theprogramme’s 240 EC to obtain a bache-lor’s degree.The study load of the old-stylepart-time programmes is differentbecause they concern a five-yearprogramme. The total number of EC is

to be acquired here is also 240. Inthe old-style part-time programmes,the first three propaedeutic semes-ters each have a study load of 20 EC .Semesters four to eight of the mainphase each have a study load of 24EC . The final phase semesters (nineand ten) each have a study load of 30EC .

Credit allocationThe study load of the various compo-nents is expressed in EC s. The indi-vidual assessments are followed bythe collective assessment. Studentsonly receive their credits after thecollective assessment. Only then theteam of lecturers (the collective:hence, the collective assessment)assess the student’s integral devel-opment and the results of all studycomponents together. This appliesto both the full-time and part-time

programmes.

All study components of one semesterhave a combined study load of 30 EC (full-time and new-style part-time).Five credits of this semester totalare reserved for the collectiveassessment. These credits are onlyallocated after a positive collec-tive assessment, when the teachersare able to judge the student’s workin its totality. The reason forthis is, that there is an assessment

of the student’s integral develop-ment. If any components still haveto be completed, the credits for thecollective assessment are also with-held until the student finishes. Inthe old-style part-time programmes,the construction is the same, exceptthat four credits are allocated persemester in the first years. Thecredits for the collective assess-ments are officially allocated whenall components of the semester havebeen duly completed.

Please note: Due to the differentstructure of the study programme ofthe ArtScience department, the allo-cation of credits takes place afterthe collective assessment that is

linked to the final presentations persemester.

Credit allocation international exchangeKABK students who go on exchangereceive their credits according tothe system of the host institution.These days, many countries have theEC system. If not, it is determinedhow the credits can be converted. Thestudy load of the exchange programmeis determined by the policy officerinternationalisation, in cooperationwith the head of department, prior tothe exchange.

International exchange studentsstudying at the KABK fall under theprotocol of the academy. An indi-vidual arrangement is made in casethe credit systems differ.

Credit allocation ‘guest students’

Students from other institutionssuch as Leiden University, who wantto follow classes at the KABK, needapproval from their own institutionand from the academy. After a posi-tive assessment they receive a state-ment that specifies the study load ofthe followed programme in EC .

Credit allocation internshipPrior to the internship studentscreate an internship plan. Interimand final evaluations are part of

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the internship, and the student isexpected to make a presentation andwrite a report at the end of theinternship. The credits are allocatedwhen all conditions have been met.Please also read the brochure withextensive information on the intern-ship.

Credit allocation Individual Study TrajectoryCredits are reserved for the Indi-vidual Study Trajectory ( IST). Thework carried out in the framework ofthe IST may not always be part of thecollective assessment, for examplewhen it concerns a minor or electivein Leiden. Externals then assess thestudent.

The coach signs the plan in advanceand will issue a Credit Statementafterwards, if everything is inorder. A form is available for this.Credits gained for activities inthe IST are, like all other credits,only allocated after the collectiveassessment.

Credit allocation minorKABK students who take a minor atLeiden University can, when the endresult is positive, use maximum of36 EC (full-time and new-style part-time) and 35 EC (old-style part-time)for their programme. This is thespace that offered by the IndividualStudy Trajectory. If a minor has alarger study load than 36 EC , theadditional credits earned are noted,but are not part of the compulsoryprogramme.

6.2.2 Study and progress guidance

The KABK distinguishes betweenguiding students in the contentof their programme and artisticdevelopment, and supervising theirstudy progress. The guidance ofthe student’s artistic develop-ment takes place continuously by theconstant discussions between studentand teachers on the work and workprocess.

Mentors and coaches

Mentors and coaches monitor thestudent’s study progress. Mentorsguide students in the propaedeuticyear, while coaches guide students inthe higher years.

The mentors meet with the studenttwice a year. At the end of thefirst semester, all first yearfull-time students receive provi-sional (interim) advice concerningtheir study progress. A final andbinding decision follows at the endof the second semester. For part-time students old style this decisiontakes place after the second or thirdsemester.

The mentor is a teacher of the rele-vant discipline. The tasks of thementor are focused on:

/ discussing the student’s studyprogress;

/ discussing the assessment of thefirst semester;

/ discussing the assessment of thesecond semester;

/ keeping a concise record ofthe date and content of theconversations.

Coaches are available for main phasestudents. The coach is a teacher ofthe relevant discipline. In somecases, the head of department takesthe role of coach.

The tasks of the coach are focused

on: / discussing the student’s study

progress;

/ pre-approving the IST plan;

/ assessing the IST plan aftercompletion;

/ recording and archiving thestudents’ IST plans.

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Student counsellor

The KABK has an independent studentcounsellor. The counsellor can supplymore general information. He repre-sents the individual interests ofthe students and has an agreement ofconfidentiality. The counsellor mayalso mediate or refer to agencies orindividuals outside the academy. Ifnecessary, only with approval of thestudent, third parties are contacted.

The counsellor provides informationon, and assists, if possible, with:

/ study financing;

/ assistance in applying for fundsand grants;

/ housing; / problems in study progress due

to illness;

/ personal problems;

/ help and advice withprofessional procedures;

/ adjustment difficulties, studymotivation, study planning,performance anxiety, switchingprogrammes;

/ conflicts with teachers;

/ information on de-registration;

/ information on post-graduateprogrammes.

The KABK student counsellor is PaulDeneer. It is possible to make anappointment with him by emailing:[email protected]. He is also a

confidential contact person.Pauline Spoon is also a confidentialcontact person. Her email address is:[email protected].

6.3 Quality Assurance

Quality assurance is the totalityof measures with which an institutesystematically defines, monitors andimproves the quality of education inthe broadest sense of the term.

Bologna processThe Bologna Process is one of themost important changes the Europeanhigher education system has seen inthe last few decades. In 1999, 29European ministers signed the BolognaDeclaration, in which they agreedto collimate their national highereducation systems in a number ofcrucial points. Over the years, thenumber of participating countries hasgrown to 47. On the official websiteof Bologna information can be foundin many languages:www.ond.vlaanderen.be/hogeronderwijs/bologna/pcao. Objective

The objective of the Bologna processis to create attractive and inter-nationally competitive highereducation, through mobility ofstudents and teachers. To achievethis mobility, it is important thatthe higher education systems inEurope are transparent. The systemshave therefore been organised intothree cycles (bachelor, master anddoctorate) throughout Europe. Thisway, the level of the academicdegrees is clear. The followingagreements have been made to enhancethe compatibility of higher educationsystems and the mobility of studentsand teachers:

/ quality assurance withstandards and guidelines fromENQA (European Association forQuality Assurance in HigherEducation) as a reference

document; / reflection of the study load in

60 European Credits (abbreviatedas EC) per full-time year;

/ Providing a Diploma Supplement(DS) (since 2005). The DScontains information aboutthe courses the student hascompleted;

/ a European qualification

framework for higher education.This describes the final

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qualifications of bachelor,master and doctorate,at the hand of the fivereference points, the ‘Dublindescriptors’. The Dublindescriptors for the KABK areoutlined below;

/ a national qualificationframework.

