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Study Guide 2015-2016 | Royal Academy of Art, The Hague

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Page 1: Study Guide 2015-2016 | Royal Academy of Art, The Hague

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the hague

royal academy of art

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1. Introduction 1.1 Welcome to the Academy 1.2 A Glorious History

2. Bachelor Study Programmes 2.1 ArtScience 2.2 Fine Arts 2.3 Graphic Design 2.4 Interactive/ Media/Design 2.5 Interior Architecture and Furniture Design 2.6 Photography 2.7 Textile & Fashion

3. Preparatory Education3.1 Preparatory Courses 4. Master Study Programmes 4.1 Master Artistic Research 4.2 Master ArtScience

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table of contents

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1. Introduction 1.1 Welcome to the Academy 1.2 A Glorious History

2. Bachelor Study Programmes 2.1 ArtScience 2.2 Fine Arts 2.3 Graphic Design 2.4 Interactive/ Media/Design 2.5 Interior Architecture and Furniture Design 2.6 Photography 2.7 Textile & Fashion

3. Preparatory Education3.1 Preparatory Courses 4. Master Study Programmes 4.1 Master Artistic Research 4.2 Master ArtScience

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4.3 Master Interior Architecture (INSIDE) 4.4 Master Type & Media

5. Post Graduate Course5.1 PGC Industrial Design

6. PhD Doctoral Programme 6.1 PhDArts

7. Research Domains

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

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4.3 Master Interior Architecture (INSIDE) 4.4 Master Type & Media

5. Post Graduate Course5.1 PGC Industrial Design

6. PhD Doctoral Programme 6.1 PhDArts

7. Research Domains

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

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8.5 Quality Assurance

9. Education and Examination Regulation

10. Floorplan

Contacts

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8.5 Quality Assurance

9. Education and Examination Regulation

10. Floorplan

Contacts

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introduction

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welcome to the academy

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welcome to the academy

welcome!

We are very glad that you have chosen to study at the KABK.

In this study guide you will find information on the curriculum and eve-rything else that you need to know in order to make the most of your studies at the Academy, to ultimately graduate as an inquisitive and enterprising artist or designer who is capable of making a unique contribution to the profession and to society.

The Academy’s teaching staff con-sists of over 200 lecturers, and each member of the teaching team also con-tributes to the professional field as a prac-tising artist, designer or theoretician. We have access to a large network of inter-national schools, and try to do every-thing we can to encourage and facilitate exchanges between students and lectur-ers. In addition to the main curriculum, we offer an extensive range of lectures, debates and film presentations. We are currently developing several labs that stu-dents can sign up for. And of course we like to mention our workshops, which are extremely well equipped.

We also offer the option of taking classes at the Royal Conservatoire and at Leiden University through the Individual Study Track or other arrangements. The Academy’s location in the centre of The Hague is unique, and the presence of so many national and international adminis-trative and political forums in the imme-diate area generates a large number of interesting practical assignments.

These are just a few of our strengths. I now invite you to discover all the possi-bilities that the Academy offers, explore the boundaries between disciplines and surprise yourself (and us) – we are here to help you along the way!

I wish you all an inspiring academic year. Work hard... and enjoy!

Marieke SchoenmakersDirector

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a glorious history

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a glorious history

1.2 a glorious history

The Royal Academy of Art in The Hague is the oldest art academy in the Netherlands. References to a Lucas Guild in The Hague date from as early as the 16th century. In 1656, a group of painters severed their ties with the guild and formed the Pictura Brotherhood, in order to make a clear dis-tinction between artists and artisans. In 1682, the Pictura Brotherhood founded an academy, which was the forerunner of our current academy. Its predecessor was primarily intended to provide members of the brotherhood with the opportunity to further develop their drawing skills.

The idea for organising this addi-tional education came from a group of painters who had worked in Rome and, inspired by their international experi-ence, felt the need to raise painting in The Hague to a more international and organised level. This desire was consist-ent with the highly courtly character of The Hague in contrast to other cities in the Netherlands.

The founding of the original acad-emy and its international orientation reflect two aspects that have played a prominent role throughout the history of our acad-emy: the stimulation of the artistic climate in the immediate area and the continu-ous quest to do so from an international perspective. Upon separating from the Pictura Brotherhood in 1780, the institute was transformed into a free academy that was open to all.

Building on the PrinsessegrachtThe late 18th century was a period of economic and political decline in the Netherlands. It was also a difficult time for the academy, which would not regain its prominent position until 1821, when it merged with the School for Civil Architec-ture. Having previously been based at the Korenbeurs and the Boterwaag, the acad-emy moved to its current building on the Prinsessegracht in 1839. This neoclassi-cal building, which was designed by the city’s master architect Zeger Reyers, is a true temple to the arts. With the disap-pearance of the guilds in the 19th cen-tury, technical education became increas-ingly important and the Academy played a role in this development. Over the course of the century, in addition to the archi-tecture programme, a large number of artisans came to the academy for addi-tional training in the fields of drawing and design. From the lists of enrolled students from that time, it appears that the insti-tute was almost more a technical school

than an art academy. A teacher training programme was also established, which would occupy a prominent position until the 1970s. The 19th century marked the heyday of painting in The Hague. Many famous artists from that period were edu-cated at the academy, including G. H. Breitner, Willem Maris, Jacob Maris and Johannes Bosboom.

independent coursesIn the late 19th century, the academy established the aforementioned training programme for art teachers, in addition to its courses in drawing, painting and architecture. Under the leadership of Dr J. H. Plantenga, the 20th century saw the addition of evening courses and, for a while, a Sunday morning course. Under the influence of the Bauhaus movement and other developments in the field, there was increased interest in the applied arts within the design disciplines. In 1929, the academy launched the ‘Advertisement Drawing and Furniture Construction’ course, which would later evolve into the independent departments of Graphic and Typographic Design and Interior.

towards a modern academyThe academy building embodied a clear reference to the ancient past, but as needs must, the school was updated to reflect modern times. The renovations included creating a prominent area for design teaching and the building was generally modernised under the auspices of Plan-tenga. New teachers were recruited who applied the fresh perspectives of the 20th century avant-garde movement in their teaching. These included the renowned teachers Kiljan, Citroen, Schuitema and Alons. As part of another development, photography gained an important place within the Advertising department.

During the early 20th century, the academy played a pioneering role in the Netherlands. In 1938, the ancient tem-ple was replaced with the new academy building that fully reflected the new edu-cational system. It was a monument to modernism, designed by Plantenga, J. W. E. Buijs and J. B. Lürsen. After the war, director B. Th. de Hey obtained approval by Royal Decree to establish a course in Industrial Design – one of the first of its kind in the Netherlands.

innovations over the last 50 yearsThe academy was designated as the ‘Royal Academy’ in 1957, on the occa-sion of its 275th anniversary. In the same year, the academy separated from the

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technical college (in Dutch: HTS). In sub-sequent years, the art education system was modernised in three successive phases and accordingly, so to was the Royal Academy of Art. In 1968, a number of vocational schools officially became art academies with the status of “insti-tutes of higher vocational education” (HBO). These academies, which at that time offered five-year programmes, con-sisted of various departments. In addition to painting and sculpture departments, they offered programmes in design. In general, they produced more designers than they did autonomous visual artists.

In the 1980s, a process of expan-sion took place within the HBO system. The various independent academies merged into larger institutes. As part of this expansion, the Royal Academy of Art became part of the University of Visual Art, Music and Dance following its merger with the Royal Conservatoire and the pho-tography and photonics departments at the vocational technical school (MTS). In 2011, the name of the institution was changed to the University of the Arts in The Hague.

The final phase of modernisation commenced with the redesign and ren-ovation of the building in 2000. All of the art and design departments have since been housed in the building on the Prins-essegracht, although the 1938 building has also been retained. Its current form was realised by the Van Mourik Vermeu-len architecture firm. The space require-ments for modern art education were met in 2012, with the new extension atop the building on the Prinsessegracht and the purchase of two spaces directly con-nected to the academy. The building is now able to accommodate the expansion of the Bachelor and Master programmes. In the spring of 2015, the Master Interior Architecture (MIA) programme received its own space in the former nightclub on the Bleijenburgzijde. As the last pro-gramme with its own location the Master Artistic Research programme has moved to the academy building.

The focus on new technologies and new media within the academy’s pro-grammes has expanded dramatically. This can be seen in new facilities, lab-oratories and workshops as well as in the array of new programmes including ArtScience, Interactive/Media/Design, the Master Interior Architecture (INSIDE) and the Master Artistic Research.

collaboration with leiden university

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

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Bachelor study Programmes

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2.1 artscience interfaculty

2.1.1 introduction

The ArtScience Interfaculty offers an interdisciplinary Bachelor’s and Master’s programme that fosters curiosity-driven research as an approach to the creation of art. The programme regards art and science as a continuum and promotes the development of new art forms and artistic languages. The ArtScience pro-gramme is offered fully in English.

Within a world in which technology and social developments intersect with traditional art forms (e.g. music, visual arts, cinema and theatre), within a world in which the ‘digital’ and the scientific are playing an increasingly prominent role in our perceptions of our society, environ-ment and being, the ArtScience Interfac-ulty has chosen to focus on developing new artistic discourses and practices that transcend the traditional disciplines. We strongly believe that art should take an active part in shaping the world in which we live, and that it should regard the uni-verse as a playground for unexpected forms of expression. We are interested in asking creative and fundamental ques-tions concerning contemporary knowl-edge, and we favour an experiential and experimental approach to answer them. As a truly interdisciplinary department, we do not focus on any single type of idiom, but try to combine them. ‘Visual’ idi-oms, as the production and signification of objects and environments, are com-bined with the ‘musical’ idioms of com-position in time, performance, improvisa-tion and collaboration. We love science, and we try to indulge in its findings, but we aim to use its knowledge to produce interpretations. We make art.

The ArtScience Interfaculty is an interdisciplinary department situated between and embedded within both the Royal Academy of Art and the Royal Con-servatoire. Classes include scientific and theoretical knowledge, sensory percep-tion, interdisciplinary composition, hands-on production, performance training, col-laborative projects and critical thinking. We focus largely on individual coaching. ArtScience allows students to code and create never-before heard sounds and never-before seen images, to establish immersive environments, to design new forms of interaction with their audiences and explore media that have never before been used by artists. Most importantly, students are invited to re-invent art, as needed in this century.

2.1.2 art and science

For several years, we have been expe-riencing a new wave of interest in the connection between art and science. Two similar waves occurred in the pre-vious century. The first took place in the 1920s and 1930s, marking the beginning of modern art, industrial design, modern music and modern architecture. The sec-ond of these waves was in the 1950s and 1960s, marking the birth of electronic music, video art, interactive art and gen-erative art.

Both of these periods shared a sense of optimism about potential future developments, as well as a sense of responsibility on the part of artists, who were expected to fulfil specific missions to help ensure the realisation of this posi-tive potential. This mission was perceived as consisting of absorbing new techno-logical and scientific notions into the realms of human experience and imagi-nation. Civilisation often lags behind the advances in technological control of the world. According to the Bauhaus artist Laszlo Moholy-Nagy, this lag is one of the root causes of exploitation, war and other excesses.

Within the current wave of interest in the ArtScience connection, several views on the interactions between art and sci-ence can be distinguished. One form of collaboration that has become almost common regards scientific concepts as a type of ‘content’, which artists translate into images, sounds or other experiences. Although this approach has the potential to reduce artists to some type of scientific communicators, it usually triggers radi-cally new kinds of artistic development.

This approach can also generate works that help scientists acquire new, intuitive understandings of what they are doing, as well as works that comment on the consequences of scientific devel-opments. Another form of collaboration is one in which scientists and technolo-gists assist in the realisation of artistic ideas. Although this process can reduce scientists or engineers to some type of art facilitators, it usually ensures that the actual artistic ideas are informed by a new awareness of possibilities. It also allows artists to help trigger new direc-tions of research by posing uncommon problems.

A more complex and much more interesting zone between art and science has been described in two recent books. In ArtScience (2008), David Edwards cites many examples from the worlds of sci-

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ence, art, civil society and industry that demonstrate the ways in which the trans-position of ideas or strategies from one field to another often results in radical innovation. For Edwards, ArtScience is an intermediate area of creativity, in which neither art nor science is clearly defined. According to this reasoning, the stimu-lation of this zone is a key strategy for fostering innovation. In Information Arts (2002), the artist and theorist Stephen Wil-son provides an encyclopaedic overview of many new forms of art that are rooted in current science and technology. Wilson no longer considers the traditional artis-tic disciplines relevant to the discussion of these art forms, proceeding to group them under the headings of the main sci-entific disciplines. Wilson further argues that these new forms of art will not nec-essarily find any place within the tradi-tional platforms for art, and that they will not necessarily share traditional artistic concerns.

The core idea that makes such col-laborations and intermediate zones inter-esting is that art and science can both be considered as types of exploration, and that they are regarded as complementary in many ways. Whereas science main-tains an aura of objectivity and detach-ment, art tends to favour subjectivity and critical engagement. Whereas peer review is the norm in science, artists are expected to be iconoclastic and original. Whereas science is expressed in formu-las and text, art often exists in non-ver-bal experiences. Ultimately, however, art and science share the aim of enlarging the scope of our ideas about the world. By inventing new media and new artistic languages, art can create new worlds of experience. By widening our imagination, it can also create new kinds of thinking, as we are unable to think about things that we cannot imagine. As written in 1956 by Gyorgy Kepes, the founder of the Cen-tre for Advanced Visual Studies at MIT, ‘The images and symbols which can truly domesticate the newly revealed aspects of nature will be developed only if we use all our faculties to the full - assimilating with the scientist’s brain, the poet’s heart and the painter’s eyes. It is an integrated vision that we need; but our awareness and understanding of the world and its realities are divided into the rational - the knowledge frozen in words and quanti-ties – and the emotional – the knowledge vested in sensory image and feeling’.

2.1.3 an overview of the artscience interfaculty

At the ArtScience Interfaculty, students and teachers are developing new forms of interdisciplinary art. The goal of the Inter-faculty’s teaching programme is to inves-tigate and possibly shape the intersec-tion between artistic concepts and recent developments in science and technology.

Each year, a part of the programme of courses and projects is updated according to current themes from the intersection of art, media, science and technology. Possible artistic responses to recent developments are formulated by experimenting with new contexts and forms in which art can play a role. This discussion is continually related to an interdisciplinary base in which the conti-nuity between media art, music, theatre, film and visual art is regarded as self-evident.

The Interfaculty is a collaborative effort of the Royal Academy of Art (KABK) and the Royal Conservatoire (KC). Staff members come from a variety of artis-tic cultures and disciplines that is unique in its scope. The ArtScience Interfaculty collaborates closely with the Master’s programme in MediaTechnology at the Leiden Institute of Advanced Compu-ter Science (Leiden University) . Within the Royal Conservatoire, the Interfaculty maintains close ties to the Composition department and the Institute of Sonol-ogy. Within the Royal Academy of Art, the Interfaculty collaborates primarily with the departments of Fine Arts and I/M/D.

The Bachelor’s programme aims to guide students towards an ‘auto-dis-ciplinary’ art practice. Students acquire the skills, research methods and concep-tual background that they need in order to develop their personal artistic work within the broad field of the arts and sci-ences. The ArtScience Interfaculty has an ‘open’ curriculum from the second year onwards. During most of the study, stu-dents navigate individually through the teaching modules offered within the Inter-faculty and its affiliated departments and institutions. At the Interfaculty, there are four forms of group activities: research projects, labs, theoretical courses and workshop-style courses. With the other Creative Departments of the Conserva-toire (Composition and Sonology) the Interfaculty organises four weeks of exchange courses each year. Several Academy-wide courses and labs are organised with the KABK.

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

2.1.4 goals of the programme

The Bachelor’s programme aims to guide students towards an ‘auto-disciplinary’ art practice. Students acquire the skills, research methods and conceptual back-ground that they need in order to develop their personal artistic work within the broad field of the arts and sciences.

The courses provide a theoretical and practical foundation, but the core of the education offered at ArtScience con-sists of practice-based research. Knowl-edge is acquired through the concep-tion and realisation of projects. In these projects, students work together with their teachers and primarily with other stu-dents, thereby learning to collaborate and organise projects on various scales. The open curriculum and the individual study tracks help students to develop a strong sense of independence, self-organisation and critical thinking during their studies. Because many study projects are pre-sented outside the walls of the school, students are expected to be active and well connected in the field at the time of their final examinations.

Professional competenciesStudents are challenged to develop a range of professional competencies in three domains:

a. the artistic-technical domainb. the professional domainc. the theoretical domain

Within each of these domains, students are expected to develop competencies within the following areas:

1. creativity 2. critical reflection3. innovation and growth4. organisation5. communication 6. contextual awareness 7. collaboration

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

These competencies form the foun-dation for the assessment by the teachers at the end of each course module, and they are used to evaluate the presenta-tions at the end of each semester. In addi-tion, evaluation sessions are held twice each year, in which students evaluate the programme and suggest improvements.

final qualifications of the Bachelor’s programme

During the final examination, students present works that demonstrate their abil-ity to work as professional artists and that convincingly communicate an articulated and authentic vision on the arts. Gradu-ates are expected to have the following final qualifications:

+ Students create authentic works emerging from their own artistic visions that contribute to the fulfilment of their personal ambitions as artists (creative ability)

+ Students are able to consider, analyse, interpret and assess their own work and that of others, and they are able to consider their findings constructively in relation to their own work (capacity for critical reflection)

+ Students are able to achieve further development in the breadth and depth of their artistic practice in an ongoing process, thereby contributing to devel-opments in their artistic disciplines (capacity for growth and innovation)

+ Students are able to establish and maintain an inspirational and func-tional working environment and organ-ise their research, work and practice (organisational ability)

+ Students are able to present and dis-cuss their artistic visions, research and work in an effective manner (commu-nicative ability)

+ Students are able to relate their artistic practice to both the artistic and social context (external awareness)

+ Students are able to make independent contributions to collaborative products or processes (capacity for collabora-tion)

2.1.5 the structure of the programme

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

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faculty, there are five forms of instruction: research projects, labs, individual coach-ing, theoretical courses and workshop-style courses. With the exception of the first-year courses and theory courses, students always have a choice between several options. For additional informa-tion and the complete schedule, please refer to the ArtScience website (www.inter-faculty.nl).

theoretical coursesFrom the first until the third year of the Bachelor’s programme, students fol-low a programme consisting of theo-retical courses. After an introduction to ArtScience, subjects covered in these courses include the theory and history of the senses, media archaeology (and anarchaeology), the philosophy of tech-nology, science and art, and the theory of interaction in art and nature. Each of these courses runs for five or six mornings and consist of lectures, reading assignments, group discussion and the preparation of written and verbal presentations by the students.

These courses are intended to pro-vide a theoretical and historical context to the research activities taking place within the Interfaculty. They also teach students to conduct theoretical research, to articu-late their thoughts in writing and to give oral presentations on their work in rela-tion to the work of others.

First-year Bachelor students follow a specific set of introductory theoreti-cal courses. This set includes courses offered exclusively to ArtScience stu-dents, as well as first-year theoretical pro-grammes of the KABK (Studium Gene-rale) and the KC (New Theory).

workshop-style coursesA large number of short, practical work-shops are offered in four periods of three weeks, two for each semester. Each of these courses consists of two full days a week over a period of three weeks. Some of these short, intensive courses focus on specific techniques, skills and prac-tical awareness (e.g. light, sound, edit-ing, electronics, programming and form studies). Each year, one or two of these courses focus on subjects that are still experimental and speculative, and which could potentially become the subject of a research project in the following year. About a third of these short courses are changed each year, thus making it pos-sible to cover more ground during the four years of the Bachelor’s programme.

First-year Bachelor students are offered a separate programme of these practical workshops. Each of these mod-ules focuses on several medium-inde-pendent concepts, basic skills and sen-sory training that are essential to the ArtScience approach.

labsMany of the activities at the Interfaculty have been clustered around six studio labs, which are defined by output media.

These labs do not claim to cover everything in the field of ArtScience, and there are no hard boundaries between the labs. They are intended as support structures and groupings of people who are involved in creating similar output. Each of these labs is a combination of a laboratory, a production facility and an ensemble of teachers, students, alumni and guests working in one place. Each lab is also a platform offering coaching and space for projects by individual students, as well as a channel through which they can accumulate, document and dissemi-nate the results of their research and art-work. Every few years, the focus of each studio lab is re-evaluated in order to keep abreast of developments in the field and developments within our research inter-ests.