ECTSECTS is a European system for theexchange and accumulation of creditpoints: European Credit Transferand Accumulation System. It includesthe agreement that the learningobjectives of the curriculum andthe courses are clearly defined,

to ensure the compatibility of theprogrammes. The ECTS also comparesdifferent grade systems, to ensurepeople from other countries know whatit means to be awarded a six or aneight (and vice versa).

6.4 Accreditation

Accreditation is the providing of alabel that indicates that the educa-tional programme meets the require-ments set by the Minister of Educa-tion, Culture and Science. This isa condition for the recognition ofdiplomas, for the funding of theprogrammes and for grant applica-tions. An external committee reviewsand evaluates the programmes andreports to the NVAO , the accred-itation body. The NVAO grantsthe ‘label’. A list of accred-

ited programmes can be found on thewebsite of the NVAO ( www.nvao.net ).

Quality assurance is an importantpart of the accreditation. It impliesthe continuous examination of theperformances of the education andorganisation. This is done throughinterviews and evaluations (seebelow). If the outcome of to assess-ments is negative, improvements willbe made.

The KABK bachelor’s programmes wereaccredited per 1 January 2009 and areaccredited again this academic year.Of the master’s programmes, Type &Media was accredited per 15 July2008 will be re-accredited this yearas well. Interior Architecture wasaccredited per 8 June 2010 and themaster ArtScience per 2 May 2007.

Final level of the bachelor’s programmesThe bachelor’s, master’s and PhDlevels are described on the basisof five benchmarks referred to asthe ‘Dublin descriptors’. During theaccreditation, it must be demon-strated that the programmes reach theminimum required level. The grantingof the corresponding label guarantees

that the programmes are of sufficientlevel, or even rise above it.The KABK has described the Dublindescriptors for its art education onthe bachelor’s level as follows:

Knowledge and insightThe graduate of the KABK has his ownartistic vision and insight into hisown work process. He understands keyconcepts such as ‘artistic prac-tice’, ‘design practice’, ‘meaning’,‘uniqueness’, ‘authenticity’ and‘innovation’. He is knowledgeableabout the transfer of meaning throughimage and form. He is aware ofgeneral art history and the historyof his discipline, and is aware ofcontemporary and international devel-opments. He has knowledge of theoriesand ideas about art and artists ordesigners and design. He has insightinto developments in the cultural,

public and social context in relationto his own vision and work.

Application of knowledge and insightThe graduate can professionallycreate authentic work that protrudesfrom his own artistic vision, ordevelop an innovative concept and todevelop this into a unique and mean-ingful design or image. He is able tosolve artistic and design problems.He is capable of giving argumentsfor these solutions and his work,

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and present and explain them in aninspiring way, by using his knowledgeand insight and his experience inthe field or discipline. He can alsoemploy them to create and maintainan inspirational and functional workenvironment.

Forming opinionsThe graduate is able gather rele-vant knowledge and information inservice of his work, and establishlinks between his own work and thatof others through consideration,analysis, interpretation and eval-uation. He does so by using hisknowledge and understanding of rele-vant social, scientific or ethicalissues. He is able to realise that

the results of analyses, reflec-tions and assessments benefit of thedevelopment of his work.

CommunicationThe graduate can, in an inspired andsubstantiated manner, present andexplain his work and the vision onwhich the work is based, to stake-holders, the public and potentialclients, and negotiate with themif necessary. The graduate is ableto provide an independent artisticcontribution to a joint product, towhich he adds content, quality andpossibly direction.

Learning SkillsThe graduate can deepen and broadenhis artistic or design practice, hisknowledge, methods, vision and abili-ties, or develop them differently, ina way that suits his personality and

is related to his discipline. He hasa passionate, curious and inquisi-tive attitude and is able to success-fully participate in a post-graduateprogramme on a (international) levelor by continuing his studies inde-pendently in, for example, an inter-national centre of excellence.

Degrees and TitlesGraduates from the Dutch highereducation receive a bachelor’s or amaster’s degree. The professional

colleges (hogescholen) provide bothbachelor’s and master’s Degrees,with an English discipline or courserelated addition. At the academy itis possible to obtain a BFA (Bachelorof Fine Art) or a BDes (Bachelor ofDesign) or a master (ma). The word‘master’ is then usually followedby the name of the discipline andspecialisation: Master of Designin Type and Media, for example. Theabbreviation for master’s degrees is,for example, MDes in Type and Media.

6.5 Quality assurance at the KABK

Staff, students, alumni and profes-sionals of the different depart-

ments are actively involved with theinternal quality assurance of theKABK. Great importance is attached toa solid quality policy, both acade-my-wide and in the departments. Theacademy gauges the opinions on theprogrammes and their results. Thishappens internally with students andstaff and externally with alumni,committee members, important peoplein the art and design worlds, intern-ship companies and art institutionsfrom the professional field.

Quality assurance at the KABK consists of:

/ Satisfaction inquiriesStudents and staff arequestioned via written ordigital inquiries abouttheir satisfaction with theeducational programme in

general, but also about specificparts of the programme. Thesurveys include questions onmatters such as the level of thecourse, assessments and levelof difficulty. The inquiries aredeveloped in close collaborationwith the ICLON departmentat Leiden University. Thisdepartment also takes care ofthe automatic processing of theinquiries.

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/ Participation in nationalsatisfaction inquiriesThe KABK regularly participatesin national satisfactioninquiries to ensure itscompatibility with otherinstitutions for highereducation in the arts.

/ Student panels/classrepresentatives meetingsWithin each course, regularmeetings (at least once ayear) are scheduled betweenthe head of department andthe class representatives inthe student representativesmeeting. In addition, the classrepresentatives hold a meetingat least once a year with thedirector of the KABK.

/ Course CommitteeThe Course Comittee (in Dutch:Opleidingscommissie OC)) playsan important role in thedevelopments in the programmesand in quality assurance, bygiving advice (ask or unaskedfor) on all matters concerningeducation. The committee is alsoinvolved in finding the bestway to gather information oneducation. The Course Committeeconsists of students andteachers. The meeting dates arefound in the calendarium.

/ Departmental meetingsTeachers and the head of eachdepartment regularly meet todiscuss the goings on and thequality of the education. Thisinformation is then used to

further develop the programmes. / Study days

The director, heads ofdepartments and other staffparticipate in a study dayseveral times a year to discussthe current developments withinthe academy and develop newideas.

/ External assessorsRenowned experts, artists anddesigners are involved yearlyin the final examinations asexternal assessors. They areasked about their experiencesand findings in relation to thedepartment. This informationis used in developing theprogrammes of the department.The assessors are alsoquestioned about their findingsin writing.

/ Work field committeesFor each department, awork field committee hasbeen instated to ensurethe compatibility with theprofessional field. There isalso an academy-wide workfield committee. The work fieldcommittees consist of respectedpeople from the professionalfield who advise the KABK andcomment on the content of theprogrammes, the final objectivesand the final level, thedevelopments in the field andthe consequential demands forthe education and organisation.

/ Internship companiesThe companies where studentsintern, are asked about theirfindings, both on the level ofthe student as on the theirneeds in the professional field.

/ Researching among alumniAll alumni who have finishedtheir studies successfully, areasked about how they experiencedtheir studies about three months

after their graduation, eversince 2003. The first few yearsthis was done by post, and sincea few years, alumni can completethe questionnaire digitally. Theresponse rate is high for thistype of research: around fortypercent. In the near future,another inquiry will also beheld researching how alumniconquer a place in the world ofart and/or design.

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/ In-depth interviews with alumniA select group of alumni fromthe Fine Arts department whograduated in 1986, 1993 and 2000have been subjected to in-depthinterviews to gain insightinto how they have developed

from a starting artist to amore experienced professional.This research was held inthe scope of the researchdomain ‘Reflection processesin the arts’ by Michael vanHoogenhuyze. Former teachingstaff has also been asked abouttheir findings. The researchdomain published several bookson this, including the book‘Help, I’ve got talent’.

/ Exit-inquiriesAll students leaving the KABKwithout a diploma are also askedto complete a questionnaire.This is an additional sourcethat can provide informationuseful for the development ofthe education.

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7. Educat ion and Examina tionRegulations

Education and Examination RegulationsRoyal Academy of Art The Hague

2013-2014 Academic Year

Education and Examination RegulationsThis part of the Education and Exam-ination Regulations sets forth therules and provisions that apply tothe education at the Royal Academyof Art as a whole in conformity withthe Higher Education and Research Act(Hoger onderwijs en Wetenschappelijkonderzoek ( WHW)) article 7.13.2 a tou inclusive, and has been approved bythe Board of Governors of the Univer-

sity of the Arts, The Hague, formerlythe School of Visual Arts, Music andDance. These regulations came intoforce on 1 September 1998 and were inpart modified by the Board of Gover-nors (most recently in July 2011) forall programmes of study at the RoyalAcademy of Art.

The general description of the educa-tion provided at the Academy and theconcise description of the curric-ulum for the programmes in this StudyGuide are an integral part of theEducation and Examination Regula-tions.

The Education and Examination Regu-lations apply to all cohorts ofstudents of the programmes andcourses referred to and apply solelyto the 2011-2012 academic year.

If, on 1 September 2013, the 2013-2014 Education and Examination Regu-lations are not yet ready, by way ofexception to the above, the 2012-2013Education and Examination Regulationsremain in force until the 2013-2014Education and Examination Regulationshave become effective.

General

Article 1 Applicability of the regulations

These regulations apply to theeducation and the examinations forthe programmes and courses: VisualArts, ArtScience, Photography,Graphic Design, Interior Architec-ture and Furniture Design, Textileand Fashion and Interactive/Media/Design. The courses are provided bythe Royal Academy of Art, a facultyof the University of the Arts, TheHague, further referred to usingthe Dutch abbreviation: KABK. TheArtScience course is provided by theArtScience interfaculty. Relevantarticles are also operative for the

postgraduate course Industrial Designand the master programmes ArtScienceincluding the variant Master ArtisticResearch, Master Interior Architec-ture and Type and Media.

Article 2 Definitions

Academy for Creative and Performing ArtsA collaboration between the Univer-sity of the Arts, The Hague and theUniversity of Leiden.

RecommendationA distinction is made between:

/ The propaedeutic recommendation:at the end of the propaedeuticor first year of a degreeprogramme a recommendation ismade on the continuation of thecourse of study. This may be a

negative binding recommendation.A negative bindingrecommendation means that astudent is not admitted to themain part of the course inquestion and that the enrolmentof the student for that courseis terminated in conformity witharticle 7.8.b of the HigherEducation and Research Act.

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Block/PeriodHalf a semester. There are a maximum offour blocks/periods per academic year.

CoachA student counsellor for the mainsubject students, possibly also

responsible for coaching of the Indi-vidual Study Track.

CompetenceCompetence is the integral whole ofknowledge, skills, attitudes andother personal qualities that indi-viduals possess and which enablesthem to carry out tasks in anadequate way, to find solutions andput these into effect in practisingtheir profession.

Competence areasThere are three areas or domains ofcompetence:

/ Artistic/subject-based domain;

/ Professional/social domain;

/ Theoretical domain.

Board of Appeal for ExaminationsThe Board of Appeal as referred toin the Higher Education and ResearchAct 7.60 can be reached through theCentral Office of the University ofthe Arts.

Board of GovernorsThe Board of Governors of the Univer-sity of the Arts, The Hague is thecompetent authority and is respon-sible for the education, organisation

and management of the institution.

EC/CreditsA measure of the hours of study. AEuropean Credit is equal to a studyload of 28 hours (independent andtaught). The study load for a Bach-elor in a higher professional educa-tion programme is 240 credits ofwhich 60 are to be obtained in thepropaedeutic phase and 180 in themain phase.

ECTSEuropean Credit Transfer and Accu-mulation System, European system forexchanging and accumulating credits.

Final assessment/final examinationThe closing examination of a

programme. The final examinationtakes place in the form of a finalassessment.

ExamsA review of the knowledge, insightsand skills of the examinee as wellas the assessment of the outcomes ofthat review.

Examination committeeThe management of the institution hasset up an examination committee inaccordance with article 7.12 of theHigher Education and Research Act forthe purpose of setting, organising andcoordinating examinations, tests andassessments for each of the coursesor groups of courses offered by theinstitution. Members of the examina-tion committee are persons who provideteaching on the relevant course. TheExamination Committee (Visual Arts and

Design) is responsible for arrange-ments for examinations.

The examination committee: / draws up rules regarding the

proper procedures during thetests and examinations;

/ appoints the examiners,including the chairman of acommittee of examiners (article7.12c);

/ may give guidelines andinstructions to the examinerswith regard to the assessmentand determination of the outcomeof the tests (article 7.12b,paragraph one, sub b);

/ applies rules of exceptionsuch as those for exemptions,and determines in a number ofindividual cases exemptions tothe regulations (article 7.12b,paragraph one, sub d);

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/ is authorised to take steps inthe case of fraud by a student(article 7.12b, paragraph two);

/ Awards the certificate as soonas the student has taken therequired tests (article 7.11).

Committee of examinersSee: Assessment Committee

ExaminerA member of the committee of exam-iners, as referred to in article7.12c. Persons who provide teachingon the relevant course as well asexperts from outside the programmemay be designated as examiners.

ExtraneousThose who have solely been enrolledat the university to take part in thepropaedeutic or the final examinationor parts thereof.

FacultyOrganisational unit. The Universityof the Arts, The Hague comprises twofaculties namely the Royal Conserv-atoire and the Royal Academy of

Art. There is also the Interfac-ulty ArtScience and the InterfacultySchool for Young Talent.

The University of the Arts, The HagueThe Royal Academy of Arts and theRoyal Conservatoire merged on 1January 1990 to become the School ofVisual Arts, Music and Dance. Since8 July 2010 the name has been theUniversity of the Arts, The Hague.The daily running of the Univer-sity is in the hands of the Board ofGovernors.