Bachelor students are expected to join one or two of these studio labs. Although they are free to switch labs dur-ing their study programmes, they may not do so during a given semester. Stu-dents should document their own work that they do in the lab over the course of the year, and they are expected to write a research report each semester. Each lab has a weekly working session of three hours, during which students work on their projects together with the lab coach. In some of the labs, these sessions are a form of group coaching, while in other cases (RecPLay and StageLab), they tend to resemble group rehearsals.

Some of the labs are facilities that are also open to lab members outside of the coaching sessions, and participa-tion in all labs is open to students from other departments within the KABK and KC. Furthermore, each lab initiates group projects that result in presentations out-side the walls of the school. Some of these projects are group projects, while other labs usually focus on presentations in the form of group exhibitions of indi-vidual works. Each lab also organises excursions and visits to performances, exhibitions and symposia. In time, every lab will publish its results in the form of

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

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

StageLabThis lab investigates the aesthetic and technical qualities of materials and instru-ments in relation to the body, with the aim of developing hybrid performance prac-tices. Practical work includes body train-ing, work with light and sound on stage and the development of performances. The lab coach is Michiel Pijpe.

Spatial Interaction Lab

This lab concerns the composition of interactions involving audiovisual inter-faces, interactive spaces, robotics, physi-cal computing, extra senses and interac-tive architecture. Its practical focus is on hardware controllers, sensors, actuators and spatial use of sound and light. The lab coach for the Spatial Interaction Lab is Edwin van der Heide.

Performative Instruments LabThe focus of this lab is on developing media-performance tools, interfaces and performative installations. Research is conducted on existing practices and tech-nologies, with an emphasis on developing new works through a series of hands-on experiments. The lab coach for the Perfor-mative Instruments Lab is Kasper van der Horst, complemented by Robert Pravda.

Tactile Research LabThis lab addresses wearables, inflatables and new, active and responsive materi-als. Its practical focus is on the skills that are necessary to create physical environ-ments out of lightweight materials. The lab coach for the Tactile Research Lab is Cocky Eek.

c0d3l4bThis lab concerns the development of software for generative composition and generative art. Its practical focus is on work in software environments, including Max/Msp/Jitter, Processing, OpenFrame-works and LuaAV. The lab coaches for

the CodeLab are Marcus Graf and Nenad Popov.

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

self-study, coaching and presentations

We expect our students to start develop-ing their personal domain within the field of the arts and sciences during their stud-ies. Therefore an important part of the education consists of self-study, under-stood as time for creating personal work and pursuing personal research.

Beginning in the second year of the programme, each student has two teachers who coach this personal work, reflect on it together with the student, offering a context for it, suggesting liter-ature and other sources of information and often assisting in solving practical problems. As they advance in their stud-ies, we expect our students to start show-ing their personal work outside the school walls and to start building their own net-works. Instead of creating work specifi-cally for the semi-annual presentations, this allows students to develop towards a situation in which their work has been shown and developed outside the school before being shown at the presentations.

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The students’ personal research is evaluated twice a year during the col-lective presentations at the end of each semester. At the end of the first semes-ter, students are asked to present their research, explaining their topic, progress and methodology and illustrating it with documentation of experiments or finished works. At the end of the second semes-ter, they are asked to present a finished work, together with a short, verbal expla-nation. Both presentations are evaluated in a discussion between the student and all of the core teachers, during which also the student’s general progress in the pro-gramme is discussed. The evaluations are based on five criteria and five student qualifications. The criteria for evaluating the research and presented work are as follows: the artistic quality of the core con-cept, the quality of the research process, the consistency of the work, the quality of the presentation or the quality of execu-tion of the work and, finally, the poetry of the result. The progress of students is evaluated according to five student quali-fications: the visibility of their artistic iden-tity, their ability to reflect on their own proc-esses, their ability to innovate, their ability to communicate and their awareness of context and current developments related to their research topics.

creative departments workshops at the royal conservatoire

The Creative Departments of the Royal Conservatoire (Composition, Sonology, ArtScience and the Master T.I.M.E.) offer two weeks of full-time courses each semester for each other’s students. Dur-ing the two weeks following the Autumn break and the two weeks following the Spring break, students can choose between intensive courses, each lasting one week each.

Public toolkitThis course focuses on professional preparation and the extended artistic pos-sibilities of the development of a public existence. Curators and organisers from different artistic realms are invited to eluci-date practical and organisational aspects specific to their fields. Practical aspects (e.g. the writing of project proposals and business plans, publicity and documenta-tion) are discussed. Students are encour-aged to develop an artistic view on their public image in the media and their body of work as a whole, composing them in relation to the individual artworks that make up their practice.

Related to this course is the Acad-emy-wide course in Entrepeneurship, which is part of the ArtScience curriculum.

thesisBachelor students are expected to write a thesis, to be finished at the beginning of the first semester of their final year. The aim of the thesis is to articulate a theo-retical and historical context for the stu-dents’ own work by investigating a topic that relates to it. Students are encour-aged to develop personal forms of writing that fit their research topic, while demon-strating their ability to conduct theoretical research, find good sources and discuss work by other artists that is related to their own work.

individual study track and portfolio

Many kinds of individual activity can be part of the Individual Study Track, including personal research projects, internships, international exchange, participation in productions, attending symposiums, initi-ating productions, organising festivals or writing research papers. When approved by the individual coaches, such activities can be awarded credit points. A written report and documentation of any such a project should be included in the portfolio.

Part of the Individual Study Track consists of courses outside the Art-Science Interfaculty. Likely choices include the Introductory Courses offered by the KABK, the Royal Conservatoire and the courses offered in the Master’s programme in MediaTechnology at Lei-den University.

In addition to the options listed above, the Royal Academy, the Royal Conservatoire and Leiden University offer a very wide spectrum of courses. In the past, students have taken courses in such areas as Sonology, Singing, Per-cussion, Photography, Print Making, Art History, Philosophy, Electronics, Sociol-ogy, Bio-informatics, Art and Genomics and Medical Anatomy. We encourage future students to surprise us by explor-ing the many other possibilities. Points for elective courses are awarded based on examinations passed, certificates earned, written reports or other forms of docu-mentation, which students should include in the portfolios that they compile over the course of the study year.

Before the presentations in June, the teachers review the portfolios of all students and discuss their participation in classes and additional activities. Based on the portfolio and their own experiences,

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the teachers then evaluate the student’s year and confirm the credit points for courses followed outside the Interfaculty and for extracurricular activities.

2.1.6 credit Points overview

Credit Points (EC points) are assigned twice each year, at the end of each semester before the presentations. Each credit point represents 28 hours of study, and students are expected to earn a total of 60 credit points each year.

Credit points for participation in courses, labs, research projects, KABK introductory courses, MediaTechnology courses and other KABK and KC courses are assigned according to the evaluations made by the teachers of those courses. The credit points for the Individual Study Track are assigned according to written reports or other forms of project docu-mentation. Each student is expected to compile a portfolio containing documen-tation for individual projects and for activi-ties performed in research projects, labs and other courses. The points for extra-curricular activities are assigned during the assessment of the portfolio at the end of May. Successful presentations of indi-vidual work earn eight credit points. Failed presentations must be repeated one or two months later, or at the end of the fol-lowing semester.

In order to pass the propaedeutic examination, a student must have earned enough points, in addition to passing both presentations, all of the first year courses, the Academy-wide and conservatory-wide first-year courses and the Introduction to Electronics. Students who fail to pass the propaedeutic examination within two years will not be allowed to continue their studies.

In the first year, students are required to join two labs and two research projects. In the second and third years, they are expected to participate in at least three labs or research projects. In the fourth year, students must participate in at least two labs or research projects, in addition to being a member of at least one lab.

NOTE: For the most current overview of credit points please visit:

www.interfaculty.nl/programme/curriculum

2.1.7 admission to the Bachelor’s programme of the artscience interfaculty

To be admitted to the Bachelor’s pro-gramme in ArtScience, applicants must demonstrate artistic talent, intellectual curiosity and affinity with many artis-tic disciplines. They are asked to show examples of earlier work and explain their motivation for studying at the ArtScience Interfaculty.

In order to be admitted to the entrance examination, candidates must send a letter of motivation, a curriculum vitae (resume), a portfolio and a number of official documents. In addition, all can-didates should submit their responses to the assignment described below. All writ-ten materials should be in either Dutch or English. Please refer to http://www.interfaculty.nl for the most current infor-mation regarding the dates for entrance examinations.

All candidates are asked to com-plete the online admission form at www.kabk.nl or www.koncon.nl. They will then be invited to contact the study coordina-tor ([email protected]).

Candidates will be invited to sub-mit the application materials requested, as described below, in order to receive an invitation for an interview. European candidates are expected to be physi-cally present at this interview. For candi-dates outside of Europe, we will propose a Skype conference.

letter of motivationIn the letter of motivation, candidates are asked to provide an overview of their cur-rent status in their artistic activities and to describe their visions for the future. The letter should cover the following points:

+ background information on the candi-date’s artistic past; the motivation for becoming involved in art and for mak-ing the artistic choices that have been made thus far

+ a description of the artistic disciplines in which the candidate has been involved or interested in thus far

+ a description of the candidate’s main topics of interest with regard to art, sci-ence and culture (e.g. this could include specific art forms, subcultures, gen-res, styles, artists that inspire you, philo-sophical ideas, scientific research top-ics or developments in society)

+ an outline of what the candidate hopes to achieve by studying at the ArtScience Interfaculty

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+ a description of how the candidate expects to contribute to the learning environment at the Interfaculty and to the arts after completing the pro-gramme

+ a description of the artistic niche that the candidate expects to develop dur-ing the programme

+ any questions that the candidate might have about the ArtScience Interfaculty

curriculum Vitae (resume) This should cover the following:

+ previous education + artistic past (see also portfolio, below) + musical instruments played (if appli-cable)

+ techniques mastered + work experience + languages

PortfolioThe portfolio should provide a good over-view of the candidate’s past artwork and/or artistic activities. We are interested in all art forms (including music, visual art, interdisciplinary art, media art, theatre, film and literature). While the documentation should include copies and/or documen-tation of the candidate’s work, we also expect the candidate to write short texts describing the individual works, illustrated with photos, drawings, reviews and other components.

In the case of time-based documen-tation (e.g. audio, video), candidates are asked to indicate one piece (or part of a piece) that they definitely would like to be viewed or listened to by the admission committee.

Digital documentation should run on both Mac and PC. Candidates are requested to use common file formats: jpeg, gif, tiff, pdf, mp3, wav, aiff, flv, Quick-Time (mov), avi, txt, rtf, Word (doc/docx/odt), Powerpoint (ppt/pptx/odp).

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

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

2.1.8 staff *

heads of department + Taconis Stolk + Edwin van der Heide

coordinator + Leonie Zweekhorst

lecturers + Arthur Elsenaar + Cocky Eek + Edwin van der Heide + Kasper van der Horst + Michiel Pijpe + Robert Pravda + Taconis Stolk

guest lecturers + Pieter van Boheemen + Lex van den Broek + Evelina Domnitch + Lucas Evers + Bernard Foing + Dmitri Gelfand + Marcus Graf + Roel Heremans + Gideon Kiers + Eric Kluitenberg + Katinka Marac + Ine Poppe + Frank Theys + Lucas van der Velden + Caro Verbeek

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

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competencies

propaedeutic Year main phase, Year 2

creative ability

capacity for critical reflection

capacity for growth and innovation

organisational ability

communicative ability

environmental orientation

capacity for collaboration

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

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

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

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

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

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

You are capable of organ-ising internal and external factors in order to create an effective and inspiring research and working proc-ess.

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

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

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

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

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

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

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

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Main Phase, Year 3 Main Phase, Year 4

Creative ability

Capacity for critical reflection

Capacity for growth and innovation

Organisational ability

Communicative ability

Environmental orientation

Capacity for collaboration

You are capable of applying thematic and formal coher-ence to the continuing pro-duction of visual objects.

You create authentic work that emerges from your own research and personal artis-tic vision and which contrib-utes to the achievement of your personal ambitions as an artist.

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

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

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

Through a continuous proc-ess of research you are able to further develop your artis-tic practice in terms of both breadth and depth, thereby contributing to your disci-pline.

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

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

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

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

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

You are able to relate your own artistic practice to the wider artistic and social con-text.

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

You are able to make inde-pendent artistic contribu-tions to collaborative prod-ucts or processes.

artscience

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FINE ARTS

2.2

Fin

e A

rts

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2.2 fine arts

2.2.1 general description of the discipline

history of the disciplineUntil the mid- 19th century, artists worked primarily on behalf of monarchs, the church and the upper middle class. Around 1850, the idea emerged that art should no longer be created on commis-sion, but purely for the sake of art itself. The autonomous artist was born.

Artists were forced to reconsider and redefine themselves and their pub-lic function. The 20th century would thus become the era of the self-aware mod-ernist movement, which was character-ised by a high level of appreciation for experimentation and innovation. Concur-rent with the far-reaching technological, political and social developments of the era, new types of artists were born and old types, which had been thought to be lost forever, were reborn. After the end of the Cold War, the internationalisation that had been manifesting itself everywhere conquered the art world as well. The con-frontation with previously unknown aes-thetic cultures yielded hopeful amalgama-tions, although it also exerted pressure on established western art notions of moder-nity and autonomy.

At the beginning of the 21st century, artists started to draw upon a vast range of artistic media, at times clearly distin-guishable, at other times overlapping. As a result, art has become multidisciplinary. Once the primary discipline, painting con-tinues to play an important role although it is no longer dominant.

Most importantly, the fine arts repre-sent a dynamic world where firmly rooted traditions compete with fierce trends of innovation. The result is a constantly changing landscape in which few cer-tainties exist. Boundaries are blurring, not only between the various forms of art, but also between the ‘high’ and ‘low’ arts.

current state of the disciplineTraditional stylistic or thematic issues no longer dominate contemporary visual art. Although artists working on their oeuvres in the privacy of their own studios will con-tinue to exist, other artists have developed a keen sense for the changes in society and have decided to activate their work in that field. The vast increase of mobil-ity and means of communication have led to the emancipation of cultural areas that were hitherto considered relatively obscure.

There is no longer a dominant west-ern culture. Innovative cultural expres-sions can come from anywhere – even from as far away as Africa, China, Korea or Mexico – resulting in international art and cultural production. New media (e.g. video, internet) have resulted in the explo-sive expansion of the scope of art and the artistic toolkit.

Artists no longer position them-selves exclusively as traditional creators. They are also establishing themselves as researchers, entrepreneurs, commenta-tors or engaged participants in social or political processes. They reveal hidden qualities, provide critical commentary on or are actively involved in social phenom-ena. Women artists are increasingly set-ting the tone in the artistic discourse.

Today, photography, video and other lens-related disciplines are flourishing like never before. In the digital world, internet users appropriate and process count-less images and transmit them as new works of art. While the current situation is creating an enormous number of oppor-tunities, it is also posing new challenges for the arts and art education, which can be addressed successfully only if they are understood and accepted. The Fine Arts department addresses these issues with vigour.

2.2.2 study profile

In this section, we describe the profes-sional profile on which we have based the programme of the Fine Arts depart-ment at the Royal Academy of Art (KABK) in The Hague. Visual artists create art in order to give significance and meaning to their own lives, as well as to the lives of others. In doing so, they fulfil an important social function.

In the professional field, the work of visual artists is appreciated for the authentic way in which it expresses their artistic vision and ambition in the public domain, as well as for the innovative ideas that it advances with regard to the disci-pline of fine art and how those ideas can function in a social context. The work of visual artists appears in many different forms, from material objects to material-ised processes (including thought proc-esses), performances, business ventures, lectures and other verbalised concepts of a visual or theoretical nature.

international settingThe international setting has become an important element in contemporary professional practice. The playing field

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of young artists has grown immensely, making them artistic nomads, who may or may not travel the world to find hotspots (or places that are on the verge of becom-ing hotspots) in which to present work or proposals for new work. In addition to producing work, it is becoming increas-ingly important for contemporary art-ists to be able to claim positions in artis-tic and social environments. Artists are also researchers, producers, networkers, organisers and administrators, employing this combination of functions to achieve their artistic ambitions.

description of the study programme

The propaedeutic year is specifically tai-lored to the fine arts, with orientation, selection and reference as its objectives. Specific to the department Fine Arts at the KABK is the division of the programme into four departments (i.e. ‘sections’) after the propaedeutic year:

+ Reproduction/Distribution (R&D) + Painting + Interdisciplinary Attitudes + 3D

The identity and programme of each sec-tion depends upon the specific peculiari-ties of its disciplines.

The part-time programme involves fewer contact hours and therefore con-sists of two sections after the propae-deutic year: 2D and Interdisciplinary Atti-tudes. These sections differentiate the part-time programme from the full-time programme.

After students have successfully completed the propaedeutic year, they choose to continue their studies in either the two-dimensional or the three-dimen-sional domain. In the third semester, the teams of lecturers from Reproduction/Distribution (Free Graphics) and Paint-ing partially merge to provide students with an intensive exploration of the two-dimensional domain, with the disciplines of graphics and painting. In each block, one of the disciplines is the subject of an extensive assignment. The same takes place in the three-dimensional domain, with the teams of lecturers from Interdis-ciplinary Attitudes and 3D. At the end of the third semester, students choose one of the four sections as a specialisation for graduation.

This structure creates the condi-tions that students need in order to work in small groups, as well as for the organ-isation of specific workshops, external

activities and guest lectures in the various sections. Within the sections, we create a climate in which the boundaries of the discipline are examined and transcended, thus building the foundation that enables interdisciplinarity.

In some cases, the process of development can make it necessary for a student to change sections. These stu-dents may change on their own initiative, with proper justification, or on the advice of their teams of lecturers.

Inspirational contacts between stu-dents of different sections are encour-aged, and numerous cross-sectional activities and projects take place during the course of the academic year.

The fourth year, the year of gradua-tion, is concluded with the final examina-tion, in which individual students prepare exhibitions and theses that demonstrate their qualifications to enter the profes-sional practice. Throughout the pro-gramme, students are reminded that the programme is a foundation on which they can further develop their personal artis-tic ambitions and abilities for their future professional practice.

The programme is aimed at creat-ing an understanding of the conditions under which this process occurs, and it stimulates the ambition to excel, thanks in part to the presence of a teaching staff consisting of artists with active interna-tional professional practices. The pro-gramme centres on the idea that artists are part of the national and international social mechanism, and that they have a function within this mechanism. In this context, artists define their significance by discovering, developing and expressing their own abilities and ambitions. Com-bined with their theoretical and practical positions, the reservoir of knowledge and skills from past and present artists plays a critical and inspirational role in this regard.

The curriculum and associated teaching methods are consequently strongly orientated to the world around us. The various teaching formats in the curriculum challenge students to discover and reveal their talents and ambitions. They do this in a continuous process of clarification, revision and renewal, with the perspective of a lifelong artistic practice and the prospect of building an oeuvre of international stature. Students who have successfully completed their studies with a final examination are capable of con-ducting independent artistic research on behalf of an authentic oeuvre. They are able to articulate their work in public sit-uations, and they are aware of the con-

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texts in which their art practices develop, whether in autonomous or in commis-sioned situations.

final qualifications for fine arts + Students create authentic work emerg-ing from their own artistic visions and contributing to the fulfilment of their personal ambition as artists (creative ability)

+ Students are able to consider, analyse, interpret and assess their own work and the work of others, and they are capable of considering their findings constructively in relation to their own work (capacity for critical reflection)

+ Students are able to develop the breadth and depth of their artistic prac-tices further in an ongoing process, thereby contributing to developments within their artistic disciplines (capacity for growth and innovation)

+ Students are able to establish and maintain an inspirational and functional working environment, and to organ-ise their research, work and practice (organisational ability)

+ Students are able to present and dis-cuss their artistic visions, research and work effectively (communicative ability)

+ Students are able to relate their artis-tic practice to both the artistic and the social context (external awareness)

+ Students are able to make independent contributions to collaborative products or processes (capacity for collabora-tion)

diplomaGraduates are awarded the Bachelor of Fine Arts (BFA) degree, which qualifies them to enter post-graduate programmes in the Netherlands or abroad.

Postgraduate studiesAfter completing their Bachelor degrees, graduates are eligible to enrol in a Mas-ter programme in design (MA Design) or art (MA Fine Arts), or in other Master pro-grammes at other art academies. Many of our graduates have continued their studies at internationally recognised insti-tutions or programmes including MAR (Master Artistic Research) at the KABK, the Frank Mohr Institute in Groningen, the Sandberg Institute in Amsterdam, the Post St Joost Fine Arts in Breda, the Piet Zwart Institute in Rotterdam and the Dutch Art Institute in Enschede, or in so-called ‘third phase’ programmes at the Rijksacademie or De Ateliers in Amster-dam and the Jan van Eijck Academy in Maastricht.