HeadOfficial in charge of an educa-tional unit, a degree course, at theAcademy.

Main phaseThe component of the study thatfollows on from the propaedeutic or

first year and is concluded with the

final examination. The main phasecomprises the subject study phase andthe final study phase.

Individual Study Track (IST)In the main phase, part of the work-load is reserved for the students’own, agreed assignment. At this stagestudents can give rein to their ownimagination and ambitions.Individual study track creditsacquired during the period of fulltime internships and/or the finalexamination can be integrated in theassessment of the internship or thefinal examination in a manner to beapproved by the head or coordinatorof the course.

InterfacultyAn Interfaculty is collaborationbetween the Royal Conservatoire andthe Royal Academy of Arts. Interfac-ulties are ArtScience and the Schoolfor Young Talent. The ArtScienceInterfaculty’s course ArtSciencecomes under the heading of the VisualArts in the CROHO Central Registerof Higher Education Study Programmes.

The Royal Academy of ArtsThe Visual Arts and Design Facultyof the University of the Arts, TheHague.

Royal ConservatoireThe Music and Dance faculty of theUniversity of the Arts, The Hague.

Major-minor systemA bachelor programme may comprise

a major, the main programme and aminor, a coherent elective subject.As a rule the scope provided by theIndividual Study Track is set asidefor a minor. A student at the Univer-sity of the Arts may be eligible topursue a minor at the University ofLeiden after completing the propae-deutic phase. By the reverse token astudent at the University of Leidenmay be admitted to a minor at one ofthe faculties of the University ofthe Arts.

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MasterA one or two year follow-up (as arule subsequent to the completionof a bachelor programme) at a higherprofessional education institute oruniversity.

Participation CouncilThe participation council as referredto in the Higher Education andResearch Act 10.17. The councilcomprises elected representativesfrom different ranks of the insti-tution: students, teaching staff foreach faculty and general support andeducational support staff. There is acentral council and two faculty coun-cils for the Academy and the Conserv-

atoire.

MentorThe counsellor provides help topropaedeutic students with regard toprogress with their studies.

Education and Examination RegulationsThe Education and Examination Regula-tions are in two parts: one gives ageneral description of the teachingat the Academy and a concise descrip-tion of the curriculum of the coursesand the Interfaculty ArtScience. Parttwo includes the rules and provi-sions. Both these are included in thestudy guide.

ProgrammeA programme as referred in the HigherEducation and Research Act 7.3 is acohesive whole of educational unitsdesigned to achieve clearly defined

objectives in the field of knowl-edge, insight and skills which theperson completing the programme isrequired to possess. Each programmeis concluded by an examination. Theprogrammes at the Academy includeseveral degree courses.

Practical exercisesCarrying out assignments or creatingdesigns, carrying out researchassignments, attending internships,taking part in excursions, taking

part in other necessary educationalactivities, geared to achieving therequired skills.

Propaedeutic assessment/Propaedeutic examThe examination which concludes thepropaedeutic phase. The examinationtakes the form of a propaedeuticassessment to determine whether astudent meets the requirements setfor the propaedeutic phase.

SemesterEach academic year has two semes-ters. A semester comprises blocks orperiods.

Semester assessment

A formal assessment that takes placeat the conclusion of each semester.This assessment is carried out by anassessment committee.

SpecialisationA cohesive whole of educational unitswithin a course of study focussing ona specific domain within the visualarts and/or design.

StudentA person who is enrolled at theUniversity of the Arts, The Haguefull time or part-time to pursue aprogramme.

Student deanConfidential advisor who, if need be,and as a supplement to the mentor,coach or class teacher gives adviceto students and provides informationto them regarding matters relating to

their study. The student dean alsohelps students with personal problemsof a material and immaterial kindor refers them elsewhere or acts asintermediary.

Academic yearThe period that begins on 1 Septemberand terminates on 31 August of thesubsequent calendar year; an academicyear has two semesters.

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Component of a study programmeA component of a study programme isequivalent to what in the HigherEducation and Research Act article7.3 is referred to as a unit ofstudy. It is part of the educationalprogramme that is concluded with an

assessment.

Study loadAll activities as component of thestudy with or without guidance: prac-tical exercises, excursions, intern-ships, interviews, practical andtheory lessons, lectures, workshopsand independent study in and outsidethe buildings of the Academy. Studyload is also referred to as studyhours and is expressed in credits.

TestA written or an oral review of theknowledge, the insights and theskills of the student as well as theassessment of the outcomes of thatreview.

Admissions committeeA committee set up by the institu-tion’s management, represented by the

faculty director, responsible forassessing the attitude and suita-bility of a candidate for a course(7.26a).

Entrance reviewReview of the suitability of a poten-tial student.

Higher Education and Research Act (WHW)The Act on Higher Education andResearch, Bulletin of Acts, Ordersand Decrees 593, 1992; ImplementingDecree 2008 Text as in force on 1July 2011.

WSFAct on Student Grants and Loans,Student Finance Act

Article 3 Progammes Bachelor programmesThe Bachelor programmes have adifferent propaedeutic phase foreach subject. Students who pass theirpropaedeutic phase are entitled to goon to the main phase of their chosensubject.

a. Fine Arts

/ Visual Arts, full-time andpart-time: in the main phasestudents taking this programmecan opt for the specialisationFine Arts, 3D, Graphic Art, andPainting.

/ ArtScience, full-time, providedby the Interfaculty ArtScience.

b. DetsignProfile Visual Communication

/ Graphic Design, full-time andpart-time;

/ Photography, full-time and part-time;

/ Interactive/Media/Design, full-time.

Profile Spatial DesignInterior architecture and Furnituredesign, full-time and part-time: inthe main phase students can opt forFurniture design.

Profile Product DesignTextile and Fashion, full-time. In

the main phase students can opt tospecialise in Fashion or Textiles.

Masters and advanced programmesThe Royal Academy of Art has fouradvanced programmes.

/ Master in Design of Type & Media

/ Master Interior Architecture

/ Master track ArtScience and

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Deficiencies in the previous trainingin English need to be remedied beforethe programme begins by taking one ofthe following tests:

/ International English LanguageTesting System (IELTS), academicmodule. The minimum requiredIELTS overall band score must be6.0.

/ Test of English as a ForeignLanguage (TOEFL).The minimumrequired TOEFL score is: 83(internet-based test).

Article 7 Entrance review

/ the entrance review takes placeby an admissions committee setup by the institution’s board;

/ the committee comprises thehead or the coordinator of thedegree course and a number ofmembers to be designated by theinstitution’s board;

/ a student may be a member of theadmissions committee;

/ the head or the coordinator isthe chairman and secretary ofthe committee;

/ the entrance review takes placeon the basis of the admissioncriteria set by the relevantdegree course with regard to thesupplementary requirements;

/ the result of the entrancereview is notified to theinstitution’s board in the

form of a recommendation foradmission;

/ the institution’s boarddecides on the basis of therecommendation whether, and ifneed be, under what conditionsan aspiring student is admittedto one of the degree courses ofthe Academy;

/ no appeal is possible against anegative decision on admissionby the institution’s board.