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

admissions procedureCandidates are first invited to an explora-tory interview, in which they can ask ques-tions about the programme and in which they are questioned about their own artis-tic ambitions and social and cultural ori-entation. After this interview, candidates who are deemed suitable to apply are invited to take an entrance examination.

Candidates failing in only certain aspects are given an additional assign-ment that will be assessed separately during the entrance examination. During this examination, candidates show a var-ied selection of their work (e.g. dummies, sketches, blueprints, digital files, movies and notes of ideas) to the admissions committee of the programme. The admis-sions committee consists of teachers and students.

specific admissionsrequirements

Candidates must fulfil the following requirements:

+ have a constant tendency to transform experience and imagination into two-dimensional and/or three-dimensional products (e.g. videos, DVDs) that testify to an early sense of artistry

+ have a developing grip on the formal issues related to the above

+ have the need to enter the public domain with these works

+ have a developing awareness of their artistic contexts

+ have an inquisitive, self-critical and ambitious attitude

2.2.3 study programme overview: full-time/part-time

The Fine Arts programme at the KABK is offered as either a full-time or a part-time course, both of which must be completed in four years. Applicants for the part-time programme in the 2015-2016 academic year will be accepted pending sufficient registrations for the first year.

After the propaedeutic year, stu-dents choose either the two-dimensional or the three-dimensional domain for the third semester. For the fourth semester, students must select one of the four sec-tions.

In the part-time programme, stu-dents choose between the two-dimen-sional and the Interdisciplinary Attitude

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domains after the third semester. The var-ious sections are represented in these two domains.

Teachers provide advice and guid-ance to students with regard to their choices. The four-year programme is characterised by a strong and continu-ous line of learning. This means that most of the teachers for the propaedeutic year also teach in the main phase, adapting their courses to the study programmes of the higher years. This allows students to make informed choices at the end of the propaedeutic year. (Part-time students choose between the two-dimensional and three-dimensional domains in the fourth semester.) During the course of the study programme, there are several points at which students can transfer to different sections, if doing so would enhance the development of their specific talents.

Propaedeutic yearThe propaedeutic year consists of a study programme of 60 EC. During this year, the development of talent is linked to an orientation to the main phase, the artis-tic practice of individual students and the evaluation of their suitability for the pro-gramme. The propaedeutic year includes elements featuring all disciplines of the main phase, in addition to the courses General Art History and Field Orientation. These courses confront the students with the very lively art practice through visits to studios, galleries and museums. The courses and credits are listed below.

main PhaseDuring the main phase, the curricu-lum is arranged as a foreshadowing of professional practice. Students work in their studios on numerous assignments designed to help them learn how to cre-ate a production flow of visual works, how to investigate the works for weaknesses and strengths and how to publicise their work in the artistic and social contexts in which they operate, while learning what the business and professional aspects of an artistic practice entail. The descrip-tion of the main phase and courses can differ for the full-time and part-time pro-grammes, due to differences in structure.

The last two semesters of the main phase form the graduation year. It is con-cluded with the final examination, in which students are expected to demonstrate that they meet the qualifications neces-sary to become professional artists by presenting a coherent set of authentic works in a convincing way, in addition to preparing a thesis. Although the work

must speak for itself, students are also expected to talk about their work and the-ses during their presentations. In the con-versations that follow, they are questioned about their motivations, manner of exhibi-tion and ambitions for the future.

Graduation candidates from all sec-tions organise a pre-examination exhibi-tion at the end of the seventh semester, in which they are responsible for handling any problems associated with making a group and individual exhibitions. The pre-examination exhibition takes place out-side of the Academy at a location chosen by the students.

The main phase consists of three academic years, or six semesters. For courses and distribution of credit points, see the overview below.

2.2.4 educational and professional goals

The programme is described according to four partly overlapping areas of com-petence:

+ the Artistic domain + the Theoretical domain + the Professional social domain + Individual Study Track (IST)

artistic domainIn the artistic technical domain, students concentrate primarily on developing their creative ability and the capacity for critical reflection. These abilities or competencies are considered the most characteristic and important for students graduating in fine arts education. All art and design courses develop the students’ abilities in this domain.

theoretical domainCreating art and designing is intellectual and investigative work. Art and design are evaluated according to artistic objectives for their relevance to national and inter-national standards of professional prac-tice. This implies that artists and design-ers need to possess adequate theoretical knowledge of the field.

Professional domainThis field touches upon most of the com-petencies or abilities addressed within the programme: capacity for critical reflec-tion, capacity for growth and innovation, organisational ability, external awareness and capacity for collaboration.

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individual study track (ist)The Individual Study Track (only for full-time students) is a one-day weekly pro-gramme in which students develop their own highly individualised programmes. Anything is possible in this programme, as long as it is related to their own artistic research. The IST Officer is responsible for IST-related tutoring and communica-tion. All competencies are addressed.

Propaedeutic yearThe competencies of the propaedeutic year are activated by the courses offered, as well as within the framework of the orientation, selection and referencing phases of the programme (see Descrip-tion of Study Programme).

The ability to create is encouraged in all practical courses through assign-ments in the two-dimensional, three-dimensional, lens-related and digital spec-trums of the visual arts. The same applies to the capacity for critical reflection and the capacity for innovation and growth, given that the results of the assignments are analysed by both teachers and stu-dents according to their formal and sub-stantive qualities. The results of these analyses are used to develop new assign-ments.

The organisational ability of stu-dents is activated as they learn to organ-ise the formal problems that occur when connecting content to form and it is inex-tricably linked to the process of creating. Students begin by creating something, followed by critical reflection and assign-ments for new work, which provides an incentive to review the production proc-ess and adjust its formal aspects.

The theoretical aspects of organ-ising are discussed in the course Field Orientation, an intensive programme in which students are confronted with pro-fessional practice and its organisational aspects. In the second semester, stu-dents learn to document their develop-ment in the form of a portfolio.

Students also participate in an Inau-guration Programme and maintain files in which they keep track of and comment on their developments.

The Inauguration Programme is a cycle of exhibitions at various locations in the Academy, in which students are introduced to all aspects of making solo or group exhibitions: setting up, designing invitations, opening the show, document-ing public discussions, cleaning. Their communicative ability is developed in all situations that force students to present and explain their own work or that of oth-

ers: in the Inauguration Programme, in the reports that they write for the course in Art Orientation and during the presenta-tion for the course in General Art History. The external awareness of students is developed through the course in Field, as well as during excursions (e.g. the annual trips to Berlin, the Venice Biennale and Documenta).

The General Art History course sheds light on the principles and factors that have shaped art and culture from the early days until Romanticism. During the propaedeutic year, students develop their capacity for collaboration by organ-ising presentations for evaluations and progress meetings together with their peers, through joint ventures during the Open Day and by making group propos-als for the Academy-wide project week.

The didactic climate further encour-ages students to learn from each other’s insights, ideas and problems.

artistic domainThe general visual development in the propaedeutic year focuses on the acqui-sition of skills associated with various aspects of working in 2D through three courses in Drawing. Drawing 1 covers observational drawing, in which eye-hand coordination is practiced in such aspects as shape, size, plasticity, tonality, colour, line, composition and materiality. Drawing 2 addresses observational drawing based on the imagination. Drawing 3 approaches drawing as a tool for research, idea devel-opment and processing. The courses in Painting and Graphics cover watercol-our, oil and graphic techniques. The Spa-tial course encompasses all aspects of working with and in space, in the material sense, as well as in the immaterial sense. In the Optics course, the lens is used as a search tool that is able to collect personal topics and themes. The skills of cinematic expression are taught starting from the camera obscura, the analogue and the digital camera, to the video camera and digital imaging.

idea developmentIdea development is understood as the organisation of a systematic process in which an inspiring idea is revealed and gradually conceptualised through theo-retical and practical means. The process starts with the visualisation of an inhib-ited idea. The idea is then captured in sketches, followed by models, designs and drafts. Finally, a suitable context for the idea is researched. The course in Meaning plays a central role in this proc-

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ess, supported by the Drawing 3 course.One session of the second semester is reserved for the ‘free space’, which antici-pates the Individual Study Track in the main phase.

The first year has no supporting courses, other than the film programme, which can be seen as an annex to the General Art History course. The film pro-gramme PLAY/TIME presents monthly screenings of film history classics, each accompanied by an introduction.

theoretical domainThe General Art History course covers developments in art and architecture from the early days to Romanticism, based on A World History of Art by Honour and Flem-ing and various articles. Each semester is concluded with an examination, and students are given writing assignments, in addition to giving presentations at least once a year. In the first semester of the second year, students go on excursion to Berlin. Preparation for this excursion includes attending a lecture series on the cultural state of the city in relation to his-torical, political, social and geographical factors. This cycle is concluded with an examination. The excursion includes visits to institutions of classical and modern art, artists’ studios, theatres and architectural points of interest.

In the Field Orientation course, stu-dents investigate the tension between artistic ambitions and the ways in which these ambitions can function in the pub-lic domain by visiting places where this tension is generated and/or expressed. Examples include studios, artists’ initia-tives, galleries and museums. Conver-sations and interviews are part of these visits, and students document their find-ings in reports.

Professional domainThe career preparation in the propaedeu-tic year is taught in the Field Orientation course, as described above. Students gain additional experience by participat-ing in the Inauguration Programme, by designing a trophy in a simulated pro-fessional assignment, by organising the assessment and progress meeting pres-entations and by assisting graduates with the organisation of the pre-examination exhibition and the graduation show. After the first semester assessments, each stu-dent completes a one-week internship in an art-related situation or institution. Descriptions of the various courses are available in separate dossiers.

main Phase/year 2Section profiles

Section: PaintingThe disciplinary domain is defined by all conceivable forms of painting and draw-ing, and amalgamations thereof. The best-known examples are the techniques involving gouache, watercolour, oils, acryl-ics and tempera. Nevertheless, where the transfer of images is largely determined by colour, numerous other new means of expression occur in this domain as well, including photography, animation, cinematic projections and digital media.

Section: Reproduction & Distribution

This disciplinary domain is defined by all conceivable graphic techniques, including etching, lithography, woodcut, mezzotint, silkscreen and offset printing, and pho-tographic and digital techniques. Work-ing with various graphic techniques cre-ates the possibility of printing numerous copies of a work. An interesting option is then to create a unique work from the copies. Another possibility is to produce books, posters and artworks, to be pub-lished periodically through traditional or digital means.

Section: Interdisciplinary AttitudesThe Interdisciplinary Attitudes section is characterised by the absence of any disciplinary concentration or limitation. Students and teachers unite in an artis-tic ambition. By gradually revealing this ambition, the most suitable discipline or combination of disciplines is determined. Social structures provide material for research and productions. This section results in theatrical productions, video installations and photographic works, as well as in drawings and/or paintings.

Section: 3DThe disciplinary climate of the 3D sec-tion is established in the second year. In this section, the classical sculpture is problematised in the ‘Large Model’ project, and the significance of space and three-dimensionality is researched in all its facets. This confronts students with the scope of contemporary ideas of sculp-ture and space. Students are guided by research, assignments (some in the pub-lic domain) and presentations. In the past, this process has led students to create sculptures in the traditional sense of the word, architecture or proposals to that end, and video installations and photo-graphic works.

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Students control a significant part of their own study material by creating works and reflecting on them. The pri-mary learning objective for the second year is therefore to start and maintain an ongoing production of experimental and investigative visual products. The second year competencies are related to achiev-ing this objective.

The sections described above are imbedded into the part-time programme in two modular directions: 2D and Inter-disciplinary Attitudes. The 2D module includes painting and free graphics, and the Interdisciplinary Attitudes module also includes the 3D section described above. Differences may occur between full-time and part-time study programmes.

competencies for year 2Students are expected to master the fol-lowing competencies during this phase of the programme:

+ Creative ability: Students are able to initiate and maintain the production of a wide and diverse selection of inves-tigative visual works.

+ Capacity for critical reflection: Students are able to reflect on their own work and that of others, and they are able to evaluate its quality and effectiveness.

+ Capacity for growth and innovation: Stu-dents are able to use newly acquired knowledge, skills and insights, as well as the criticism of others to advance the development of their work.

+ Organisational ability: Students are able to create ideal work environments that advance and enhance the production of and reflection on their work.

+ Communicative ability: Students are able to discuss and explain their work and its production process through oral and visual presentations.

+ External awareness: Students are able to research artistic and social settings in order to intensify their production of visual work and the reflection process.

+ Capacity for collaboration: Students are capable of collaborating with fellow stu-dents and/or external parties, employ-ing the experiences gained through these collaborations to progress and intensify their production and research process.

These competencies are applicable to all sections. Although the competencies are developed within the different disciplinary frameworks, they are active for the entire department in the Content/Form, Proc-ess/Research, Transferring and Theory courses.

Creative ability, the capacity for critical reflection and the capacity for growth and innovation are developed in the Content/Form and Process/Research courses, in which the constant flow of images is used as a study of the various aspects of the formation of meaning in an image, to investigate the articulation of size and space, to determine weak-nesses and strengths in form and con-tent, and to analyse the consequences resulting from these aspects, in relation to the use of different media and disci-plines. The theoretical component of the Process/Research course stimulates the search for a suitable context as a fac-tor of growth and innovation. Students also develop organisational ability in the Process/Research course, in which the source materials and work plan function as documentation. Communicative abil-ity and external awareness are part of the courses in Content/Form and Process/Research, although they feature most prominently in the Transference and The-ory courses. These courses emphasise these skills in the making of exhibitions, as well as in exercises in verbal and writ-ten communication about the students’ own work and that of others. The courses also reveal historical and contemporary artistic contexts and factors that have a formative influence on these contexts. The students’ capacity for collaboration is stimulated by the fact that the students work together with their peers in a large studio space, organise internal and exter-nal projects and exhibitions, and prepare a time and space planning for the evalu-ations and progress meetings.

artistic domain

General visual developmentGeneral visual development in the sec-ond year manifests itself in four distinc-tive sections within the field of study, as well as in relation to the most important objective of the second year: the creation of a flow of images that is employed for numerous analytical and reflective inter-ventions.

In the Painting section, students paint and draw in all conceivable media, and various workshops are organised (e.g. a tempera workshop and a Pho-toshop course).

In Reproduction & Distribution, stu-dents are introduced to all graphic tech-niques, photography and animation. A bookbinding workshop provides students with the skills that they need to create a publication.

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As implied by the title of the course, Interdisciplinary Attitudes offers an inter-disciplinary environment, also in addi-tion to workshops in the fields of theatre, sound and various sensory fields.

In 3D, students research materiality, structure, design and meaning, as well as spatial quality and status. They cre-ate images and objects in all available materials, with primary emphasis on the ‘Large Model’, in which students work on a sculpture based on a live model dur-ing the course of the year. This process includes all stages involved in producing a ‘classical’ sculpture. A bronze-casting workshop is organised as well.

Idea developmentDefined in the propaedeutic year, idea development is also addressed in this year, focusing on helping students to gain control of their flow of images in order to steer it in a recognisable thematic direc-tion. Idea development is covered in all practical courses, as students search for their themes in all elements of the cur-riculum. In the Process/Research course, students organise a functional work envi-ronment, in order to create an effective foundation for increasing the depth and breadth of their research into their themes and/or artistic ambition.

In addition, the department-wide Artistic Research course enables stu-dents to apply concepts of process and research, along with methods of materi-alisation, to their own research based on personal ideas and visual development.

Supporting coursesSupporting courses are available in the form of various Academy-wide introduc-tory courses:

+ electives and minors in collaboration with Leiden University

+ optional activities within the framework of the Studium Generale and ’t Hart

+ the film programme + guest lecturers contributing specifically to internal and external projects

theoretical domainEven though all practical courses include theoretical components (e.g. exhibition theory in the Transference course; the addressing of metaphors, symbolism, style and stylisation in the Content/Form course; and the theoretical component in the Process/Research course), the Theory course continues to provide the most important foundation for theoretical knowledge and intellectual skills. The the-

ory programme for the entire department is structured as follows: students gain knowledge of art history from Romanti-cism to the present by attending lectures, by taking day trips to exhibitions and by having group discussions in relation to a topic prepared by a fellow student. Stu-dents maintain a sourcebook with inspir-ing texts and images, writing a paper each semester on a self-chosen topic from the field of art, in addition to a statement about their own work, including such aspects as motivation, inspiration and relationships with other artists.

Professional domainCareer preparation is structured in two parts. The first part is integrated. For example, aspects of professional prac-tice are discussed during in-class group conversations. This also takes place in other classes when necessary and use-ful, according to the situations in the stu-dents’ studios. The second part of the preparation is programmed. The follow-ing overview of this part is based on the programmes of previous years. Collabo-ration with external partners in the field is an important element of the programmed part. Some of these collaborations take place each year, while others vary from one year to the next.

The following elements are offered throughout the department: the Rhetor-ics course, the Inauguration Programme, presentations in project spaces, studio visits, and incidental internships with pro-fessional visual artists as part of the Indi-vidual Study Track.

The department collaborates on projects, varying by section and study, with a variety of partners:

+ Nest + The Hague Committee Room + Municipality of The Hague + Filmhuis, The Hague + Diligentia, The Hague + Tent, Rotterdam + Stroom, The Hague + Council for Culture

Second-year students of all sections pre-pare group exhibitions as a prelude to the exhibitions in the third year.

main Phase/year 3Upon completion of the second year, stu-dents have reaped a rich harvest of formal and substantive questions. In the third year, these questions are employed in all sections for the purpose of researching their interrelationships.

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competencies for year 3Students are expected to master the fol-lowing competencies during this phase of the programme.

+ Creative ability: Students are able to create thematic and formal coherence in the continuous production of visual works.

+ Capacity for critical reflection: Students are able to pinpoint weaknesses and potential strengths in the process towards thematic and formal coher-ence.

+ Capacity for growth and innovation: Students are able to realise continuous development in their artistic ambitions by focusing on coherence in their work.

+ Organisational ability: Students are able to organise their work and research processes to achieve optimal advance-ment in the revelation of thematic and formal coherence.

+ Communicative ability: Students are able to discuss and explain the coher-ence in their work through oral and vis-ual presentations.

+ External awareness: Students increas-ingly position themselves in relation to artistic and social settings, thus inten-sifying their research into thematic and formal coherence.

+ Capacity for collaboration: Students are capable of collaborating with their fel-low students and/or external parties, employing the experiences gained through these collaborations in order to advance their research into thematic and formal coherence.

The students’ creative ability, capacity for critical reflection and capacity for growth and innovation are further developed in the Content/Form course and in the prac-tical and theoretical components of the Process/Research course. Organisational ability is developed in several compo-nents, including the practical component of the Process/Research course. Com-municative ability and external awareness are developed in the Transference and Theory courses. The students’ capacity for collaboration is stimulated in a man-ner similar to that described above in the second-year competencies. This is accomplished in the Transference course through several internal and external pres-entations and exhibitions.

artistic domain

General visual developmentThe description of general visual devel-opment in the second year applies to the third year as well, with the difference that all works produced are oriented towards the research into the coherence of artis-tic production. Central to this research is the continuing revelation of the students’ personal artistic abilities and ambitions. All practical courses contribute to this endeavour, including the Theory course, in which students further develop their insight and understanding of their own situations by relating them to inspiring and critical contexts.

Idea developmentThe description of idea development in the second year also applies equally to the third year, but with the addition of ele-ments relating to the central objective of this study phase. The concept devel-opment in the third year thus focuses on structuring all formal and substan-tive questions that arise in the search for coherence, and unveiling authentic artistic practice. The Process/Research course plays the most important role in this development.

Supporting coursesSpecific courses and workshops within the framework of the career preparation are described in the professional social domain below. The other possibilities for supporting courses are described under ‘Supporting courses’ in the section on Year 2.

theoretical domainIn the third year, students are intensively confronted with various philosophical, aesthetic and social models of think-ing. The teaching material consists of the book De Donkere Spiegel (The Dark Mirror) by Frank Vandeveire and a wide range of art historical literature, maga-zines and newspapers. Students learn to identify artistic problems, concepts and principles, while acquiring a grasp of the theoretical issues present in their work.

Each semester, students write state-ments about their own work, in addition to research papers. The topic of the first paper is an art movement in relation to social development, while the second focuses on the question ‘What is art?’ At least once a year, each student gives a presentation on a theoretical topic. At the end of the academic year, students deter-mine their thesis subjects. For further

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information about the theoretical domain in Year 3, please refer to the description of Year 2.

Professional domainThe activities described for the second year apply to the third year as well. In addition, projects and collaborations are organised each year especially for third-year students. These activities are specifi-cally related to their stage of development.

Students in all sections participate in the Documentation Workshop, which consists of several sessions distributed throughout the academic year. In this workshop, students learn to:

+ document work for presentations and/or grant or subsidy applications

+ compile and present a portfolio + give verbal presentations + write texts for presentations, grant or subsidy applications, job assignments and post-graduate studies

Students also take Finance and Busi-ness Plan courses, and they participate in a Grant/Subsidy Application Writing workshop and a workshop on present-ing. Students in each section collaborate to organise an exhibition. The projects with external partners, as mentioned in the description of the second year, are employed in the third year in relation to the students’ stage of development.

main Phase + graduation yearIn the final phase, the learning objective is the full development of the personal sig-nature in content and form, as revealed in the third year. All aspects of the research process, including the process-based structure in which it takes place, is tailored to the unique convergence of content and form. These aspects are addressed in the courses in Process/Research and Con-tent/Form. Furthermore, students master the practical and theoretical aspects of making their work public in the Transfer-ence course, in addition to learning about the financial/administrative side of being an artist. The competencies for this phase are related to this learning objective.

competencies for the final yearThe competencies of the final phase cor-respond to the final qualifications of the programme:

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

personal ambitions to become artists. + Capacity for critical reflection: Stu-dents are able to analyse, interpret and assess their own work and that of oth-ers, and they can apply the ensuing outcomes to benefit their own work.

+ Capacity for growth and innovation: Students continuously develop their art practice in both depth and intensity, thereby contributing to developments in visual art.

+ Organisational ability: Students are able to create and maintain their own inspiring and functional work environ-ments, and they are able to organise all aspects of their research and pro-duction processes.

+ Communicative ability: Students are able to present and explain their artis-tic visions and work.

+ External awareness: Students are able to relate their own art practice to the practice of artists in the past and present, drawing connections between different public and social contexts.

+ Capacity for collaboration: Students are able to make independent artistic con-tributions to collaborative products or processes.

artistic domain

General visual developmentAll painted, graphic, sculptural and other disciplinary works are employed in order to sharpen the merging of form and con-tent. This represents a process of refine-ment in the already acquired visual idiom, to which the practice courses and the Theory course contribute. The Theory course addresses inspiring and refining contexts through the theory lessons, in which students are encouraged to per-sonalise their work further.

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

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

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activities. These activities are described in the section on the professional social domain.

Theoretical domainIn the final phase of the programme, the Theory course focuses primarily on the writing of the thesis, the subject of which was decided by the student at the end of the third year. The thesis is a report of the student’s comprehensive investigation conducted within the framework of the student’s work. It should show the stu-dent’s ability for reflection, an extensive understanding of the history of art and insight into the context of the student’s own work. The theses are discussed in groups during the first semester, and they are supervised individually during the sec-ond semester. The minimum length for a thesis is 25 pages of typed text, exclud-ing images. The sourcebook is again a means of inventory, inspiration and doc-umentation that is directly related to the student’s stage of development.

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

+ Post-Graduate Studies Day: At this event, Dutch institutions that offer post-graduate studies give presentations, and international Master programmes are discussed. Third-year students are welcome to attend, as long as it does not interfere with their schedules.

+ Day of the Future: This event consists of lectures on the local cultural policies (Stroom), presentations by the Fonds voor de Kunst (Fund for the Arts), lec-tures by various gallery owners and artists’ initiatives, presentations by the Chamber of Commerce, and talks by alumni from different years about their experiences after graduation.

+ Pre-examination exhibition: This exhi-bition, which is organised by students, takes place outside of the KABK build-ing. It also includes a publication.

+ Portfolio/networking day: At this event, artists’ initiatives, galleries and curators present themselves and view/evaluate students’ portfolios.

+ Graduation show: The final show is the masterpiece (in all respects) of the newly launched professional practice.

Graduating part-time students are able to use studio space at the Academy dur-ing their final two semesters. Other part-time students follow the programme by attending classes or through individual talks. Part-time students may also attend guest lectures, workshops and lectures that are scheduled during the day.

2.2.5 organisation of the department *

The head of department is responsible for the department’s policy and all aspects related to this policy. The team of lectur-ers reflects the content of the programme and its professional structure.

All of the teachers have their own professional practices. Because of the diversity in experience and expertise, students are confronted with numerous aspects of and approaches to the dis-cipline. Guest lectures are organised to provide specific knowledge of the profes-sional field.

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

coordinator full-time course + Martijn Verhoeven

head of part-time course + Ernst Bergmans

coordinators part-time course + Willem Goedegebuure + Onno Schilstra

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

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

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

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

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

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competencies

propaedeutic Year main phase, Year 2

creative ability

capacity for critical reflection

capacity for growth and innovation

organisational ability

communicative ability

environmental orientation

capacity for collaboration

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

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

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

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

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

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

You are capable of organ-ising internal and external factors in order to create an effective and inspiring research and working proc-ess.

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

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

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

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

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

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

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

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Main Phase, Year 3 Main Phase, Year 4

Creative ability

Capacity for critical reflection

Capacity for growth and innovation

Organisational ability

Communicative ability

Environmental orientation

Capacity for collaboration

You are capable of applying thematic and formal coher-ence to the continuing pro-duction of visual objects.

You create authentic work that emerges from your own research and personal artis-tic vision and which contrib-utes to the achievement of your personal ambitions as an artist.

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

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

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

Through a continuous proc-ess of research you are able to further develop your artis-tic practice in terms of both breadth and depth, thereby contributing to your disci-pline.

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

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

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

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

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

You are able to relate your own artistic practice to the wider artistic and social con-text.

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

You are able to make inde-pendent artistic contribu-tions to collaborative prod-ucts or processes.

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credit points overview

Drawing 1, Drawing 2 (*)3 3

Conceptualization3 3

Space3 3

Studium Generale (***)1 1

Free Space2

Optics3 3

Graphics3 3

Painting3 3

Main Phase PAI/R&D/AUT/3D12 12 12 12 12

Programmed professional preparation (**) 3 3 3 3 3

Integrated professional preparation3 3 3 3 3

ABPPW1

Final examination18

Orientation to professional field5

One week internship2

General Art History2 2

Excursion to Berlin2

Theory6 6 6 6 6

Research and Discourse3 3

Thesis6

IST6 6 6 6 6 6

Total29 31 30 30 30 30 30 30

total29 31 30 30 30 30 30 30

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

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

1

2 3 4 5 6 7 81

2 43Year

Semester

Fine Arts full-time

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Drawing5 5 4

Spatial I4 5

Spatial II4

Photography3 3

Image Development/Art Orientation4 4

Painting4 4 5

Orientation 2D/Autonomous2

Main Phase 2D/Autonomous12 12 12 12

Programmed professional preparation (incl. presentations) 2 4 4 4 4

Integrated professional preparation 2 4 4 4 3

Presentation Collective assessment5 5 5 5 5 5 5

Final exam projects 24

Art History5 5

Docking Station5 6

Research & Discourse5

Philosophy and Research5 5

Final Thesis6

total30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

Fine Arts part-time

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2.3

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2.3 graphic design

2.3.1 general description of the discipline

Graphic designers are investigative researchers. They look critically at their profession and the world, and they reflect on change. By continuously asking ques-tions, they discover where information is hidden, determine the form in which it should be presented and decide how it can be made accessible. In doing so, the profession of the graphic designer is strongly related to visual arts, science, journalism and other creative disciplines.

Graphic designers work on com-mission, in addition to initiating their own projects. They work with provided infor-mation, but also acquire it themselves. In the latter case, they are no longer simply designers, but take on the roles of initia-tor, editor, project manager and publisher as well. The profession places strong emphasis on the research and develop-ment of concepts that form the founda-tion of information transfer.

Designing is a combination of imag-ining, engineering and inventing. For example, the design of a website is more than the actual website; it is the process of envisioning what the website will poten-tially look like and implementing how it will finally work. The increasing availability of technological means of production (e.g. user-friendly software and affordable high-quality printers) has allowed designers to control the production process, thus reducing the gap between design and product.

In everyday work, the designers have virtually infinite ways of expressing ideas at their disposal: sketching with a pencil, composing text with a design pro-gramme, drawing patterns in sand, experi-menting with different materials, coding on a computer, visualising data, organ-ising photographs and many more. The products they create are equally diverse: websites, apps, games, books, maga-zines, newspapers, spatial experiences, stationery, flyers, publicity campaigns, signage, typefaces, logos, flags, fashion items, packaging, money, and so much more. When images prove insufficient to tackle the addressed design prob-lem, graphic designers will go beyond visual communication and involve sound, texture, and even smell and taste. As with many other domains, the power of graphic design grows when combined with of other disciplines, for example fine arts, architecture, film or theatre, but also

mathematics, biology or social sciences. Their vocabulary, imagery and signatures transcend the media in which they work.

What, then, is the discipline of graphic design exactly? To keep it simple, we define graphic design as the process of developing and giving form to commu-nication concepts by arranging, adapting and visualising the available information.

The connotation with printed mat-ter, as explicitly reflected in the name of the discipline, is a relic of the pre-digital era: the label no longer fully represents the content. For this reason, some now refer to the discipline as ‘visual commu-nication’ or ‘visual design’.

Graphic designers practise their profession in numerous ways. Some work alone, while others work for small studios and bureaus. Some of these ini-tiatives have been established as coop-erative efforts or collaborative ventures of independent designers, while others began as small businesses with staff and a leading designer. At the other end of the spectrum are large firms with many employees. These firms focus prima-rily on strategic communication and the development of identities and campaigns. Whereas individuals and small bureaus often specialise, large firms cover almost the entire field. In addition, many compa-nies (e.g. marketing firms, media corpora-tions and multinationals) have in-house graphic designers. The commission-ing parties vary just as greatly, ranging from individuals to large-scale corpora-tions, from cultural institutions to minis-tries, from shop owners to broadcasting houses. In summary, the discipline of graphic design includes everything that takes place with regard to graphic design and everyone who plays a part in it.

current state of the disciplineWhat takes place within the discipline? Many of the current developments in graphic design are connected to three comprehensive themes: information, technology and the globalisation of society.

It is impossible to escape from infor-mation in our contemporary information society. Over the last few decades, the amount of information and the speed with which it is disseminated has increased enormously. This has had major con-sequences for graphic designers. The abundance of information is often not recognised as a problem, and designers are increasingly becoming responsible for finding solutions to communication problems. Contrary to the promises of the

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contemporary template culture (in which everything is pre-designed by software) the need to structure information is grow-ing rapidly together with the increasing amount of content that is created. In fact, contemporary designers do not simply apply the design tools anymore, but rather develop them. The world needs to real-ise that computers never create value on their own; only humans can do that. Any piece of software is a result of a thought process that happened at the time of its implementation, in the brain of its maker.

If one conclusion can be drawn from this, it is that graphic designers can-not avoid reflecting on their role in the contemporary information society. One of the main questions they ask themselves is of a moral character: Do I wish to con-tribute to the dissemination of informa-tion, or are there limits to what I will send out into the world?

Graphic design is founded on tech-nique and technology. The message is inextricably linked to the medium, as reflected in the history of graphic design. For a long time, the profession was con-nected to the art of printing, which gradu-ally reinvented itself over time. The dig-ital revolution led the profession into the fast-paced world of bits and chips. It is difficult to imagine that only 25 years ago, designers did not use computers, and hardly any designer designed for the computer. Although paper will not disap-pear completely, almost all information will eventually reach us through digital systems. Graphic designers must there-fore be knowledgeable about techno-logical possibilities, and they should ide-ally be able to work with the technology. In addition, they must understand how technology transforms relationships and practices. Technology enables interac-tion, thus encouraging meaningful input from the public.

These new developments provoke exciting reactions. Young designers seek hidden treasures from the analogue era and take on the challenges of the dig-ital age. They research the concept of manual labour in contemporary society, as well as the ways in which automated processes influence design results. They give new life to vintage design traditions, while inventing new applications for exist-ing technologies.

Social ideals were once a driving force behind the emergence of graphic design. Designers desired better liv-ing conditions for all. Particularly in the period between the two World Wars, this social commitment was strong. At that

time, the Royal Academy of Art (KABK) in The Hague was a bastion of progressive modernists. Today’s designers resemble their colleagues from the past, in that they are fully engaged with the world, although the conditions are different. Whereas the socialists in the 1930s advocated the international, internationalisation is cur-rently very much underway, and it is no longer the concern of pioneering design-ers. In today’s global society, everyone is in touch with everyone. This has far-reach-ing consequences for graphic designers. A design does not simply remain in the Netherlands; it travels into the world, espe-cially through internet. Designers must know the codes of the new international visual culture that has emerged. At the same time, we want them to use their own codes.

Being an investigative researcher means looking critically at the world and becoming an active participant in it. This can take many forms. For example, when designers distance themselves from the deceptive rhetoric of the commercial field. Or when they become advocates for a humane information society, in which people are not crushed by a torrent of superficial images. Ultimately, graphic design at the KABK could be called ‘involved design’ since it proposes new models of social intervention.

In the daily work of the department, this social engagement is being practised through close cooperation with many dis-tinguished entities, including not only cul-tural organisations such as Stroom (Cen-tre for Visual Arts and Architecture), Open (Platform for Art, Culture & the Public Domain), De Affiche Galerij, but also gov-ernmental institutions like the Supreme Court of the Netherlands, the Ministry of Finance and the Court of Audit.

2.3.2 study Profile

Professional objectivesGraphic designers are increasingly work-ing on the boundaries of the discipline. The department therefore strives to arrive at a broad definition of the discipline and to encourage students to explore those boundaries, crossing them when nec-essary.

In general, the design process can be divided into four major phases: col-lecting, examining, visualising and pub-lishing information.

This methodology enables design-ers to appropriate the following attitudes and skills:

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+ developing concepts for the transfer and exchange of information, shaping them with the use of image, typography and other means

+ examining, organising, editing, visualis-ing and managing information

+ working on commission and/or initiat-ing projects

+ identifying socio-political problems and making statements about the profes-sion and the world

+ triggering new developments in the dis-cipline or advancing existing develop-ments

+ in addition to meeting the needs of user and/or clients with their work develop-ing and adding depth to their personal visions and work

+ and, above all, questioning the world and taking nothing for granted

description of the study programme

The Graphic Design department educates students to become critical thinkers and versatile practitioners who develop out-standing concepts for visual communi-cation. Ideal graduates are investigative designers who are fully aware of current affairs, choose their media wisely and master both traditional and new media. Graduates excel in their professional careers through their extraordinary con-ceptual and visual abilities, extensive knowledge of the profession and the world, strong technological curiosity and highly developed social engagement.

The department offers an exten-sive curriculum. The programme is built around four main courses: Design, Inter-action, Image and Typography. The excel-lent quality in the field of typeface design and typography distinguishes the pro-gramme from other graphic design stud-ies. The type design education starts in the first year, in combination with typog-raphy. In the second year, students can choose to pursue this topic in the Letter-studio elective. The electives Playlab and Design Office are equally unique. Playlab is fully dedicated to avant-garde research, while Design Office focuses, with its exter-nal assignments for real clients, on the practical aspects of the discipline. Fur-thermore, these courses are backed up by additional theory and coding classes. Each year, the department uses the strong content of the programme and the composition of the teaching staff to achieve actuality, versatility, depth and interaction between theory and practice.

Students work towards general or specialised graduation profiles. The social

dimension of the programme is reflected in the assignments, projects and teaching philosophy. A pioneering and question-ing attitude prevails in relation to the dis-cipline. On top of that, the department is well known internationally and the study environment is remarkably international, with foreign students, guest lecturers, field trips and collaborations with academies abroad.

As described above, we regard the notions of image, interaction and pro-gramming as important points of inter-est in contemporary design, and they therefore occupy a prominent place in the programme.

final qualifications for graphic design

The final qualifications have been sum-marised in seven competencies. The KABK has established these competen-cies according to the national final qualifi-cations for Graphic Design programmes. The competencies can be found at the end of this chapter.

diplomaGraduates are awarded the Bachelor of Design (BDes) degree, which qualifies them to enter postgraduate programmes in the Netherlands or abroad.

Postgraduate studiesAfter completing their Bachelor’s degrees, graduates may enrol in a Master pro-gramme in design (MA Design) or art (MA Fine Arts), or in other Master programmes at other art academies. In addition to our own Master programme in Type and Media, graduates have gone on to pur-sue Master’s degrees at many renowned institutions, including the Royal College in London, the Yale School of Art in New Haven, ECAL – Ecole cantonale d’art de Lausanne, the Typography Workshop at ArtEZ in Arnhem, the Sandberg Institute in Amsterdam and the University of Leiden.

2.3.3 study programme overview

The Graphic Design programme is offered in a full-time and a part-time variant. The structure of the two programmes is simi-lar in content. Both programmes have a curriculum focusing on three domains of knowledge and ability: an artistic domain, a theoretical domain and a pro-fessional-social domain. In some cases, the domains are directly recognisable in the courses (e.g. theory and profes-sional preparation). Other courses focus

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on more than one domain. For example, Design and Typography both have an artistic and a theoretical dimension, which are inextricably linked together.

artistic technical domainThe four pillars of the programme (Design, Interaction, Image and Typography) are of a conceptual nature. Design centres on the examination, organisation, editing and visualisation of information and con-trolling processes of information trans-fer. As the name implies, the discipline of Interaction focuses on interactive proc-esses designed for new media and other contexts. Image focuses on the creation, editing, deployment and organisation of images and the creation of concepts in which images play a role. The visual form of texts plays the central role in Typogra-phy, both independently and in relation to image. In Coding classes, students gain basic knowledge in programming and technical competences. They are intro-duced to the characteristics of algorithms, functions and loops and the possibilities for applying them in the design process.

At the beginning of the second year, the notion of ‘courses’ is gradually aban-doned, and supervision in the comple-tion of assignments in various speciali-sations becomes more important. From this point on, there is a strong relationship with the professional social domain. In the second and third year, students choose between two electives at the beginning of each year. In the Letterstudio, letters are researched in relation to typography. Play-lab includes an experimental research programme that searches for the bound-aries of the discipline. The Design Office was created as a studio in which students work in teams on special assignments for actual clients, often in the cultural field.

theoretical domainThe department’s theoretical programme establishes an exchange between the stu-dent’s work and the acquisition of knowl-edge and understanding of the current graphic design within its artistic, his-torical and social context. The first year focuses on contemporary graphic design as a significant part of visual culture and new media. The second year is devoted to theory in the history of design. Philos-ophy is the focal point of the third year, with attention to the relationship between graphic design and social issues. In the fourth year, the theory teacher provides guidance to students as they write their theses, which are linked to their gradua-tion projects.

One important goal of the theory programme is to teach students to posi-tion themselves in relation to the work of others, to form opinions and to admit when personal feelings and taste are involved.

The Reading Group forms another part of the domain. It is organised once a year with the goal of engaging students intellectually with challenging texts. The topics discussed cover everything from design and media theory to anthropol-ogy and ethics.

In addition to the theoretical pro-gramme offered by the department, stu-dents take Academy-wide courses in art theory and academic skills, and they can participate in the Academy’s Stu-dium Generale. Students may also take courses in other departments or at Lei-den University, within the framework of the Individual Study Track (IST).

Professional social domainWhat is the social significance of graphic design? What are your ambitions as a graphic designer in society? What do you need to do in order to achieve it? These questions are discussed throughout the programme, with the goal of preparing students for their future profession. Dur-ing the propaedeutic year, this is accom-plished in a playful and explorative way. In the subsequent years, assignments mimic realistic situations. There is contact with the professional field, the public and clients. Some projects take place outside the Academy, while others are derived from professional practice. In addition, all students are required to complete intern-ships.

In the fourth year, the focus is very explicitly placed on the students’ future professional practice, with a Career Ori-entation course, assistance in compiling a portfolio and the graduation projects. Dur-ing these activities, the consequences of the students’ choices are examined. For example, students must ask themselves questions concerning the type of design-ers they would like to become, whether they would like to work for firms or inde-pendently, and what would suit them best. Possibilities for postgraduate education are also discussed. In the final year, stu-dents are expected to present themselves during evaluations as designers and jus-tify their personal opinions.

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full-time programme

Propaedeutic yearThe first year is an adventurous explora-tion of the student’s qualities in various aspects of graphic design. These quali-ties are explored with challenging assign-ments that appeal to the student’s curios-ity and creativity. Smaller assignments are alternated with larger assignments, tak-ing the students to the far corners of their field. Considerable emphasis is placed on open-mindedness and the joy of working. Students try out different ways of working and acquire an initial indication of their visual abilities and the value of their ideas.

In this way, students gradually move towards the development of their own vis-ual language and visions. In the first year, it is important to create a large body of work that provides confidence and cre-ates resilience that will be useful during the rest of the programme.