Article 8 Exemption from previous training require-ments on the grounds of the entrance reviewStudents aged 21 years or olderwho do not meet the aforementionedprevious training requirements or thecriteria for exemption from these canbe admitted if they comply with the

requirements of the entrance reviewas referred to in article 6, andwho by taking a test or examinationauthorised by the institution demon-strate that they have a comparablelevel of training as a person witha diploma from one of the previoustraining programmes referred to inarticle 4.

The institution’s board may deviatefrom this age criterion in excep-

tional cases.

Article 9 Admission to the main phaseStudents who have passed theirpropaedeutic phase can continue theirstudies in the main phase of thesame degree course. In consultationwith the head of the degree course inquestion it is possible for studentsto continue their studies in anotherdiscipline at the Academy.

Article 10 Conditions for admissionto the main phase

/ the propaedeutic examination hasbeen passed;

/ the examination committee, onbehalf of the institution’sboard, can grant exemption fromthe requirement of a passedpropaedeutic examination to theholder of a diploma awarded inthe Netherlands or elsewhereif the diploma, in the opinionof the examination committee,is at least equivalent tothe propaedeutic examinationcertificate;

/ the student who has taken thepropaedeutic part of a degreecourse, but has not yet passedthe propaedeutic examination,can take part in the main phaseof the programme if in theopinion of the propaedeutic

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examination committee thestudent is deemed to be capableof completing the parts whichhave not yet been passed in thefirst subsequent semester.

Duration and structure of the programme

Article 11 The propaedeutic phase(Higher Education and Research Act 7.8)Each degree programme at the Academyhas its own propaedeutic phase whichis geared to the main phase of thatspecific degree course including theaccompanying specialisations. Thepropaedeutic phase counts for 60 ECand takes one year of study for thefull-time and part-time course new

style, and one and a half years ofstudy for the part-time course oldstyle and is concluded by the propae-deutic examination in the form of anassessment.

The parts of the study in the propae-deutic phase constitute a cohesivebase for the main phase. The propae-deutic phase is arranged in such away that students obtain insight intothe content of the degree subject andthe future profession with the possi-bility of referral and/or selectionat the end of this phase. The curric-ulum of the propaedeutic phase isdescribed in the study guide.

Article 12 The main phaseThe main phase involves 180 EC credits and takes three years ofstudy for the full-time and part-time course new style and three and

a half years of study for the part-time course old style. The aim of themain phase is to prepare students forprofessional practice in the field ofthe visual arts and design. The mainphase is subdivided into a subjectphase and a final phase. The mainphase full-time and part-time newstyle is subdivided into a subjectphase: semesters 3, 4, 5, 6 and afinal phase: semesters 7 and 8. Themain phase of the part-time old stylecourse comprises a subject phase:semesters 4, 5, 6, 7 and 8 and

a final phase: semesters 9 and 10.The curriculum of the main phase isdescribed in the study guide and onthe website.

Assessments

Article 13 General

/ 1. Every semester comprises oneor more study components. Eachstudy component is concludedwith an individual assessment;see also paragraph 5 of thisarticle.

/ 2. The individual assessment,which is based on criteria,procedures and regulationsestablished in advance, involvesa review of the extent to whichthe student meets the setcriteria and the determinationof the assessment score ofthe review. The criteria arestipulated for each studycomponent and each degreeprogramme. The procedures andregulations of the individual

assessment are described inarticle 17.

/ 3. In cases arising, such asthe Visual Arts, the individualassessment coincides with thecollective assessment.

/ 4. At the end of each semesterthe assessment committee makesan integrated assessmentwhich is called the collectiveassessment. The assessmentcommittee gives a pass if therequirements set beforehand havebeen met.

/ 5. In the collective assessmentwork done by the student in thepreceding semester is assessed.The individual assessments arediscussed and considered andultimately brought togetherby a decisive collective andintegrated judgement.

/

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/ 6. The collective assessment,based on criteria, proceduresand regulations set beforehand,involves a review of the extentto which the student meets thecriteria and the determinationof the assessment score of

the review. The criteria aredefined for each degree coursebearing in mind above allartistic ability, presentationand communication about thework and the capacity forcritical reflection and growthand innovation. The proceduresand rules of the assessment aregiven in article 17.

/ 7. All assessments (individual,

collective, practical exercises,theory subjects and any otherforms of assessment) are scoredas follows: a result of 6 orhigher is a pass. Results below6 are fails.

Article 14 Assessment times andnumber of assessmentsA collective assessment takes placeafter every semester. The number ofcollective assessments in the propae-deutic phase:

full-time and part-time new style:one semester assessment and onepropaedeutic assessment, the propae-deutic exam;

part-time old style: two semesterassessments and one propaedeuticassessment, the propaedeutic exam;

The number of collective assessmentsin the subject study phase: full-timeand part-time new style: assessmentsat the end of semesters 3, 4, 5 and 6;

part-time old style: assessmentsafter the end of semesters 4, 5, 6, 7and 8.

The number of collective assessmentsin the final phase: full-time and

part-time new style: an assessment atthe end of semester 7, after whichthe green light assessment follows,and the final assessment;Part-time old style: an assessment atthe end of semester 9 after which thegreen light assessment follows, andthe final assessment.

Article 15 Sequence of the assessmentsGeneral: students must pass thecollective assessment of a precedingsemester before proceeding to thenext part of the programme. Studentmay be given the opportunity tocontinue with their studies if it isplausible to assume that they willpass the next subsequent collective

assessment.

/ 1. Students must have passedthe preceding assessments totake part in the assessmentsof semesters 3, 4, 5, 6 ofthe full-time course and thepart-time course new style andsemesters 4, 5, 6, 7, 8, of thepart-time course old style.

/ 2. Students must have passed all

preceding assessments and haveacquired the necessary 210 ECcredits to be able to embark onthe study components in semester8 of the full-time course andthe part-time course new styleand semester 10 of the part-timecourse old style.

/ 3. A non-binding recommendationis given on participation in thefinal examination, once students

have passed all the precedingstudy components after semester7 of the full-time and part-timecourse new style and semester9 of the part-time course oldstyle. The recommendation isbinding if students have failedthe preceding study componentsand they have not obtained therequisite 210 EC credits for theprogramme.

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/ 4. Students are given the greenlight if they have passed allthe preceding study componentsand there is confidence thatthey will pass the finalexamination’s format andcontent. Students are given the

amber light if there are doubtsabout the completion of thepreceding components or thempassing the final examination’sformat and content but thereis nevertheless the chance ofa pass. Students are given thered light if the assessmentcommittee is of the opinion thata student has no real chance ofpassing the assessment in thefinal examination: a negativerecommendation for the finalexamination. The ‘red light’is binding if the verdict onthe final examination relatesto a student who has still notpassed all the preceding studycomponents, that is to say hasstill not acquired the requisite210 EC credits.

Article 16 Individual assessment/Procedure

/ 1. Each study component isconcluded with an assessment.

/ 2. The individual assessmenttakes place prior to thecollective assessment.