Throughout the year, students com-plete assignments for which they must make use of the workshops. In the final assessment, students must answer the question of whether graphic design is suitable for them, and if they are suitable for the profession. They should be able to specify clearly the elements of the profes-sion that are of primary interest to them.

Points of departure

+ The introduction to the field is both practical and theoretical.

+ The creative and intellectual develop-ment of the student is central.

+ Scheduled courses are offered parallel to each other. They focus on particu-lar aspects of the profession and the culture, both substantively and tech-nically, and they broaden the frame of reference. In addition to scheduled courses, two project weeks take place in the propaedeutic year: a department-wide week for all years, an Academy-wide course for all first-year groups and an excursion week.

Study programme components

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

year 2In the second year, students work on a series of challenging design assign-ments. The emphasis is on expanding their understanding of the profession and strengthening their qualities as designers. Ample space is reserved for research. The assignments address a variety of issues, including the concepts of public space and audience groups. There are realistic and fictional, optional and com-pulsory assignments. During the year, the courses taught are replaced by supervi-sion by different teachers in joint assign-ments. Each teacher covers a specific area of expertise: Design, Image, Typog-raphy or Interaction. Students have the opportunity to discuss their work with dif-ferent teachers. They also take the Letter-studio, Playlab or Design Office course, and they formulate their own Individual Study Trajectories. The theory programme is devoted to the history of graphic design within its cultural and social contexts, establishing a relationship with the work of the students. The students also focus on the presentation and exhibition of their work.

Points of departure

+ Expanding the understanding of the discipline

+ Strengthening the students’ personal qualities as designer

+ Greater focus on research + Supervision by teachers with different specialisations in joint assignments

+ Choice between Letterstudio, Playlab and Design Office

+ Individual Study Track as a tool to add breathing space or depth to the study programme

+ Career preparation projects, in the con-text of classes, as well as the Individual Study Track

+ Organisation of exhibitions and pres-entations

Study programme componentsDesign Assignments with supervision in

+ Design + Image + Typography + Interaction + Design Theory + Elective: Letterstudio, Playlab or Design Office

+ Technique: Coding + Individual Study Track

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year 3The third year also focuses on complex design assignments. In this year, the emphasis is placed on the relationship between graphic designers and society. This is reflected in the theory programme, the assignments and the internship. One of the points of departure for the course is that students gain increasing con-trol over their tracks as the programme progresses, and much is expected of them in the third year. Students are largely responsible for organising their own supervision, and they have consid-erable freedom in how they approach the assignments. For example, they can decide to increase their focus on design-ing for new media, to centralise the unifi-cation of text and image or to approach assignments typographically. The curricu-lum emphasises interdisciplinary collab-oration and multidisciplinary knowledge. By making optimal use of Playlab, Design Office, the Letterstudio and the Individual Study Track, students can broaden their knowledge, specialise and acquire addi-tional skills and techniques. The third-year theory programme teaches philos-ophy, and it is devoted to reflection on current social themes. Its aim is to help students develop a vision on their per-sonal responsibility as a designer and to support their ideas of designing accord-ing to their social visions.

Points of departure

+ After the first year’s emphasis on the discovery of student’s qualities, and the second year’s focus on deepen-ing their understanding of the discipline, the third year concentrates on the rela-tionship with society.

+ The courses continue to fuse together. In the second semester, the assign-ment teachers supervise a large assignment with a socially relevant theme.

+ The students choose Letterstudio, Play-lab or Design Office.

+ The Individual Study Track serves as a tool for adding breathing space or depth to the study programme, and career preparation projects take place within the framework of the Individual Study Track.

Study programme componentsDesign Assignments with supervision in

+ Design + Image + Typography + Interaction + Theory: Philosophy + Elective: Letterstudio, Playlab or Design Office

+ Technique: Coding + Individual Study Track

year 4This year is entirely focused on the final examination and the internship. The first semester is exploratory in nature, with stu-dents working on various design assign-ments involving both visual and content-based elements, which could serve as precursors for the central theme of the graduation project. The final phase com-mences in the second semester.

Students are motivated by dead-lines, and they must work hard to be able to present enough work of a sufficient level to pass to the final phase.

The theoretical part of the final year comprises the thesis, which provides the theoretical preparation for the graduation project. Students also prepare for the final examination and their future professional practice, and they are assisted in con-structing their portfolios.

Points of departure

+ The focus of the final year is on the position and positioning of students as graphic designers within their dis-ciplines and society.

+ The entire year is devoted to the final examination; from the start of the year, students work on projects with which they can graduate.

+ The Individual Study Track serves as a tool for adding breathing space or depth to the study programme.

+ Students graduating with letter projects make use of supervision from the Let-terstudio.

Study programme componentsGraduation projects with supervision in

+ Design + Image + Typography + Interaction + Theory: Thesis + Career Preparation + Technique: Coding + Individual Study Track

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Part-time programme

The structure of the part-time programme is very similar to that of the full-time pro-gramme, with the exception of the Indi-vidual Study Track and the compulsory internship. Electives like Letterstudio and Playlab, as well as the Coding classes have just been implemented into the cur-riculum.

2.3.4 educational and professional objectives

Throughout their study students are expected to master the competencies stated in the competencies table at the end of this chapter.

Propaedeutic yearThe assessment in the second semester, the propaedeutic year assessment, may result in a ‘negative binding recommenda-tion’ on continuation of studies. Referrals indicate that student may be advised to enrol in another study programme within or outside of the Academy.

The propaedeutic year competen-cies are achieved according to the pre-viously described study programme ele-ments.

2.3.5 organisation of the department *

The heads of the Graphic Design depart-ment are Roosje Klap and Niels Schrader. They are responsible for the department’s policy, as well as for every aspect that directly relates to this policy. The team of lecturers reflects the content of the pro-gramme and its professional structure.

Many of the teachers have their own professional practices, in which they work independently or in teams. Because of the diversity in experience and expertise, students are confronted with numerous aspects of and approaches to the dis-cipline. Guest lectures are organised to provide specific knowledge of the profes-sional field.

heads of department + Roosje Klap + Niels Schrader

coordinators + Pauline Schep + Ingrid Grunwald

team of lecturers

Graphic Design + Bart de Baets + Susana Carvalho + Frits Deys + Gert Dumbar (éminence gris) + Matthias Kreutzer + Richard Niessen + Ruben Pater + Niels Schrader + Esther de Vries

Image + Willem Goedegebuure + Michel Hoogervorst + Merel van ’t Hullenaar + Katrin Korfmann + Reinoud Oudshoorn + Simon Wald-Lasowski

Interactive Media Design + Lauren Alexander + Kees van Drongelen + Dennis Flinterman + Jan Robert Leegte + Henrik van Leeuwen + Lizzie Malcolm + Olivier Otten + Dirk Vis

Typography & Letters + Erik van Blokland + Thomas Buxó + Paul van der Laan

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

Drawing + Willem Moeselaar + Jordy van den Nieuwendijk

Letterstudio (elective) + Frank Blokland + Donald Roos + Just van Rossum + Peter Verheul

Design Office (elective) + Gijsbert Dijker + Chantal Hendriksen + Pawel Pokutycki

PlayLab (elective) + Kévin Bray + Roosje Klap + Job Wouters

Coding + Frederic Brodbeck + Pascal de Man + Eric Schrijver + Jochem van der Spek

Theory + Marjan Brandsma + Maarten Cornel + Els Kuijpers + Ellen Schindler + Dirk Vis

Coordinator final exam exhibition + Ewoud Traast

Coordinator internships + Gijsbert Dijker

Coordinator IST/electives + Frits Deys

Guest lecturers + Hannes Bernand + Bits of Freedom + Remco van Bladel + Sandra Kassenaar + Max Kazemzadeh + Silvio Lorusso + Rosa Menkman + Moniker + Sjoerd van Oevelen + Polak van Bekkum + Dirk Poot (Pirate Party) + Gabrielle Provaas + Lex Reitsma + Sanne Rovers

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

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

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competencies

propaedeutic Year main phase, Year 2

creative ability

capacity for critical reflection

capacity for growth and innovation

organisational ability

communicative ability

environmental orientation

capacity for collaboration

You are able to develop designs, images or spatial works in which they explore new directions, based on the insights and experi-ences they have gained in the course of the pro-gramme.

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

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

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

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

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

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

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

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

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

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

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

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

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

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Main Phase, Year 3 Main Phase, Year 4

Creative ability

Capacity for critical reflection

Capacity for growth and innovation

Organisational ability

Communicative ability

Environmental orientation

Capacity for collaboration

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

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

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

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

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

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

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

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

You are able to present and explain your work and meth-ods in a convincing manner.

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

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

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

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

You are able to make an independent artistic contri-bution to collaborative products or processes.

graPhic design

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credit points overview

graphic design full-time

Design 5 5

Image 5 5

Typography and Letters 6 6

Interaction Design 6 6

Design Cluster Assignments 14 14 14 14

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

Drawing 2 2

Coding 2 2 2 2 1 2

Final Exam Projects 7 16

Academy Broad Project Week 1

Internship 1 1 10

Entrepreneurship 3

Theory: Contemporary Design 3 2

Theory: Design History 3 3

Theory: Philosophy 3 3

Theory: Thesis 3 6

Studium Generale 1 1

Research and Discourse 3 3

Individual Study Track 6 6 6 6 6 6

Credits are awarded as a whole at the collective assignments. Credits are an indication of the distribution of the study load.

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

total 240 30 30 30 30 30 30 30 30

1

2 3 4 5 6 7 81

2 43Year

Semester

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graPhic design

Images 1 4 3 5 6

Images 2 4

Design 1 3 3 3 5 6

Design 2 3 5 6

Play Lab 4 5

Interactive Media Design 5 5 4 3 5 5

Typography 4

Typography / Letters 4 4

Letterstudio 4 5

Docking Station 4

Integrated Professional Orientation 5 5 5 5 5 5 4

Writing a Business Plan

Final Examination 20

Professional preparation (incl. entrepreneurial skills) 2

Theory: Design History 4 5 5 5

Theory: Current Image Culture 4

Philosophy 3

Final thesis 6

Collective Assessment Presentation 5 5 5 5 5 5 5

total 240 30 30 30 30 30 30 30 30

Credits are awarded as a whole at the collective assignments. Credits are an indication of the distribution of the study load.

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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2.4 i/m/d

2.4.1 history of the discipline

In the brief history of interactive media, there have already been a number of radi-cal shifts in the general perception of the discipline. During the rise of the internet in the early 1990s, there were two major streams of thought on how this medium could develop. First, there was a strong belief that the internet would play a vital role in the expansion of individual freedom and that it would make a major contribu-tion to accelerating the media emancipa-tion of attuned participants. Even as this freedom was being celebrated, however, most developments were highly clustered around individual, immobile usage. Tech-nical developments had not advanced to the current level. Mobile communication was still operating primarily in the profes-sional domain; broadband internet was accessible to only a few, and it was used only for professional purposes, and the costs of participation were still relatively high. Most of the applications outside of the professional domain were built for operation on slow, stationary personal computers with very limited access to the internet.

We can now see that the rise of interactive media has contributed to the emergence of very different applications than could have been predicted at the beginning of this journey. Some of the developments that have emerged sharply contradict some of the concepts of the earlier years. Examples include the per-ception of internet technology and mobile telephony as two separate tracks, the belief that peer-to-peer communication would not lend itself to commodification, and the assumption that every social-societal development would follow the same, linear techno-economic path. We know better now. The most explosively expanding economy is currently that of mobile communication, in which most of the capacity is used for purposes other than making telephone calls, despite the fact that it is based on technology devel-oped specifically for that purpose. The fastest growing companies (e.g. Face-book, YouTube) are essentially re-sellers of content generated by their own clients – who have now been transformed into prosumers (i.e. producers and consum-ers at the same time). This development has proved that it is no longer necessary to have a central core of production (or any production capacity at all) in order to generate streams of sellable content.

Observation of the techno-economic pro-gression in most African countries reveals that ‘new participants’ are now entering at the most advanced level. In other words, there is no need to go through all of the intermediate stages (e.g. stationary com-puters, fixed telephone lines or even tra-ditional television) in order to arrive at the most advanced level of participation. Most Africans have never seen their Facebook profiles on a ‘normal computer’, but only on their smartphones, and many of these participants use the same phone to pay for their daily purchases (e.g. through apps like M-Pesa), not only in shopping malls, but in the local market as well. This type of usage is highly advanced in com-parison to what is common in regions with a longer history of usage.

Such examples illustrate the neces-sity of re-assessing our notions of how and where new developments are (or will be) taking place. Thinking about Interac-tive/Media/Design thus demands con-siderable flexibility and a keen aware-ness of social developments taking place throughout the world. The awareness of our own relationship to society (at large) and the personal position of the designer amidst the constantly changing field con-ditions of interactivity call for constant monitoring and training. Their importance is equal to that of developing the skills that we need in order to express ourselves.

2.4.2 current state of the discipline

Given that the implementation of media convergence has probably not yet reached its full potential, and given that the concepts and perceptions of what interactive media are constantly under-going rapid change, it makes little sense to speak of a history of interactive media as a separate part of its progress. Of all of the disciplines identified at the Royal Academy of Art (KABK) in The Hague, Interactive/Media/Design is probably the hardest to define according to what has been. One common misconception is that Interactive/Media/Design is synony-mous with interaction design. Interaction design focuses primarily on the develop-ment of software and computer-human interfaces. Although it is an essential part of Interactive/Media/Design, it is explic-itly not comprehensive. In light of the arguments mentioned above, we need an over-arching perspective that cov-ers all specific media. Designing in the trail of ‘Moores Law’ under which effects processing speed, computing and mem-

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ory capacity roughly doubles every eight-een months, new potential is unlocked in a constant and predictable rate. Yet, whatever possibilities this generates is not a given. The designer stands in the mid-dle and transduces notions from the vir-tual to the actual and vice versa, in which media themselves play an affording role, but not hold the key to expose the true meaning of this future development. The creation of new interaction can never be separated from the designer or from the conditions from which such interaction emerges. New forms of interaction can be self-referential, but they can never be detached.

This meta-medial perception is probably the hardest ‘skill’ that students are expected to master during their stud-ies in this department. Despite the con-stant demand for the production of physi-cal products (which could obviously be digital as well, the oxymoron of modern media), there is a keen awareness that true progress in media development cannot be found by simply crafting a new i-Phone app or another MMORPG. Many years the developments in the field of interactive virtual reality have been focussed on ‘immersive’ experiences (like Oculus Rift) , currently the progression indicates tendencies towards ‘immerging’ experiences (like adaptive environments).

For these reasons, the central ques-tion must remain, ‘What is interaction?’ If we were to have posed this question 20, 15 or even 10 years ago, we could have expected a range of answers that were as true as they were not. Today, few people are aware of the role and importance of such products as ATF-3, CD-i, Altavista or Second Life (or even what they were at all) . Just a few years ago, however, these products were regarded as highly inno-vative and exemplary in the field of inter-active media. The quest for a definition of interaction is essential to the involve-ment of all participants in this department: scholars, teachers and students alike. At the same time, all stakeholders are aware that there is no single answer. The focus must therefore be directed towards the capacities of the media with which we are confronted, rather than their proper-ties. This is not because the properties of these media are unlikely to persist over time, but because interaction exists only in relationships, and not in the objects itself. These dynamic, energising and agile conditions shape the ‘habitat’ of a special breed of creator: the Interactive/Media/Designer.

2.4.3 department profile

description of the departmentInteractive/Media/Design (I/M/D) is the youngest department at the KABK. It trains students to become designers of interactive concepts and processes, establishing the link between people and processes, as well as between people and products. Ideas are our main product, and we therefore teach our students to think in terms that are not specific to particular media, subsequently translating them into concepts and meta-medial, multi-medial or cross-medial applications.

Students work with real cases and commissions, focusing on the interna-tional market. To strengthen the students’ expertise and their chances of reaching an international audience, the depart-ment teaches all of its courses in Eng-lish. Responding to the ever-increasing demand for media designers, the depart-ment of I/M/D provides the education that students need in order to become inde-pendent, social, conceptual, creative and pan-medial designers.

Students learn to detect cultural, social, technological and economic ten-dencies in society, transferring these incli-nations into promising new concepts. Throughout their studies, they learn how to work with a variety of media techniques that allow them to communicate with spe-cialists at a professional level, in addition to identifying the optimal level at which these techniques can be applied. Of equal importance are the methods that we use to enable students to maintain an over-view of the process, as well as the estab-lishment and realisation of goals.

The study programme is structured for the efficient engagement of numer-ous media typologies. At the start of the programme, students are immersed in a range of courses, including Interaction Design, Graphic Design, Photography, Sound Design and Visualisation. Follow-ing this extensive introduction, the focus shifts towards individual development. The I/M/D programme pushes the limits of media. Concept Development, Meta-Medial Thinking and Personal Leader-ship and other courses confront students with the questions, ‘What can I do with this knowledge and what role do I play?’ With these questions in mind student go on to encounter courses in Multimedia Artistic Development, Creative Leader-ship, Critical Media and Storytelling, in addition to advanced levels of Interac-tion Design, Concept Development and Moving Images.

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Collaboration is an essential part of the preparations for the professional circuit. In the I/M/D programme, students learn to assess their own expertise, as well as that of their colleagues – a key skill for successful collaboration. Many projects are executed collectively, often in teams consisting of students from dif-ferent years. This working method intro-duces students to a studio setting during their studies.

The I/M/D department maintains close contact with the professional field, in order to stay informed and to deepen existing insight. Students are involved in this process through dialogue with their teachers, collective attendance at con-ferences, co-organising symposiums, creating new knowledge and inspiring networks, in addition to organising chal-lenging internships in the Netherlands and abroad.

After graduation, students will be able to manoeuvre within intricate net-works at different levels and search for knowledge with the broad perspectives that they need in order to become inde-pendent communication specialists. Our graduates will thus be able to compete for positions at large commercial or non-profit communication agencies through-out the world. The I/M/D department is for students who aim to influence society through interactive media.

Professional profileGraduates of the Interactive/Media/Design programme have a variety of potential careers to consider. The fact that I/M/D does not focus on or specialise in any specific medium often leads to the mis-taken impression that it is not a spe-cialisation in itself. The department was started in response to the increasing demand from the professional field for a type of designer who would be knowl-edgeable enough to communicate about media-specific issues with various media specialists, while maintaining enough dis-tance to be able to translate the demands and preferences of clients into media expressions. At the same, these design-ers are expected to have a keen under-standing of the rapidly changing field of media and their usage. This demands an attitude that embraces change and finds substance in instability. Conceivable posi-tions for such designers include those of art director, concept developer, com-munication strategist and senior media developer. Despite the programme’s brief history (the first I/M/D graduates received their diplomas in 2010), most alumni

have found professional positions within the category described, or those closely resembling it. They are now located all around the globe (e.g. Berlin, Hong Kong, Los Angeles), working for commercial and non-profit organisations.

final qualifications for interactive/media/design

The final qualifications for the I/M/D study programme are expressed in terms of seven competencies within three domains. The KABK has estab-lished these competencies according to the national guidelines for design pro-grammes. During the four years of study, our students are tested on the develop-ment of these competencies, each time at a more challenging level. The compe-tencies are as follows:

+ creative ability + capacity for critical reflection + capacity for growth and innovation + organisational ability + communicative ability + external awareness + capacity for collaboration

These competencies form the founda-tion for the assessment by the teachers at the end of each course, and they are used to evaluate the presentations at the end of each semester. In addition, evalua-tion sessions are held twice each year, in which students evaluate the programme and suggest improvements. Additional details with regard to the requirements are provided at the end this section of the study guide.

Students are tested on their devel-opment within this range of professional competencies in three domains:

+ the artistic-technical domain + the theoretical domain + the professional-social domain

The parameters for the development of innovative departments like Interactive/Media/Design are reflected in the devel-opment of an enriched and relevant set of competencies. We adopt a projective approach to the educational goals, mean-ing that we attempt to remain as close as possible to our original set of param-eters without focusing excessively on out-comes. This allows us to remain flexible, participatory, creative/reactive and able to adjust our course swiftly, if necessary.

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The parameters of I/M/D are as follows:

+ Creativity and innovation + New thinking + The I/M/D staff and students must work with real problems, real people and real conflicts

+ Never out of touch with what is hap-pening in society

+ Courageous and risk-taking + Creative, ambitious, curious, risk-taking, socially engaged

+ Unique educational programme for young people seeking to make a pos-itive difference in society

+ How can we best unlock the creative and innovative forces in each individual and in society as a whole?

+ The programme has always had and should always have a direct link with the private, public and voluntary sectors

+ Help organisations and individuals maximise their capacity for innovation and creativity, leveraging the I/M/D phi-losophy and methodology

+ Creating, testing, displaying, unfolding great ideas, products, services and learning

diplomaGraduates are awarded the Bachelor of Design (BDes) degree, which qualifies them to enter post-graduate programmes at the Master level.

Post-graduate studiesAf ter complet ing their Bachelor degrees, graduates may enrol in Mas-ter programmes. Several interesting programmes are offered in the Nether-lands, including the Master programme in Artistic Research (KABK), the Master programme in Media Design and Com-munication (PZI), the Master programme in Interactive Media and Environments (FMI) and the Master programme in Media Studies (UvA).

admissions procedureCandidates apply online by completing the application form. They will then receive a document listing the documents they must to submit before the admissions interview. After these documents have been examined, candidates are invited to the admissions day, during which they will be asked to work on a task specifically designed to test particular qualifications. They will also be interviewed by a panel consisting of a coordinator, several teach-ers and, in some cases, students. Both the panel and the candidate may pose a wide range of questions during the inter-

view. The admissions day is intended to determine whether individual candidates are suited to the department and whether the department is suited to the candidate. It is in no way an examination.

specific admission requirements

1. Letter of motivationIn the letter of motivation, candidates should describe the following:

+ their creative past (see also portfolio) + forms of interactivity, media and design in which they are interested

+ techniques mastered + software mastered (basic knowledge of Adobe Photoshop is an important advantage; some experience with Adobe Illustrator, Adobe InDesign, Flash and After Effects is helpful)

+ prior education + what they would like to achieve in their studies

+ general interest in culture, society, com-munication and technology as a whole

+ specific interests in genres, styles, other disciplines and technology

+ what they would like to contribute to the learning environment

+ questions they have regarding the study programme (reflecting an abil-ity to transform opinions into questions is important, given that explo-ration, research, clear communication and understanding are basic elements in the programme)

+ curriculum vitae (resume) + the new niche they would like to cre-ate in the design practice of creative industries

2. Portfolio In the portfolio, candidates provide com-prehensive descriptions of earlier works, performances, interactive, media or design projects, or other contributions to the field of communication, illustrated with photographs, drawings, reviews and other documentation. The portfolio may be also be illustrated with recordings on CD-ROM, video DVD, audio CD, any com-monly used data carrier that works on a modern computer or web links. Candi-dates should mark a maximum of three minutes that they would definitely like to be viewed or heard by the selection com-mittee. (As a general note, we recommend making a selection of no more than three relevant projects. The best project should always be the first project to be shown. We prefer to receive at least a selection of the

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portfolio by e-mail, accompanied by the letter of motivation. Attachments should not exceed a maximum file size of 5 MB per email. If necessary, applicants may send multiple e-mails, numbered, and with a clear indication of the subject. The portfolio may be made available online.)

3. Official documentsCandidates should send or bring to the interview copies of their passports, visas (if applicable) and diplomas, along with two passport photos and their e-mail addresses. Note that some of these docu-ments (e.g. visa, diploma) may be sub-mitted later if they are not available at the time of application, although they must be available for submission upon accept-ance to the Academy.

2.4.4 study programme overview

Interactive/Media/Design is offered as a full-time programme that emphasises research and self-development. The courses are structured according to a logical pedagogical line of development, which does not recognise sharp bounda-ries. It is unlikely that students would ever be able to stop learning or disregard any-thing that might be useful in the develop-ment of their interests. The programme resembles a relatively fluid scale, allowing for acceleration of the learning curve at almost any stage.

The structure of the programme can be divided into five major phases:

+ skill development + advanced skill application + research development + exploration of the professional domain + self-development

These phases are distributed across the four-year programme. As indicated above, however, they are not always distin-guished by sharp boundaries. For exam-ple, while working to master a given skill, a student could already be working with another skill at a much more advanced level, or a particular research interest could make it necessary to master yet another set of skills. This situation is trans-lated into a clustering of courses, allowing room (beginning in the second year) for a fully personalised, Individual Study Track (IST), which allows for in-depth explora-tion in a specific field of interest. The IST is constructed by the students themselves, and it could include the development of an original project within or outside the

school. Alternatively, it could consist of taking classes in other departments or at Leiden University, varying from the very practical to the very philosophical.

The development of the compe-tencies through the five phases can be divided as follows over the three major domains:

Artistic technical domain: + Skill development + Advanced skill application

Theoretical domain: + Research development + Self-development

Professional social domain: + Exploration of the professional domain + Self-development

Programme

Propaedeutic year/Year 1Skill development

In the first year, students are introduced to a range of skills, and they construct a set of mental models that will allow them to gain control over the newly discovered domains of this department. The goal is to provide students with enough knowl-edge to be able to produce media expres-sions independently, using the skill sets that they have mastered, thereby laying the foundation for the advanced develop-ment of those skills. Many students have preferences for working with particular media, and these selections are usually made during the first year. Students who have successfully completed the first year receive a certificate that entitles them to enter the second year of the same pro-gramme, in addition to the option of enter-ing the second year of other programmes with similar requirements.

The courses in the first year are as follows:

+ Concept Development + Interaction Design I + Moving Images I + Graphic Design + Art Theory + Visualisation + Sound Design + Connecting the Dots + Introduction to Science + Academy-wide Propaedeuse Project Week (ABPP)

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These courses can be roughly divided over the three major domains as follows:

Artistic technical domain: + Interaction Design I + Moving Images I + Graphic Design + Visualisation + Sound Design

Theoretical domain: + Concept Development + Art Theory + Introduction to Science

Professional social domain: + Concept Development + Academy-wide Propaedeuse Project Week (ABPP)

+ Connecting the Dots

The following detailed description of Inter-action Design I provides an example of the courses offered:

How can we create intelligent, responsive media environments and shape the two-way communication between humans and machines? Which factors are essential in the design of inter-active applications that appeal to our senses, trigger our emotions and influ-ence our behaviour and way of thinking? Interaction Design focuses on mastering elementary conceptual, visual and techni-cal skills that are required in many inter-active media productions. Students work on projects based on individual concepts and create their own visuals and anima-tions, although they focus primarily on developing one of the most challenging and fundamental elements underlying the structure of interactive systems: the code. Exercises in scripting graphics, program-ming feedback and coding interfaces are evaluated in terms of beauty, functionality, usability and other issues related to the user experience.

Main phase/Year 2Advances skill application and research development

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

second year is relatively special, in that it places much greater emphasis on the why than it does on the how and the what. The work accomplished in this year lays a personal foundation for the rest of the pro-gramme, and it is generally not regarded as easy. The identification of personal strengths and weaknesses and relat-ing them to a set of important decisions is no light task. Students are not left to their own devices, however, as guidance is integrated into the courses, and spe-cial assistance is provided for preparing the IST. Given that writing is an essential part of modern communication, a special course is designed to improve the stu-dents’ capacities to express themselves in the written word, obviously using the English language:

Writing Life is designed to help stu-dents achieve fluency in the art of written communication. English language skills are essential to reaching an international audience. Much of today’s information is exchanged through the written word, whether on the internet or through more traditional means. Although an artist’s work is based on images, artists must use written communication in order to pro-vide their audiences with deeper insight into their expertise. Through various writ-ing exercises, critique and assignments involving commercial, academic and cre-ative writing, students acquire knowledge and skills that will give them confidence in world of written interaction.

The courses in the second year are as follows:

+ Interactive Architecture/3D + Interaction Design II + Moving Images II + Photography + Writing + Individual Study Track + Connecting the Dots

These courses can be roughly divided over the three major domains as follows:

Artistic technical domain: + Interaction Design II + Moving Images II + Photography

Theoretical domain: + Connecting the Dots + Writing

Professional social domain: + Interactive Architecture/3D + Individual Study Track

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Main phase/Year 3Research, self-expression and exploration of the professional domain

The third year consists of two very differ-ent parts. The first semester is devoted to critical reflection on all of the knowl-edge and skills that have been acquired, while the second semester is reserved for the execution of the internship. The courses in the first semester are aimed at connecting the students’ personal, crea-tive development to the possibilities and demands of the outside world, not only as a preparation for the internship, but also as a way of reflecting on trends and considering overly celebrated gadgetry as being almost circumstantial, rather than essential. Internships vary consid-erably in execution. Past internships have ranged from commercial jobs in highly competitive international environments to fully research-driven ecological aware-ness programmes for large International non-profit organisations, and everything in between. Nevertheless, one common feature of all internships is that they have been perceived as very satisfying collab-orations, in some cases leading directly to job offers.

The following course description clearly reflects the critical standpoint:

Critical Media: Engaging critically with contemporary society

The Critical Media course has the ambi-tious goal of examining contemporary society from a critical perspective. Such critique can be honest and prolific only if it is based on introspection. The stu-dents of Interactive/Media/Design are first assigned to revise their working method-ologies, sources of information and inspi-ration in a critical manner. Grounded in the importance of information and knowl-edge for contemporary society, questions of control and power are fundamental to understanding and actively engaging in society. Drawing on insights from such contemporary philosophers and thinkers as Noam Chomsky and Jean Baudril-lard, this course addresses important questions, including ‘Who controls the information flow?’ and ‘How is knowledge produced and distributed?’. Once criti-cal thinking has been cultivated, the next step is to direct it towards creative experi-ments involving the questions that have been asked. Tactical media and ‘hack-tivism’ are two possible approaches that include such art organisations as The

Yes Men, Jodi, HeHe, Ubermorgen, or such art projects as ‘Google will eat itself’, ‘Image Fulgurator’ and ‘anti-social net-working’. Finally, and most importantly, critical projects are developed during the course in order to experiment and test some of the concepts discussed. The course concludes with a public event in which the outcomes are discussed with a larger audience.

The courses in the third year are as follows:

+ Writing Life + Multimedia Artistic Development + Cultural Hacking + ALEPH + Internship + Workshop 3D

These courses can be roughly divided over the three major domains as follows:

Artistic technical domain: + Individual Study Track

Theoretical domain: + Writing Life + Multimedia Artistic Development + Cultural Hacking + ALEPH

Professional social domain: + Internship + Workshop 3D

Main Phase/Year 4Self-expression

The final year of the programme pro-vides many moments of excitement and joy, although it obviously demands a long period of hard work as well, and many difficult decisions must be made. In addition to being the capstone of the programme, the final examination marks the start of the student’s career as an Interactive/Media/Designer. The Academy takes considerable pride in organising the exposition of the final projects, because it is aware this could serve as a catalyst for individual designers to distinguish themselves within the professional field. During the final year, several important issues must be addressed, and several tasks must be completed. Students are expected to produce a thesis based on research within a field of interest that is closely related to their final examinations. They are also required to draft a business plan, thereby ensuring a proper introduc-tion to the legislative and financial sides of their practice as independent design-

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ers. In addition, each student is expected to produce a spectacular and innovative venture that will serve as the graduation project. To ensure that students direct all of their attention towards this project, they are guided by several experts. During individual and/or collective meetings stu-dents gradually progress towards the final stage: the exhibition of final examinations.

The courses in the fourth year are as follows:

+ Senior Seminar + Examination and Concept Guidance + Thesis + Business plan + Individual Study Track + Final Examination

Artistic technical domain: + Concept Development 3 + Interactive Architecture

Theoretical domain: + Thesis

Professional social domain: + Business plan

2.4.5 educational and professional goals

Interactive/Media/Design does not focus on any particular medium. In this study programme, the development of con-ceptual and theoretical skills is just as important as the development of practi-cal skills. The programme realises these core values by adhering to three specific parameters:

Integrated theory:In addition to the clearly theoretical driven courses (e.g. Art Theory), most courses have an integrated theoretical compo-nent. This means that skills are not pre-sented without their context and history; personal development is connected to larger systems in society, and methods are always subjected to critical testing. This ensures that all students acquire a structural layer of theory, which they can-not always identify, but which will become visible once they start to put their accom-plishments in practice.

Intrinsic professional bonding:Intrinsic bonding with the professional practise is reached through the expertise and connectedness of our teaching staff. Almost all staff members have their own professional practices, and they draw as many connections as possible between

the educational goals and actual practice. This provides students with a high per-centage of actual case studies with which they can work, in addition to several inte-grated projects undertaken in collabora-tion with the professional field.

Self-development:Although the Interactive Media Design department explicitly operates within the realm of design, we are very much aware of the opportunities offered by the fact that we are part of an art academy, as opposed to being embedded in a more technical or skills-driven environment. We take the legacy of the fine arts tradition very seriously, and we strive to embrace total conceptual freedom, even though the products produced are likely to be designed with concrete and pragmatic roots. In order to help individual students reach their full potential, we invest con-siderable time in developing their artistic and conceptual qualities.

Within the three major domains in which students master their sets of com-petencies, I/M/D has attached several specific qualifications, in order to mani-fest its key values.

Artistic technical domain:

As argued above, our department attaches considerable value to the devel-opment of the artistic domain as a ‘free-standing’ quality. We engage in open and constructive dialogue with our students from the very start of the programme. In our particular field, we can never be sure of the effects of new developments. We therefore believe that it is instrumental and essential to maintain an open vision, in which the practical research conducted by all participants (scholars, lecturers and students) delivers crucial information that enhances our understanding of future developments, in the practical realm, as well as in the artistic domain.

Theoretical domain:The integration of theoretical components through the application and connection of these notions to very concrete course goals lays the groundwork for a funda-mental understanding of the need to con-textualise the work, and it leads students to investigate their own positions in within the professional field. Theoretical con-cepts cannot be considered separately from their application, and theory and practice are inextricably bound to each other. By deliberately steering away from the classical models of theoretical input, we strive to prevent the ‘airlock’ that often

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occurs when the connection between theory and practice is not made clear or when theory is superimposed onto the reality of practice, rather than being made an integral part of it.

Professional social domain:Modern designers cannot afford to adopt a go-it-alone attitude. The professional domain brings a wide variety of collabo-rations and hybrid forms of authorship. By the integral inclusion of haptic, vir-tual and actual communication and by constantly working with real-world com-missions and projects, we endeavour to connect our students to the emerging network of co-designers and profession-als, which is of essential importance to the design industry. From the day they enter the Academy, students start building the valuable networks that will ultimately become essential in their professional careers. We help them understand the importance of these networks, and we support any kind of expansion by con-necting and interlinking networks of all stakeholders, both within and outside the Academy.

4.4.6 organisation of the department*

The head and coordinator are respon-sible for the department’s policy, as well as for all aspects that are directly related to this policy. The staff members reflect the content of the departmental policy and a broad professional structure. Many staff members are employed in the pro-fessional field, where they work either individually or collectively. By confront-ing students with a wide variety of individ-ual viewpoints and values, we help them to develop a positive yet critical stance towards the profession. Specific knowl-edge is offered through masterclasses, workshops and conference attendance.

head of department + Marc Boumeester (until 1 Sept. 2015) Editorial note: during the editorial process the new head of the I/M/D department was not yet appointed.

coordinator + Dave Willé [email protected]

lecturers + Mendel Agterberg + Anna Arov + Coen Brasser + Renske van Dam + Wim van Eck + Arthur Elsenaar + Nick van ‘t End + Maartje Fliervoet + Johan Gustavsson + Anja Hertenberger + Remus Ockels + Gitta Pardoel + Pawel Pokutycki + Shayna Schapp + Lena Shafir + Raymond Taudin Chabot + Jan Treffers

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

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competencies

propaedeutic Year main phase, Year 2

creative ability

capacity for critical reflection

capacity for growth and innovation

organisational ability

communicative ability

environmental orientation

capacity for collaboration

You are able to develop designs, images or spatial works in which they explore new directions, based on the insights and experi-ences they have gained in the course of the pro-gramme.

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

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

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

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

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

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

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

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

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

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

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

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

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

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Main Phase, Year 3 Main Phase, Year 4

Creative ability

Capacity for critical reflection

Capacity for growth and innovation

Organisational ability

Communicative ability

Environmental orientation

Capacity for collaboration

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

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

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

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

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

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

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

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

You are able to present and explain your work and meth-ods in a convincing manner.

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

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

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

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

You are able to make an independent artistic contri-bution to collaborative products or processes.

interactiVe/media/design

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credit points overview

i/m/d full time (part 1)

Sound Design 5

Visualizing 4 4

Graphic Design 4 4

Concept and Presentation 4 4

Interaction Design 5 5

Moving Image 4 4

Connecting the Dots 5 5

Photography 5

Interactive Architecture 5 5

Art Fundamentals 5

Writing Life 4 4

IM3D 5

MAD 5

Cultural Hacking 5

Internship 24

Senior Seminar 5

Philosophy of Design 5

Thesis writing 5

Final project 24

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

Collective Assessment 5 5 5 5 5 7

subtotal ec i/m/d 27 26 30 30 30 30 28 30

1

2 3 4 5 6 7 81

2 43Year

Semester

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i/m/d full-time (part 2)

interactiVe/media/design

Research and Discourse 3 3

Project Week (ABPPW) 1

Studium Generale 1

Entrepreneurship 1

subtotal ec academy-wide Program 3 4 0 0 0 0 2 0

total 240 30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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2.5 interior architecture and furniture design

“No matter. Try again. Fail again. Fail better.”

–Worstward Ho, Samuel Beckett 1983

The department of Interior Architecture and Furniture Design (IAFD) at the KABK focuses on the entire breadth of the spa-tial domain by concentrating on the spa-tial conditions that determine the ways in which we experience our day-to-day living environment.

The core goal of the education offered within the programme is the per-sonal development of each individual stu-dent into a creative, inquisitive, autono-mous and well-rounded designer. The department devotes considerable atten-tion to exploring the students’ possibili-ties and potential. Its curriculum strikes a considered balance between attention for the conceptual and for the empirical aspect: developing abstract thought ver-sus embedded within a pragmatic, profes-sional process. The curriculum is based on experimentation and research, the aim being for students to develop an inquisi-tive, autonomous design attitude that gen-erates unexpected, surprising results and visions, making the impossible possible.

The underlying didactic principle is ‘learning by doing’. The development of skills, knowledge and competencies is coupled with relevant assignments, pref-erably ones with a direct connection to design practice. The study programme places a heavy emphasis on the personal positioning of students, and the depart-ment assigns considerable importance to the manner in which they approach their identity from a professional perspec-tive. It therefore encourages students to develop an independent mentality, a reflective design attitude and a capac-ity for empathy. Designers leaving the department with a Bachelor of Design are well-rounded designers, each with a unique, personal approach. They are good observers with a strong conceptual and empirical foundation and designers who can approach any conceivable spa-tial project with an open mind.

After the first year, the study pro-gramme and the curriculum offer a choice between a specialised major in Interior Architecture (full-time/part-time) and a specialised major in Furniture

Design (only full-time). The programme comprises four years. The new Bachelor of Design corresponds to the educational vision of the KABK and the national final qualifications for design graduates. After completing the Bachelor degree, gradu-ates are eligible to enrol in the Master Interior Architecture at the KABK.

You can find the specific options and rights that graduates have with regard to registration with the Architects Reg-istration Board, in accordance with the Academic Titles (Architects) Act (WAT), on the websites of the KABK and Dutch Register of Architects:

www.architectenregister.nl

The WAT was revised in January 2011. On 1 January 2015 the compulsory reg-ulations for the Professional Traineeship will take effect.

A comprehensively revised curricu-lum was implemented for the Bachelor programme, starting from the 2011-2012 academic year. These revisions were accompanied by the introduction of the INSIDE Master programme. The revisions for the fourth study year were success-fully implemented in 2014-2015. The first students in the new Bachelor curriculum graduated in 2015.