/ 3. Individual assessments takeplace as a rule one to twoweeks before the collectiveassessments stipulated in the

timetable unless these relateto study components which onlytook place during a shorterperiod in that semester. In thelatter case the date and timeof the individual assessment isnotified to the student by theteacher.

/ 4. When the occasion arises,as is the case with the VisualArts, the individual assessmentcoincides with the collectiveassessment.

Article 17 Collective assessment/ Rule

/ 1. The Academy has an assessmentcommittee for each degree coursecomprising the head and theaccompanying teachers.

/ 2. The collective assessment iscarried out by the assessmentcommittee.

/ 3. The collective assessmentrelates to all the studycomponents that belong to thesemester to be assessed. Theassessment takes place on thebasis of the results of thepractical and/or theoreticalwork on those study components.

/ 4. The assessment committeeassesses the work and decideson the assessment results inconsultation.

/ 5. Students may be giventhe opportunity to give anexplanation on presentation ofthe results for their study.

/ 6. The collective assessmentis concluded with a meetingof the assessment committee in

which the assessment resultsare formulated and recorded.If need be the committeemakes a recommendation on thecontinuation of the students’studies or the choice of aspecialism.

/ 7. The chairman of the committeealso determines the number of ECcredits obtained.

Article 18 Propaedeutic phase assessment/Rules(Higher Education and Research Act 7.8)

/ 1. The propaedeutic phase isconcluded with a propaedeuticexamination in the form of thepropaedeutic assessment.

/ 2. The propaedeutic assessmenttakes place by an assessmentcommittee.

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offers the students sufficientbasis for successfully pursuingthe study, notwithstandingthe provision of article 18paragraph 9. The assessmentcommittee gives the reasonsfor this expectation in its

recommendation.A deviating recommendation ispossible as a result of exceptionalpersonal circumstances. Exceptionalcircumstances are those listed belowinsofar as in the opinion of theassessment committee they have beenan obstacle to students obtainingsatisfactory results. They include:

/ Student’s demonstrable and long-

term illness; / Student’s serious personal

circumstances;

/ Pregnancy of the student;

/ Membership of the participationcouncil;

/ Board membership of a foundationwhich by virtue of its charterruns student amenities asreferred to in the act;

/ Board membership of a students’organisation of some size or acomparable organisation whichprimarily serves the interestsof the arts in society and tothis end organises activities;

/ Other circumstances thanthose listed above as a resultof which a binding negativerecommendation at that momentin the opinion of the assessmentcommittee would result inserious unfairness.

Students inform their mentor assoon as possible of any exceptionalcircumstances. If students do notregard their mentor as being thesuitable person for this they getin touch with the student dean whoinforms the assessment committeeof the circumstances in writing.The information may serve no other

purpose than the study recommendationand is only made available to theassessment committee which adds thisseparately to the student’s file, asdoes the mentor.

A recommendation rejecting furtherstudy can only be made if thefollowing criteria are met:

/ All students upon commencingthe first year of enrolment forthe propaedeutic phase of theprogramme are made aware of thecriteria and the procedure withregard to the recommendationon further study and thepossibility of rejection.

/ The mentor for the propaedeuticphase has an individual talkwith individual students twicea year. The first talk takesplace as soon as possible afterthe assessment of the firstsemester and the results of thisare discussed. The second talktakes place in the course of thesecond semester, possibly inthe third semester in the case

of part-time courses old style.Students are given informationabout the recommendation onfurther study in the firstinterview.

/ During the interviews students’results are also available tothe students. Any exceptionalpersonal circumstances canalso be discussed during thisinterview alongside these

results./ The mentor makes a record

of the outcome of theseinterviews and adds these to thestudent’s file. Any exceptionalcircumstances are included in aseparate report that is kept inthe student’s file. The mentorinforms the assessment committeeof these circumstances inwriting.

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The binding negative recommendationcan be issued as long as the studenthas not yet passed the propaedeuticexamination and can therefore alsobe made during the second year ofenrolment for the propaedeutic phase.If the student fails to pass thepropaedeutic phase at the end of thesecond year of enrolment this auto-matically entails a binding negativerecommendation unless the Examinationcommittee, at the recommendation ofthe relevant assessment committee,decides otherwise.

Article 20 Semester assessment

/ 1. Each semester is concluded

with a semester assessmentcomprising a collectiveassessment, preceded by orintegrated with the individualassessments (see articles 16and 17). In the last semesterof the propaedeutic phasethe assessment is called thepropaedeutic assessment and inthe last semester of the mainphase this is called the finalassessment.

/ 2. As soon as the technicaldevelopment of the Academynetwork allows and students havebeen explicitly informed aboutit, students will be expected tomake available a digital versionof all the work to be assessedand keep that available so thatthis can be held in digital formby the Academy as a portfolioof the individual student’sprogramme.

Article 21 Final assessment or final examination

/ 1. The final phase of the studyis concluded with the finalassessment or concluding exam.

/ 2. The assessment committeeexamines the degree to which thecandidate meets the set criteria

and determines the assessment

result of that examinationon the basis of criteria,procedures and rules establishedbeforehand.

/ 3. The assessment criteria aredefined for each degree course.

/ 4. Students have past the courseif they score a pass on theassessments of the parts of thestudy of the main phase.

/ 5. If students pass the finalassessment they are awarded acertificate.

Article 22 The assessment committeeThe Academy has assessment commit-tees for each degree course for thepropaedeutic assessment, the semesterassessments and the final assessment.These assessment committees havedifferent competences depending ontheir tasks. A description is givenbelow of the committees and theircompetences.

Article 23 Propaedeutic assessment committee;Composition and method of working

/1. The Academy has an assessmentcommittee for each degree coursefunctioning under the auspicesof the Examination Committee,comprising the head of thedegree course and the teacherswho teach the course.

/ 2. The head of the degreecourse is the chairman of theassessment committee, the coachor the coordinator is thesecretary and teachers who teachthe relevant parts of the courseof study are the members.

/ 3. The chairman determineswhether the student to beassessed may attend theassessment.

/ 4. The committee formulates arecommendation on whether ornot the student should continuewith the course of study and

possibly pursue the study in

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a particular subject on thebasis of the outcome of thepropaedeutic assessment at theend of the second semester forfull-time and part-time newstyle students and the thirdsemester for part-time old style

students. See article 19 ofthese regulations.

Article 24 Semester assessment committee;Composition and method of working

/ 1. The Academy has an assessmentcommittee for each degree coursefunctioning under the auspicesof the Examination Committee,comprising the head of the

degree course and the teacherswho teach the course.

/ 2. The head of the degreecourse is the chairman of theassessment committee, the coachor the coordinator is thesecretary and the teachers whoteach the relevant parts of thecourse of study are the members.

/ 3. The chairman determineswhether the student to beassessed may attend theassessment.

/ 4. The committee formulatesa recommendation for eachstudent on the basis of theoutcome of the assessmentof the semester in question.The recommendation relates toadmission or otherwise to themain phase of the study andto pursuing the study in a

particular specialisation, whereapplicable.