2.5.1 general description of the discipline

interior architecture and furniture design

The department of Interior Architecture and Furniture Design is populated by product designers and spatial design-ers in the making. who regard space, in the broadest sense of the term, as their field of work. Their working area covers a domain that goes beyond designing interi-ors or the a piece of furniture. Our assign-ments therefore deal with design also focus on other objects and products, as well as private on and public and indoor and outdoor spaces. Today’s designers are increasingly transcending the classic boundaries of their discipline to explore other domains. Their thinking is cross-dis-ciplinary and they forge interconnections, always trying to see the larger picture. By cultivating an attitude of curiosity, they constantly challenge and question their own position and that of the profession. These designers are increasingly creat-ing their own contexts and the working conditions for an ever explorative work-ing process. In addition to relating to their clients, they develop their own questions

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and define their own projects, communi-cating their own vision in the process. The issues and questions facing current-day society are relevant factors in this vision. In their work, contemporary spatial and product designers anticipate potential future changes in order to improve the quality of the living environment. Spatial and product designers are well-rounded designers, each with a completely unique personal approach. They are empathetic designers and keen observers with strong conceptual and empirical foundations. They are designers who can approach any conceivable spatial project with an open mind.

furniture design Within this broad approach, product designers focus on the object and its rela-tionship between people and space. The object - furniture or product - is closely related to the human body, and this rela-tionship defines many aspects of the way in which it is used or perceived. Pieces of furniture are also objects in space – within the architectural space, in particu-lar. They may constitute either a separate object or an integral component of the space. In this way, they help to define the use value of the space and the way it is experienced by its users. One aspect of furniture or objects that can be important is the connection to emotional, social or cultural values. In this way a product can transmit or visualise a message or story. The development of new techniques, pro-duction processes and materials plays an important role in the expression of the product, its malleability and the new possibilities for use created in the proc-ess. Sustainability and a conscientious approach to materials and their use are also of major importance in this regard.

interior architectureIn recent decades, the interior has become increasingly regarded as a space that generates specific meanings and emotions through shapes, colours, scents, materials and objects, such that they can consciously lead to planned experiences. This space can be inter-preted broadly; it comprises both pri-vate space and public space, as well as urban and outdoor space. The focus of these spaces extends beyond spending time to include movement and mobility. Identity, communication, experience and similar concepts play a role in the design of these spaces. Spatial designers work from within a broad whole to address the smallest details. Their work involves

the development of spatial concepts that form the basis for the envisaged percep-tion and experience, up to and including the materialisation and production tech-niques that will ultimately support the reali-sation of these concepts. The relationship to current and future issues relating to the use of space or spaces, and the sustain-ability of the use of both materials and spaces are of major importance in this regard. There are points where interior architecture overlaps with other design disciplines, such as design, textile and product design. However, knowledge and skills from disciplines beyond the gen-eral domain of design are also applied within interior architecture: these fields include ergonomics, technology, market-ing, anthropology and psychology. Inte-rior architecture is interrelated to all of these areas.

2.5.2 study Profile

learning by doing: empirical-creative education and training

EmpiricalThe underlying educational emphasis is on experimentation and research. The core educational goal is to discover pos-sibilities and personal potential. Central to the KABK Bachelor programme in Inte-rior Architecture and Furniture Design is striking the right balance between empiri-cal and conceptual education.: abstract thought versus the pragmatic process in which it is embedded. The programme encourages students to develop an inquisitive, autonomous design attitude that generates unexpected, surprising results and visions, making the seem-ingly impossible possible.

MakingLearning by doing. The programme’s strong focus on personal, individual posi-tioning and the identity of its designers is of central importance from a professional perspective. Considerable importance is attached to both the working process and the student’s individual approach. Designers with the degree of Bachelor of Design will be able to effortlessly han-dle any project using their own unique approach, keeping in touch with the rap-idly transforming living environment of the 21st century.

EducationCharacteristic for the curriculum is the tension between the development of the student’s design personality (learning to

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design on an individual basis), preparing students to meet professional require-ments, as specified by the discipline and the profession, and their contribution to social design projects within contempo-rary reality and the cultural context. The new Bachelor curriculum centres on the motto ‘Learning by Doing: Empirical-Cre-ative Education and Training’, understood as an integrative activity. Courses are offered in an integrated, supportive and supplementary way, in line with develop-ments in the core subject matter of the curriculum.

Dialogue and interaction are key-words in the educational approach. Stu-dents work in small teams. The work-shop context encourages students to exchange, as well as supplement and confront each other. Social interaction and collaboration are of central impor-tance. Development of students’ empa-thetic capacity is an important point of attention: this refers to empathy in rela-tion to users, target groups, society and contemporary issues. Students are also required to reflect on their attitudes, per-sonal responsibilities and independent functioning within the departmental team. Students progress not just by completing assignments in a satisfactory manner and meeting the expectations of their tutors; they must also create a flow in which they are able to develop themselves. Each exercise demands a specific approach and must be related to specific issues. This makes the curriculum versatile and adaptable to the unpredictable dynamics of contemporary reality.

full-time and part-timeInterior Architecture is offered in the form of a full-time and a part-time programme. The specialisation Furniture Design is offered exclusively as a full-time pro-gramme. During the first year of the full-time study programme in Interior Archi-tecture and Furniture Design, students complete a number of joint courses. From the second year, students choose to spe-cialise in either Interior Architecture or Furniture Design, with the design projects offered separately.

interior versus furnitureIn the second year, students choose either the specialisation in Interior Archi-tecture or the track in Furniture Design. The courses within the domain of design are subject-specific and tailored to the selected discipline. The remaining cur-riculum is aimed at students of both Inte-rior Architecture and Furniture Design.

final qualifications for interior architecture and furniture design

Graduates of Interior Architecture or Fur-niture Design are well-rounded designers, each with a unique, personal approach and attitude towards design. They are empathetic designers and good observ-ers, with strong conceptual and empirical foundations. They are designers who can approach any conceivable spatial project with an open mind. In order to participate in the final examination, students must meet the following final qualifications:

+ Students are able to develop and elabo-rate an innovative concept into a dis-tinctive image, product, means of com-munication or spatial design that can be used in a meaningful way within a given context (creative capacity)

+ Students are able to consider, analyse, explain and assess their own work and that of others, and are capable of think-ing through the outcomes for the ben-efit of their work (capacity for critical reflection)

+ Students are able to further broaden and deepen their vision, work and work-ing methods in a process of continu-ous inquiry, thereby contributing to their discipline and to society (capacity for growth and communication)

+ Students are able to establish an inspir-ing and functional working situation, in addition to organising their research, work and practice (entrepreneurial and organisational capacity)

+ Students are able to present their vision, research and work in a convinc-ing manner, and engage in dialogue about it with clients and other stake-holders (communicative capacity)

+ Students are able to relate their identity as a designer to the artistic and social context (environmental orientation)

+ Students are capable of making an independent contribution to a joint product or process (capacity for col-laboration)

You can find a complete overview of the competencies for each programme year and of the final qualifications of the IAFD design programmes at the end of this chapter.

diploma Graduates are awarded the Bachelor of Design (BDes) degree in Interior Archi-tecture or Furniture Design.

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Postgraduate studies A Bachelor of Design degree qualifies for possible subsequent studies leading to the Master of Art degree, or to any other second-phase programme of studies at an academy of art or related discipline (e.g. Academy of Architecture).

Within the KABK, students wish-ing to enhance their qualifications in dis-cipline of Interior Architecture have the option of pursuing the Master study in Interior Architecture INSIDE.

For information on the procedure for selection and admissions, please visit www.enterinside.nl.

admissions procedure The KABK website offers additional infor-mation on the study programme and applications. Prospective students can use the application form (http://www.kabk.nl/admission) to register for the admissions test, which takes place on the admissions day. Candidates who are invited to participate in the admissions day will be asked to bring a letter of motivation, the completed questionnaire and their portfolio with them. The portfolio should preferably contain work that was not pre-pared in the context of assignments for school. During the admissions day, candi-dates give presentations on the work that they have brought with them and work on two assignments. One is a conceptual design assignment intended to demon-strate insight, inventiveness and feeling for form. The other is a drawing assign-ment that demonstrates the extent to which candidates are capable of observ-ing and documenting visual information. Each candidate will have an interview with the admissions committee (consisting of the head or coordinator, lecturers and students from the area of specialisation) about their portfolio, addressing as many topics as possible. The aim is to ascertain whether the candidate possesses suf-ficient talent and competencies to start the programme.

specific admissions requirements

During the admissions day, admis-sions tests are held and candidates are assessed on a range of aspects, accord-ing to various methods. The assignments provide information on individual candi-dates with regard to the following aspects:

+ the ability to provide creative and/or inventive solutions

+ spatial insight + sensitivity to materials

+ research skills + perseverance + capacity for observation + drawing skills + capacity for visualisation + insight + a personal approach

The interview about the candidate’s work should give insight into the candidate’s:

+ social world + personal interests + dexterity and/or sensitivity to materials + organisation skills, initiative, personal ability

+ reasoning capacity + general knowledge + knowledge of art, history, culture, archi-tecture and related areas

+ motivation and ambitions + personal objectives

The emphasis here is on the candidate’s own work (sketch books, objects, notes, collections) that was not prepared for any previous assignment or in the context of schooling.

2.5.3 study programme overview

full-time programme

Main structure of the curriculumThe four-year programme of the new Bachelor of Design (Interior Architec-ture/ Furniture Design) consists of three phases: the propaedeutic phase, the main phase and the graduation phase. Each phase has a specific mission. The line fol-lowed by these missions is that of cross-pollination (Year 1), depth and connec-tion (Years 2 and 3) and positioning (Year 4). This chronological structure is elabo-rated into four learning tracks, which con-stitute the domains that are addressed in each of the study years. These four domains are 1. Design, 2. Morphology and Research Labs, 3. Media and Materials and 4. Knowledge and Context. The cur-riculum is based on principles of experi-mentation and research. In each study year, research (by design) focuses on a specific area or current topic, based on a solid historical and cultural foundation and the potential efforts for interpreting and integrating this basis in design.

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domains

Design domainThe Design domain is the main compo-nent and represents the basis of the study programme. It has a thematic structure. Particularly in the first year, the concep-tual framework has a simple structure, so that students can learn to question everyday concepts. Interior Architecture focuses on four areas of design: Private interiors, Public interiors, Urban interiors and 3D objects. Starting from the second year of the Furniture Design programme, the following design areas are addressed: Private objects, Public objects, Urban objects and 3D objects. On class days, students work on projects in the acad-emy’s workshop spaces, supervised by tutors but also independently.

Morphology domainThe autonomous exercises, investigative studies and free studies (of form) within this domain are conducted in a labora-tory-like atmosphere. What distinguishes this domain from the design projects is that this programme component is ded-icated exclusively to ‘making’. In this domain the process phases applied in the design exercises, from analysis to design, are explicitly thrown overboard: the focus here is on the process, instead of on the end result. Based on a particu-lar approach or method, students cre-ate, visualise and experiment. The aim of Morphology is to learn how to investigate, get to know and master the phenome-non of space and form using a variety of resources, media and applications. The manner of expression is partly determined by the medium or approach. The integra-tion of visualisation is another important component. Within the domain of Mor-phology, extensive attention can be paid to such topics as light, texture, relief, form, acoustics and sound, colour and scent.

Media and Materials domainThe domain of Media and Materials revolves around basic skills and tools. The focus is not necessarily on the literal mastery of these skills, but on discovering and learning how the skills can be applied and used within the design projects. This domain should thus be seen as both a source of inspiration and a trigger. In this regard, media, techniques and materi-als constitute a domain of expertise and research. The skills addressed in this domain include 2D and 3D hand draw-ing, model building, photography, graphic design, textiles and ceramics, 2D and 3D

computer drawing, rapid prototyping, aug-mented reality and image processing. The teaching and mastery of techniques and skills are never ends in themselves and do not represent the primary learn-ing objective. This domain also involves working and thinking in a cross-discipli-nary way, transcending the boundaries of each design discipline. This study com-ponent gives students a comprehensive introduction to all the departments and the wealth of facilities/workshops within the institute.

Knowledge and Context domainThis domain comprises theoretical instruction in the form of tutorials and working assignments relating to art criti-cism, architectural theory and design the-ory. Special lectures and excursions are also organised. The department of Interior Architecture and Furniture Design has its own lecture programme consisting of 18 lectures per year. The lecture pro-gramme provides an additional theoretical impulse to the programme, and is tailored to reflect the themes and topics of that year’s ongoing curriculum as much as possible. A direct link between the year theme and the programme of lectures and films (as well as the Academy-wide Studium Generale) reinforces and sup-ports both the theoretical framework in general and, more specifically, the curric-ulum of each semester. Plenty of young, up-and-coming artists and designers are invited to speak and students organise a film or a debate at the end of each lecture.

Excursions and trips are a funda-mental aspect of the study programme. The propaedeutic phase (Year 1) begins with an introduction week, which includes an excursion. Foreign or domestic excur-sions are organised once a year as part of the annual excursion week. The final examination starts with a workshop organised either in the Netherlands or abroad.

The main programme is supple-mented by several smaller subject-based theoretical and professionally-oriented excursions, trips and visits to museums or exhibitions. The curriculum is based on principles of experimentation and research. In each study year, research focuses on a specific area. A solid his-torical and cultural basis and the ability to interpret and integrate it in the design process can generate fruitful results.

individual study track The Individual Study Track (IST), which is required for all students beginning in the

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

Propaedeutic year/year 1

semesters 1 and 2

Mission: diversity During the first study year, the following core concepts play a central role: cross-disciplinarity, scanning, experimenta-tion, (broad) orientation and confronta-tion, design, learning by doing, interaction and social networking/student mix. In the propaedeutic phase, maximum use is made of the institute’s workshops and facilities, exposing students to all possi-ble methods of development and produc-tion. Interaction with the other disciplines offered by the KABK is also encouraged during this phase.

The propaedeutic phase is one of asking questions, exploring, experiment-ing and observing, in addition to becom-

ing aware that art and design (along with art education) always involve creating in relation to thought (and vice versa). Project-based instruction plays a central role. Each semester, students work on two main projects, which involve design exercises composed in different phases. Project work takes place during a concen-trated period of 16 weeks. In this study year the Morphology domain comprises four blocks. The rest of the weekly cur-riculum is largely devoted to the design projects. In the first year, the domain of knowledge and context (and thus the the-ory) consists of three main components:

1. Architectural theoryConcepts and frameworks, contemporary and current situation and context.

2. Design theoryConcepts and frameworks, contempo-rary and current situation, graphic design, visual art and context. During the Media and Materials domain first-year students receive a thorough introduction to all departments and to the wealth of facili-ties/workshops available throughout the Academy.

3. Research & DiscourseAll Bachelor students at the KABK take the module Research & Discourse dur-ing the propaedeutic phase. The KABK also organises a Studium Generale for all students. In addition, a lecture series is organised by the department three times a year. Each series consists of six lec-tures on a particular topic (usually related to the department’s chosen year theme).

main Phase/year 2

semesters 3 and 4

Mission: depth and connectionCore concepts in the main phase are forecasting, back-casting, visionary think-ing, dreaming, the future, and the here and now. The curriculum seeks to forge links to contemporary issues in both the national and international arena - to con-nect to the real world and to the students’ individual position within this theme (Who am I?).

The second year is the phase in which students deepen their existing skills, gain insight into the profession and become aware of their own intentions, which lay at the basis of their work and work processes.

Having been introduced to their chosen field, the Academy and the work-

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shops during the propaedeutic phase, students use this basic knowledge in the second year to adopt positions in assign-ments of greater complexity. The reality of the professional field and the specific areas of attention it comprises are exam-ined in greater depth. At the same time, students are urged to start formulating a vision and a dream for their future as a designer. Students are expected to dem-onstrate a greater degree of initiative, and they are challenged to develop and use their own personal preferences.

Interior versus FurnitureIn the second year, students of Furniture Design and Interior Architecture follow separate design curricula. Although the projects are structured in the same way, the approach and content is tailored to the specific field. At the same time, this simi-lar structure also offers opportunities for collaboration. The other domains are fol-lowed jointly by the second-year students.

In the second year, students are required to take two obligatory Morphol-ogy modules. The research component within both the design courses and the Morphology Labs increases with each study year. The courses offered by the department in the context of the Individ-ual Study Track (IST) programme include modules known as Research Labs. These are also offered Academy-wide, giving them a more inter-disciplinary character.

The aim of the IST, which is com-pulsory for all students from the second year onward, is to add depth and breadth to the study programme. The condition is that the content of the track reflects the programme’s current design exercise and that this demonstrable connection to the IST can be assessed in the final assess-ment of the design exercise.

Students who wish to use the IST to add depth to their studies can choose to lay greater emphasis on the funda-mental courses, make a selection from the KABK-wide range of interdisciplinary Research Labs and introductory courses, or choose to take a minor at Leiden Uni-versity. The IST is accompanied by a study plan, which must be approved by the supervisor. Both the coach and the study adviser guide students in drawing up this plan.

The domain-specific knowledge and context of the second year consists of three main components:

1. Art appreciationThrough visits to exhibitions, museums, galleries, contemporary platforms for art,

architecture and design, projects in the city, art in public spaces and buildings

2. Architectural theory Concepts and frameworks, contemporary and current situation and context, anthro-pology and sociology (main theory course for students of Interior Architecture)

3. Design theory Concepts and frameworks, contempo-rary and current situation and context, anthropology and sociology (main theory course for students of Furniture Design)

In the second year, Architectural The-ory and Design theory are both linked to the project-based design courses and assignments on Mondays or Tuesdays, thus providing students with direct theo-retical input and motivating them to delve even deeper into the theory. This consti-tutes an initial impulse for the develop-ment of individual preferences and origi-nal research. In addition, separate lectures and tutorials are programmed for each course, corresponding to the respec-tive research topics. In the second year, within the framework of Interior Architec-ture and Furniture Design and the theory of architecture and design, attention is also paid to the anthropology of space and its usage, thus teaching students to regard our relationships with spaces and objects from an anthropological and soci-ological perspective. Space and object are investigated and experienced from a variety of perspectives, including from a spatial perspective (public and private), a user perspective (visitor, housekeeper), an action-related perspective (often cultur-ally determined), a behavioural perspec-tive (social and other types of behaviour) and the scripts that take place or should take place within them), and a sensory perspective how does it smell there?). The use and development of empathy plays a major role in this regard.

main Phase/year 3

semesters 5 and 6

Mission: depth and connectionCore concepts in this part of the main phase include the following: reality check, skills, knowledge, practical and profes-sional experience, employee vs. entrepre-neur, internship and projects from internal studio/lab/workshop or external collabo-ration with the professional field, industry, authorities, companies and social organi-sations.

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During this phase, students focus on developing their own work and indi-vidual approaches, which are expressed in personal questions or problem state-ments. The interaction between the artis-tic and the social environment also plays an important role in this phase.

The third study year mirrors the structure of the second year, with an additional focus on the links to profes-sional practice. The exercises within the design domain attempt to add depth by specifically addressing the malleability of the designs. Students become aware of the consequences that result from a developed concept in terms of construc-tion, materials and costs by carrying out a ‘reality check’. The practical exercises constitute an important aspect of the third-year curriculum. Students work on real assignments for external clients, in which implementation and realisation of the project within budgetary frameworks and a strict schedule play an important role. Such direct links to practice are also made through presentations in the Neth-erlands and abroad, including the annual presentation at the Salone del Mobile in Milan. Students are encouraged to work across disciplines as much as possi-ble and to draw heavily upon the exper-tise, facilities and workshops available within the KABK. The Media and Materi-als domain and Knowledge and Context domain are explored in depth by focus-ing on specific themes and techniques. These over-arching topics emerge from the year theme, which often relates to a specific social context, and also provide direction in the other domains. In semes-ter 5, each student writes an internship plan. In semester 6 students gain experi-ence of professional practice in the form of an internship at a carefully and indi-vidually selected national or international design or architectural firm.

The capstone of the main phase is the memento, an assessment portfo-lio prepared during the second and third study years.

main Phase + final Phase/year 4

semesters 7 and 8 (graduation)

Mission: positioningCore concepts: manifestation, body of work, statement and portfolio, additional research, additional depth, essay/thesis, and collection building.

In the graduation phase, students focus on developing their individual posi-tion. The students determine their place

in the professional field, manifesting this through their body of work, statement and portfolio. Additional depth is pursued through an essay and/or thesis.

The students create their own inte-rior architecture or furniture collections, master the associated techniques and are able to present their collections in a convincing manner. The primary goal of the final phase, which culminates in a final examination, is to allow students to dem-onstrate their qualities as designers. This implies that they must be able to convert their ideas into concepts, architectural solutions, furniture and product solutions, form, material, technique and detail, in the context of one or more assignments. Examinations in Interior Architecture or Furniture Design consist of the following components:

1. CollectionCreating a design or multiple designs that address the entirety of the interior archi-tectural or furniture collection or related collection in the broadest sense of the term. This is accomplished within the-matic and self-developed assignments that allow the intensive realisation of an interior or furniture collection, whereby the thematic or locational context of the collection is presented to students in the form of the over-arching year theme. Individual students select their own inde-pendent positions within the design exer-cise, demonstrating that they are capa-ble of applying the relevant techniques and skills needed to realise their designs optimally, based on the knowledge and experience gained in domain of media and materials.

2. Research by DesignResearch by Design expresses the stu-dent’s personal design attitude. This design and research component is an extension of previous study projects that have been realised within the domain of morphology and/or the Individual Study Track.

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

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with regard to current theories of architec-ture and design and position themselves within the current debate.

4. Body of workCandidates must include previously real-ised designs and research (from preced-ing study years) in their complete final presentation and collection.