Article 24a Rules for the semester andpropaedeutic assessment committees

/ 1. Planning, organisation andcoordination of the presentationof the work to be assessedis the responsibility of thechairman of the assessmentcommittee. For this presentation

each component of the studyshould be presented in such away that a good impression canbe obtained of the performanceof the student to be assessed.

/ 2. Vote: the committee may takea vote if the outcome of theassessment gives rise to this.The committee takes its decisionon the basis of a majorityvote. If the vote is tied, thechairman has the deciding vote.

/ 3. Deciding on a postponedassessment: if the presentationof the work of the student isincomplete the chairman mayset a deadline by which anassessment will take placeand the procedure that will beadopted for this.

/ 4. Study progress: if studentsfail to pass a course yearand the committee is of theopinion that they would be ableto continue with their studiesafter obtaining a pass, thecommittee can decide to make theassessment again after a certainperiod. This period may never belonger than the length of thesubsequent semester.

/ 5. Determining the number ofECTS credits obtained: thechairman of the assessmentcommittee determines the numberof EC credits obtained.

/ 6. Recording the results ofthe assessment: the chairman isresponsible for ensuring thata record is kept of the studyresults. The chairman dates andsigns the form indicating theresults of the assessment. Afterthe form has been signed theresults are officially ratified.The chairman is responsiblefor directly handing over theassessment results to thestudent administration officefor the purposes of declarationsand certificates.

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/ 7. Further procedure: thechairman is responsible for thefurther procedures arising as aconsequence of the assessmentresults. Students who in theopinion of the assessmentcommittee have performed

unsatisfactorily in whateverway must be informed by meansof a letter and/or an interviewof the possible consequences ofthe assessment. The decisionson this must be reported on theassessment form.

/ 8. The chairman informs thefaculty director about allmatters of a problematicalnature that will not be dealt

with by the assessment committeeitself or matters for whichthese regulations do notprovide.

Article 25 Final assessment committee:Composition and method of working(Higher Education and Research Act 7.12)

/ 1. The Academy has an assessmentcommittee for the final

assessment: the final assessmentcommittee, functioning underthe auspices of the ExaminationCommittee. The committeecomprises a chairman, the headof the degree course and (acore team of) teachers who teachstudents during the final phaseof the study.

/ 2. At the invitation of thedirector one or more external

experts may join the finalassessment committee as amember of the final examinationcommittee

/ 3. The final examination ispublic. The public character ofthe final assessment does notinclude the deliberations of thefinal examination committee.

/ 4. The final assessmentcommittee determines on the

basis of the outcome of the

final assessment whether thestudent has passed or failed thecourse.

Article 26 Final examination regulationRoyal Academy of Art

/ 1. The final exam (or finalassessment) is arranged inconformity with the provisionsof the Higher Education andResearch Act (7.12). The finalexam takes place in the form ofa final assessment.

/ 2. The composition of theassessment committee for thefinal assessment, the finalassessment committee, isdescribed in article 25 of theseregulations.

/ 3. The final assessmentcommittee decides on thefinal examination work in acollective assessment, in whichthe substance of the verdictof the external members istaken into account, as are theassessments of the individualelements which are part of thefinal examination phase. Thework presented plays a decisiverole in this whole. The questionthat is asked is whether thework makes visible as a cohesivewhole an authentic vision ofthe visual arts or design, andwhether the individual theme andresearch incorporated in it hasbeen brought into the publicdomain in an articulate way.

› 3a. The number, subject,technique and execution ofthe works are determined inconsultation with the teachersinvolved and the head of thedegree course in the lightof the goal of the finalexamination as described inparagraph 3 of this articleand in the description ofthe programmes of the degree

courses in the Education andExamination Regulations. For

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the theory subjects a writtenpaper is required, the subjectand the size of which isdetermined in consultationwith the teacher in question.The paper must be submitted intriplicate: one copy for the

student, one for the teacherand one for the records in thelibrary. The copy of the finalpaper given to the teacherand the library remain theproperty of the Academy. Ifpossible the final paper mustalso be handed in in digitalform preferably in PDF format.

/ 4. For all papers/pieces ofwork submitted for assessment

the rule is that they must havebeen made under the supervisionof the teacher or teachersin question and must havebeen accepted as such by theteacher(s).

/ 5. All presented pieces ofwork need to be verifiablythe inalienable intellectualproperty of the candidate.

/ 6. The final assessment

committee takes its decision onthe basis of a majority vote. Ifthe vote is tied the chairmanhas the deciding vote.

/ 7. As soon as possible afterthe final assessment, but atthe latest within three days,the outcome is notified to thecandidate by the secretary ofthe final assessment committee.After processing the data the

candidate receives a judiciumor verdict indicating the scoreand the outcome. The formulationof the score comprises a finalgrade and/or a list of gradesand/or a reasoned writtendeclaration.

/ 8. When it becomes apparentthat the student has not passedall the necessary precedingcomponents of the study a

decision is taken as to how andwhen a student will be given the

opportunity to nevertheless passthese components. The studentis informed of this effect bythe chairman or the secretary ofthe final assessment committee.Completion, if possible, willtake place before the end of the

current academic year in otherwords by 1 September, otherwisethe student will be required tore-enrol.

/ 9. Awarding of certificates anddeclarations is described inarticle 30 of these regulations.

/ 10. Resits: the finalexamination committee may grantstudents the opportunity totake a resit if a candidate hasfailed one or more parts of theexam.

› The final assessment committeedecides at the finalassessment committee meetingwhether one or more resits canbe taken if in the opinion ofthe final assessment committeethe candidate can be deemedcapable of passing the finalassessment if one or moreresits is taken.

› Candidates who are eligibleto take one or more resits arerequired within seven daysafter the announcement of theoutcome to submit a requestto take one or more resitsto the chairman of the finalassessment committee.

› The chairman of the finalassessment committee determines

the date, time and place ofthe resit which has to betaken at the latest before thestart of the new course year.

› The final assessment committeemay decide on an ‘extendedexamination’, that is to saypostponement of the finalassessment if a candidatepresents an incomplete finalexamination collection forone or more parts of the exam.An ‘extended examination’

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is conditional on the finalassessment committee’s viewthat a resit, that is to saythe presentation of more workor work again is impossiblebefore the beginning of thenew course year, and that the

candidate is deemed capableof passing the complete finalexamination within the periodof one semester.

/ 11. Extended examination: thecandidate who has been declaredeligible for the ‘extendedexamination’ must submit arequest for postponement ofthe final examination to thechairman of the final assessment

committee within seven daysof the announcement of theaforementioned decision. Thechairman of the final assessmentcommittee determines thedate, time and place of thepostponed final assessmentwhich has to take place at thelatest before the end of thesemester subsequent to the finalassessment. If the candidatedoes not wish to avail himself

of the extended examination, heis deemed to have failed.

/ 12. Inability to participatein the final assessment orpart of this as a result ofillness, accident or seriousfamily circumstances must benotified to the chairman ofthe final assessment committeebefore the commencement ofthe final assessment. Written

proof must be submitted foracknowledgement of the inabilityto take part. A new date for thefinal assessment can be decidedon in consultation with thechairman of the final assessmentcommittee.

/ 13. Candidates may lodge anappeal against the outcomeof the final assessment inconformity with the valid rules

stipulated in article 33.

/ 14. A book and/or CD ROM/DVDwill be compiled of the finalexam work of all candidatestaking full-time and part-timecourses at the Academy. Everystudent is obliged to supplymaterial for this before the set

deadline. / 15. A final examination

candidate can only participateon one occasion in thispublication. An endeavour ismade to have the date of issueof the final exam book and/ orCD ROM/DVD coincide with thediploma awarding ceremony.

› 15a.Participation in the finalexamination exhibition is aone-off event and subjectto conditions. If the finalassessment committee or thefinal examination exhibitioncoordinator commissioned bythe director is of the opinionthat the presentation of thestudent is incomplete thestudent may be excluded fromparticipating in the finalexamination exhibition.

/ 16. In cases where theseregulations do not provide, thefaculty director or the deputydecides.

Article 27 ExemptionAn assessment committee may, onbehalf of the Examination Committee,at the request of a student grantexemption for one or more compo-nents of the study on the basis of

a qualification, diploma, certif-icate or other documentary prooffrom which it is apparent that thestudent has already met the require-ments of that part of the course. Therequest must be submitted in writingto the chairman of the assessmentcommittee or direct to the Examina-tion Committee. The relevant docu-mentary evidence must accompany thewritten request. The validity of anexemption granted is unlimited unlessthe content of that component of

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/ 3. Students who have passedthe final assessment receive acertificate giving the outcomeof the final assessment and thestatus of the diploma obtainedafter the final assessment andafter the student administration

has made a record of theassessment results.

/ 4. The institution’s boardgrants the degree of Bachelorand the degree of Masterto those who have passedthe final examination of aBachelor programme or thefinal examination of a Masterprogramme respectively

/ 5. The institution’s boardadds to a degree the disciplineor the professional domainto which the degree applies.Bachelor of Fine Arts (Bfa)for those who have graduatedin the Visual Arts and Bachelorof Design (Bdes) for those whohave graduated in Design. Masterof Design in Type and Media(MaDes).

/ 6. Students who have passedseveral assessments but to whomno certificate in the sense ofarticle 30 paragraphs 3 and 4can be awarded, receives onrequest a declaration by theRoyal Academy of Art listingthe assessments that have beenpassed. The student must submitthe request in writing to thefaculty director.

Article 31 Irregularities

/ 1. If a student is culpable ofany irregularity with regardto any part of an assessment,the chairman of an assessmentcommittee may refuse himparticipation or furtherparticipation in an assessment.

/ 2. If the irregularity isfirst discovered after a

propaedeutic assessment or the

final assessment the assessmentcommittee may refuse the studentthe certificate referred to inarticle 7.11 paragraph 1 of theHigher Education and ResearchAct or may determine that thestudent may only be awarded

the certificate after a newassessment of the parts to bedesignated by the assessmentcommittee and in a way which thecommittee determines.

/ 3. Prior to a decision beingtaken by virtue of paragraphs1 and 2 the chairman of theassessment committee hears theassessment committee and thestudent.

/ 4. The chairman consults at alltimes with the faculty director.

/ 5. The chairman reports thedecisions immediately to thestudent, if possible in person,and in any event in writing.

Article 32 Safe-keeping

/ 1. For the duration of an

appeals procedure lodged by astudent all the theoretical andpractical working items needto be kept safe. The studentis responsible for keeping theaforementioned items.

/ 2. For the duration of anappeals procedure lodged by astudent all applicable theoryand practical assignmentsgiven need to be kept safe.The Academy is responsiblefor keeping the aforementioneditems.

Article 33 Objection and appeal arrangements

/ 1. Students who deem that theirinterests have been directlydamaged as a result of whatis in their opinion a wrongapplication of the Educationand Examination Regulations,

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are entitled to lodge a writtenappeal within thirty dayswith the Board of Appeal forExaminations of the Universityof the Arts, The Hague.

/ 2. The Board of Appeal givesjudgement on the appeal that hasbeen lodged against:

› decisions to fail thestudent with a binding studyrecommendation as referred toin article 19;

› decisions on admission tothe final phase and finalassessment as referred to inarticle 15 paragraph 2 to 4and article 26;

› decisions on the number ofcredits obtained;

› other decisions by assessmentand examination committees andexaminers.

/ 3. The appeal can be lodged if:

› the decision is incontravention of any generallybinding regulation, forexample the Education andExamination Regulations;

› in taking the decision thebody obviously used its powerfor other purposes than thatfor which it was originallyintended;

› in weighing the interests inquestion the body involvedcould not in all reasonablenesshave taken the decision;

› the decision is contrary toany other principle of good

administration prevailing aspart of the general sense ofjustice;

› the further provisionsregarding the procedure, thehandling and the verdict can befound in the Legal Protectionchapter of the Student Charterof the University of the Arts,The Hague.

Article 34 MisconductMisconduct including vandalising orinflicting damage on the buildingand/or aggression towards persons isnotified to the director who willthen take measures. The measures maybe:

/ order to immediately restore thedamage;

/ suspension or denial of accessto the buildings and area.

Article 35 CopyrightAll the work that students makeduring their study is part of thestudy and also serves as the basisfor the credits obtained during thestudy. This is why the work duringthe entire duration of the student’sstudy is the property of the RoyalAcademy of Arts. Naturally studentshave right of use. Once studentshave been deregistered the right ofownership passes to them. The RoyalAcademy of Arts retains the right touse the work at a later date as well,without any remuneration, withinthe context of its own objectives.

If a former student becomes affil-iated to an intermediary agency inthe field of copyright the student isobliged to inform that agency of thisarrangement. The digital “conver-sions” of the work assessed as partof the semester assessments remainavailable to the academy for appro-priate use within the objectives ofthe academy.

Article 36 Tests and ex ams(assessments) for disadvantaged studentsDisadvantaged students can take partin the tests and examinations in away that allows for their disadvan-tage. They can come to an agreementfor this purpose with the head orthe coordinator of the degree courseand/or if need be submit a requestto this end to the Examinationcommittee.

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8. Organisation and Facilities

In addition to a wide range of othertopics, you can find the most up-to-date information about the followingmatters on the KABK website:

/ Organisation

/ Student housing

/ Financial matters

/ Facilities/workshops

/ Collaborations of the KABK

/ KABK digital

/ Art Student Union

/ Alumni

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Colophon

DesignStudio KABK 2012/2013Anton Lamberg &Arthur Reinders Folmer

Editor

Wieneke MulderEric Priveein cooperation with headsof the departments

Translation StudyguideTamara de Groot

PrinterVeenman+, Rotterdam

PaperCyclus offset80gr & 200gr

ColorsPantone 072Pantone Black 5

TypefacesBerthold Akzidenz GroteskAkkurat Mono Calendarium/Regular

Royal Academy of Art

AdressPrinsessegracht 42514 AN The Hague

Contacttel 070 315 47 77

fax 070 315 47 78

[email protected]

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royal academy of art studyguide

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