5. Entrepreneurship and the working landscape

Final examination, exhibition and the pres-entation of the collection. Another impor-tant aspect of the final phase is students’ visual and verbal presentation of their collection, in which they are expected to position themselves and to reflect criti-cally on the discipline, fascinations and the relationship to their own collections. In the Academy-wide course Entrepre-neurship, the students apply practical knowledge acquired during the lectures in a real-world setting through fictitious case studies. (Questions that are addressed include: How do I get assignments? How do I make invoices? How do I send invoices?) Students display and present their collections to the outside world in a variety of ways, for example through their portfolios or by creating their own websites and setting up PR and social media campaigns.

student PortalThe student portal www.kabk.nl/ia is the central instrument of communication for and by the department. News, practical announcements, curriculum, assign-ments, class schedules, calendars, task descriptions or other course information are placed on the portal.

The current and latest versions of the exercise structures for each study year are available via the IAFD student portal: www.kabk.nl/ia.

Assignment structures form the framework within which lecturers con-struct their assignments and curriculums. This working method ensures that a cur-rent, relevant and customised curriculum can be offered each semester.

The appendices of the assignment structure list the specific assignments structures and curriculums for each course per semester. These resources are available for download by students and lecturers. Lists of required, recom-mended and further reading are included in the curriculums and specific assign-ment. The assignments for each semes-ter are also listed on the Downloads page (the last page of the portal).

timetableEach semester, students work on two main projects, which involve design exer-cises consisting of different phases. Stu-dents can engage in project work dur-ing a concentrated period of 16 weeks. On Tuesdays or Wednesdays, the work domains are Morphology, the IST and the Academy-wide Research Labs. The rest of the weekly curriculum is largely devoted to the projects. Students usually receive theoretical instruction on Thurs-days. The Media and Materials domain is scheduled on Fridays, focusing on a more autonomous exercise of skills.

Part-time study programme The part-time study programme has nearly the same basic curriculum as the full-time study programme. The Individual Study Track (IST), however, is offered as a class curriculum. There is no compul-sory internship. Students are expected to develop the relationship with professional practice themselves.

2.5.4 educational and professional objectives

collective feedback At the end of the first and the third block, halfway through a semester, students give brief presentations on their work from the preceding period. These pres-entations are held centrally and integrally to the team of supervising lecturers, in the presence of fellow students. This is an informal opportunity to receive feed-back and should be considered as an informative exercise in reflection and presentation. These presentations may nonetheless result in the formulation of customised goals/objectives for the com-ing block.

course reviewsAt the end of a semester, prior to the col-lective assessment, students present work for each course from the preceding period to the relevant lecturer and fellow students. These presentations may lead to custom formulated goals/objectives for the coming block.

collective assessmentsEach semester ends with brief presenta-tions by the students concerning the work from the preceding period. In these pres-entations, students present (or represent) both the design exercise and the other course exercises. This formal assess-ment point is informative and intended as an exercise in presentation. Students

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present their work directly to team of lec-turers and the public (fellow students) during the collective assessments. Dur-ing their presentations, students receive direct feedback on their work, and there is space for dialogue. The student is not present during the ultimate assessment and the internal committee consultation concerning this assessment. The aim of the interaction with the team is to provide insight into the work of the students and their capacity for reflection and formulat-ing common but customised short-term goals/objectives for the coming quarter or study year. This formula helps to safe-guard the overall quality of teaching within the department, the input of individual stu-dents and the progress and continuity of the study process.

first-year assessment At the end of the first year (the propae-deutic phase), students receive a bind-ing recommendation regarding the con-tinuation of their studies. Halfway through and at the end of the first study year, col-lective assessments are held to deter-mine whether students have mastered sufficient design qualities and whether they possess sufficient talent to continue to develop into potentially successful designers. Students are also assessed on their ability to relate to their own social environments through their individual design positions. A complete overview of the competencies to be assessed in the propaedeutic phase is provided in the scheme at the end of this section.

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

ments, identify these developments and further develop them by deepening and developing their own vision, mission and body of work. In doing so, they search for any problems inherent in the architec-tural brief, in order to resolve and translate these in their design. Another feature of great importance is that students become aware of the cultural, social, technologi-cal and economic developments around them. Their working methods should be rooted in engagement. Designers who wish to fulfil their roles in a relevant man-ner must possess a capacity for empa-thy and an awareness of their audience.

Students learn to develop their own positions as designers and to present themselves accordingly. To this end, they must learn to discover, question, develop, design and represent their own preferences. In addition to an independent mentality and a reflective attitude towards design, this requires sufficient breadth in terms of theoretical and artistic train-ing. Students must be capable of critical reflection, in order to appreciate, analyse, explain and assess their own work and that of others.

The complete overview of the IAFD competencies per study year is provided in the competencies table at the end of this chapter.

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2.5.5 organisation of the department *

The department head is responsible for departmental policy and for all aspects directly related to it. The team of lectur-ers reflects the policy in terms of content, as well as a broadly based professional structure. Many of the lecturers also have their own professional practices, in which they work independently or in teams. The diversity within the team of lecturers ensures that students are confronted with a wide range of aspects and approaches relating to the profession. Specific prac-tical knowledge is also offered through guest classes and lectures.

head of department + Herman Verkerk

coordinators + Mariska Beljon [email protected]

+ Roosmarijn Hompe [email protected]

internship coordinator + Willem Moeselaar

study adviser + Ellen Vos

team of lecturers

Design + Gert Anninga + Gijs Baks + Amber Beernink + Samira Boon + Jan Harm ter Brugge + Maarten Collignon + Lars van Es + Arne Hendriks + Ingeborg Horst + Barend Koolhaas + Tessa Koot + Jeroen van Mechelen + Aura Luz Melis + Wendy Legro + Wim Ros + Christoph Seyferth + Nienke Sybrandy + Ramin Visch + Wim De Vos + Eric Vreedenburgh

Morphology + Krijn Christiaansen + Cathelijne Montens + Ellen Vos

Media and Materials + Marie Ilse Bourlanges + Corine Datema + Elena Khurtova + Harold Linker + Willem Moeselaar + Jeroen Musch + Sanne Peper + Michaël Snitker + Frans Willigers

Knowledge and Context + Mariska Beljon + Liesbeth Fit + Inger Groeneveld + Roosmarijn Hompe + Ernie Mellegers

KABK Research Lab(s) + Arne Hendriks + Krijn Christiaansen + Cathelijne Montens

Guest lecturers + Erik Blits (external expert) + Suzanne Oxenaar + Bas van Beek + Niels Peteri + Matylda Krzykowski + Tijmen Ploeg + Chris Kabel + Rik Ruigrok + Gilles van Wanrooij + Anselm van Sinferth + Guus Beumer + Arna Mackic + Fokke Moerel + Hans van Houwelingen + Evelien van Veen + Kamiel Klaasse + Ronald Hooft

Working Field Committee + Chris Kabel + Ira Koers + Herman Kossmann + Harm Tilman + Joanna van der Zanden

Research & Discourse (Academy-wide)

+ Herman Verkerk + Janneke Wesseling + Liesbeth Fit + Maarten Cornel + Iris Luttmer (coordinator)

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

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competencies

propaedeutic Year main phase, Year 2

creative ability

capacity for critical reflection

capacity for growth and innovation

organisational ability

communicative ability

environmental orientation

capacity for collaboration

You are able to develop designs, images or spatial works in which they explore new directions, based on the insights and experi-ences they have gained in the course of the pro-gramme.

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

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

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

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

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

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

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

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

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

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

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

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

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

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Main Phase, Year 3 Main Phase, Year 4

Creative ability

Capacity for critical reflection

Capacity for growth and innovation

Organisational ability

Communicative ability

Environmental orientation

Capacity for collaboration

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

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

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

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

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

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

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

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

You are able to present and explain your work and meth-ods in a convincing manner.

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

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

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

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

You are able to make an independent artistic contri-bution to collaborative products or processes.

interior architecture and furniture design

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credit points overview

interior architecture and furniture design full-time

Design12 12 12 12 12 4 16 18

Morphology6 6 3 3

Media & Materials6 6 4 4 4 2 2

Internship1 18

subtotal artistic Professional domain 24 24 19 19 17 22 18 20

IST6 6 6 6 6 6

subtotal individual study trajectory 6 6 6 6 6 6

Knowledge & Context2 2 4 4 3 1 1

Lectures [18/year]+ SG1 1 1 2 1 1 1

Essay/Thesis2 3 3

subtotal theorethical domain 3 2 5 5 7 2 5 4

Research & Discourse3 3

ABPPW1

Entrepreneurship1

subtotal academy-wide education 3 4 1

total240 30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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interior architecture and furniture design part-time

interior architecture and furniture design

Design10 10 10 10 10 10 18 18

Morphology8 8 6 6 4 4

Media & Materials6 6 4 4 4 4 2 2

subtotal artistic Professional domain 24 24 20 20 18 18 20 20

IST6 6 6 6 6 6

subtotal individual study trajectory 6 6 6 6 6 6

Knowledge & Context2 2 3 3 3 3

Lectures (18/year) + SG1 1 1 1 1 1 1 1

Essay/Thesis2 2 3 3

subtotal theorethical domain 3 3 4 4 6 6 4 4

Research & Discourse3 3

subtotal academy-wide education 3 3

total240 30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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PhotograPhy

2.6

Ph

oto

gra

ph

y

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2.6 Photography

2.6.1 general description of the discipline

current situation of the discipline

Almost everyone takes photographs, but not everyone is a photographer. It takes well-honed technical skills to develop into a professional. That is why students are still being trained as photographers. Throughout history, photographers have developed their own culture of high-qual-ity images. Contemporary photography covers an enormous spectrum, branch-ing into all levels of society and occupy-ing an important position in the world of the visual arts.

Much is demanded of contemporary professional photographers. In addition to understanding their profession in a tech-nical and aesthetic sense, they must have profound knowledge and understanding of the meaning, symbolism, value and impact of photographic images. They are also expected to possess a wide range of artistic abilities, in order to achieve desired effects that are capable of standing on their own. In addition, professional pho-tographers must claim their own positions within the contemporary cultural field, and they must be able to distinguish them-selves by expressing their personal views both orally and in writing, apart from the actual images.

contemporary professional practice: the professional profile

In this section, we highlight the profes-sional profile upon which the Photogra-phy programme is based.

The professionals of today are authors, in the sense that they are mak-ers, finders and creators. They are able to practice the profession in the traditional sense, while contributing to the evolution of the discipline.

Contemporary photographers are entrepreneurs who know how to gener-ate a base of support for their work. They have an extensive frame of reference for the field and the discipline, particularly in an international context. They have a vision for the position of the discipline in the world of art and culture, as well as in social developments. They are aware of the many platforms that offer oppor-tunities, including social media and the internet in general, as well as traditional platforms, including journals, posters and other printed media. They have extensive

networks, and they are able to collabo-rate with others.

Within our society, people are increasingly using the medium of photog-raphy without worrying about the technical quality of the images. In response, profes-sional photography appears to be moving in the opposite direction. Each genre or specialism is developing increasingly spe-cific requirements. The professional prac-tice of the photojournalist has become more clearly distinguished from that of the conceptual documentary photogra-pher. This trend has emerged across the entire field of photography (including the domain of fictional photography). Young professionals are therefore being con-fronted with increasingly greater and more specific demands. In order to achieve pro-fessional recognition, aspiring photog-raphers should be well informed about how they would like to enter the field and about the platforms on which they can present their work.

2.6.2 study profile

As the only photography department at any art academy in the Netherlands, we focus on four major areas of professional photography: conceptual documentary photography, photojournalism (together classified as Documentary), staging peo-ple and mise-en-scène (together classi-fied as Fiction).

In the first year of programme (the propaedeutic year), students receive a thorough introduction to these areas. Thereafter, students choose to complete the remaining three years in either Docu-mentary or Fiction, positioning their work in one of these areas based on subse-quent choices.

The department aims to train stu-dents to become self-aware and inde-pendent photographers, each with a rec-ognisable visual language and personal vision, along with the ability to work inde-pendently, as well as on commission. They develop their own concepts and ini-tiate projects. Their motivations, themes and ethical standards are clear to others. They know how to engage their clients or audiences and are creative in finding a business model for their work.

An important characteristic of our programme is that we use the contempo-rary professional field as central point in our educational approach. Students are given assignments resembling, or based on, professional assignments, and they are usually working on several projects simultaneously. We pay close attention to

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the ways in which students develop their initial ideas, which ultimately result in a series, complete with all the accompa-nying production activities. Another char-acteristic is the strong emphasis that is placed on the development of intellectual and visual qualities. We ask students to approach their subjects with curiosity and an open mind, and then to investigate them thoroughly. This requires an interest in the content, background and diverse ways of representing a subject.

In the process of investigation, stu-dents develop their own visual language and discover how their visions on vari-ous subjects and on the profession of photography relate to the visions of oth-ers. Our goal is to teach students how to become independent thinkers, constantly searching for authentic images from a personal perspective on both the medium and the world.

The dynamic curriculum consists of an alternating series of work discus-sions, seminars, workshops and lec-tures. Within a short period, students gain knowledge of various fields and develop skills to operate independently. Because their subjects are often situated outside the academy, students regularly work on location. In the Academy, they practise in studios and darkrooms, editing their images, working on prints and participat-ing in collective work assessments and the preparation of publications and pres-entations. The students thus do not learn only from their lecturers, but also from their peers. The educational process is dominated by a commitment to continu-ous effort for research, authenticity, depth and professionalism. It is supported by a programme of electives and guest lec-tures by as well national as international professionals. Expertise from other dis-ciplines is employed when necessary, allowing students to develop strategies for presenting their work optimally and in suitable contexts.

The primary goal of our programme is to train our students to become the professionals of tomorrow, connecting their own visual language with a profes-sional way of working at an international standard.

facts as the departure point for photography: documentary specialisation

‘Documentary’ is the over-arching term used by the Royal Academy of Art (KABK) in The Hague for the professional prac-tice of documentary photojournalists and conceptual documentary photographers.

Although the practice of photojournalists differs from conceptual documentary photographers, they have similarities in the way they choose their subjects, either with a general news value or with a spe-cific significance for a target group. This practice is most commonly used to reflect on contemporary history. Photographers specialising in documentary are curious and engaged towards social processes and concrete subjects.

Photographers who proceed from facts offer a window on reality. Subjectivity is essential to their individual styles, how-ever, and position statements are impor-tant to the impact of their photography. These photographers must pay attention to the preliminary phase of research. They must read about and empathise with their subjects, consult specialists and tap into new markets.

The artistic autonomy enjoyed by these photographers is closely linked to the policies of the platforms for which they work. Photographers who employ photography as an informative medium focus their loyalty on the user of the pho-tos: the public.

Despite many common features, however, there are clear distinctions between photojournalists and conceptual documentary photographers. Although both disciplines revolve around reality, photojournalism emphasises reporting with direct news value, while conceptual documentary photography is used to reflect on particular aspects of the subject.

fiction as departure point for Photography: fiction specialisation

At the KABK, ‘Fiction’ consists of all imagery that enlarges reality. Fiction pho-tographers are photographers who pro-duce high-quality work from staged situ-ations or with the suggestion of staging. Most fiction photographers possess an artistic gift for fantasy, having impressive technical skills that allow them to repre-sent their subjects appropriately. They are strongly committed to their assignments, whether at their own initiative or commis-sioned by others.

The work of fiction photographers is the result of intensive research into the nature of the image in general, and particularly with regard to photographic visual language. It is intended to be dis-tinct within the contemporary torrent of images. For this reason, fiction photog-raphers are increasingly developing their own concepts from which to work. Based on their authorship, they are active in a

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variety of contexts, which they creatively adapt to suit their needs. They have a rich imagination, representational skills and clear minds. Their work emphasises the creation of concepts and the pursuit of the right visual presentation, combined with sophisticated technical execution. Fiction photographers often collaborate in multidisciplinary teams. We distinguish between photographers who concentrate on staging people and those who con-centrate on environmental situations (e.g. mise-en-scène), from tabletop to land-scape.

final qualifications for Photography

Graduates are expected to meet the fol-lowing qualifications:

+ Students are able to develop and imple-ment distinctive imagery in a meaning-ful way resulting from their research and artistic ambition (creative ability)

+ Students are able to contextualise and critically reflect on their own work and on work of others, and they are capable to utilise external feedback and posi-tively implement this in their own work (capacity for critical reflection)

+ Students are able to continuously inves-tigate and analyse their own ambition, vision and working methods as well as the professional practice around them. Their innovate position constantly chal-lenges the photographic medium in general (capacity for growth and inno-vation)

+ Students are able to organise an inspir-ing and professional working ambiance. They are capable of practically organis-ing their profession and are ambitious in marketing their work (entrepreneurial and organisational ability)

+ Students know where to reach and how engage their audience and clients. Stu-dents are able to present their vision, research and work in a convincing manner, as well written as orally (com-municative ability)

+ Students understand how their work relates to the professional artistic and societal context (external awareness)

+ Students understand group dynamics and are able to make independent artis-tic contributions to a collaborative work. Students are also capable of organis-ing collaborating partners for their own practice (capacity for collaboration)

diplomaGraduates are awarded the Bachelor of Design (BDes) degree.

Postgraduate studiesAfter completing the Bachelor’s degree, graduates are eligible to enrol in a Mas-ter programme in design (MA Design) or art (MA Visual Arts), another Master pro-gramme at an art academy, or the MA in Photographic Studies at Leiden University.

admissions procedureCandidates are invited to participate in a trial morning within the department. The portfolio and take-home assignments are discussed in the course of the morning, and candidates receive advice on how they might improve their work. Candidates are advised to register for the trial morn-ing as early as possible. It is possible to participate in multiple trial mornings. Can-didates who are deemed suitable to apply are invited to take an entrance examina-tion. During this examination, candidates work on assignments, and the admis-sions committee assesses each can-didate according to the portfolio/work and an interview. The work consists of a diverse selection of both visual and photo-graphic work, supplemented by the home assignments. Each candidate will have one or more interviews about the work. The committee consists of both students and lecturers.

specific admissions requirements

Candidates must fulfil the following requirements:

+ have a passion for the visual, especially for the medium of photography

+ have particularly broad social interests + have an ongoing need to visualise their interests and ideas in photography

+ have a desire to make their own ideas public

+ have good communication and social skills

+ have organisational talents + take initiative and have an entrepre-neurial spirit

+ have perseverance + be capable of functioning both as a soloist and in collaboration with others

+ be able to think critically + be able to develop on a textual level + have a basic familiarity with the infra-structure of the photographic field in the Netherlands

+ demonstrate some experience in the use of the medium to reach their vis-ual goals

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+ work on photographs in serial form + be aware that photography is one of the visual disciplines and that this requires more than just excellent tech-nical expertise or an eye for aesthetics

2.6.3 study programme overview

overview of full-time/part-time study

The full-time programme offers speciali-sations in Documentary and Fiction. The part-time programme offers the speciali-sation in Documentary.

full-time programmeThe full-time programme comprises four years. For the structure of the semesters in the full-time programme, please refer to descriptions of each year below.

Part-time programmeThe four-year programme is also divided into semesters. The programme consists of modules that together form a complete package. In the near future, it will also be possible to take the modules separately, if the student’s level of competence is deemed sufficient. Students who have successfully completed the examina-tion module have fulfilled the learning outcomes of the current Bachelor pro-gramme in Photography.

This educational structure also allows us to offer the part-time pro-gramme in four years. In most cases, classes are held on two or three days each week, usually with one day starting at 2.00 p.m. and the (two) other day(s) at 4.00 p.m. The last class ends at 9.45 p.m. In the final phase, students should be available for one full workday a week in order to attend classes.

For the structure of the semesters in the full-time programme, please refer to descriptions of each year below.

The content of the part-time pro-gramme in Photography is the same as that of the full-time programme, but with a different organisation and structure. To date, no internship period is included in the programme. Part-time students must therefore engage in independent career orientation, in addition to the programme. With permission, part-time students may follow parts of the full-time curriculum.

individual study trackThe Individual Study Track (IST), which is required for all students beginning in the second study year, is aimed at expanding the depth and breadth of the programme.

Space has been created in the schedule to this end. The study load and associated credits are applied to the IST, in consulta-tion with the supervisors. Several options are available for organising the Individual Study Track, including the possibility of taking a minor course at Leiden Univer-sity. In addition to the electives, students may use the IST to add depth to their studies by paying additional attention to the fundamental courses or by choos-ing from the Academy-wide range of IST course offerings. The IST is paired with a study plan, which must be approved by the supervisors and guided by a coach.

During each year of the main phase, credits of 12 EC are reserved for the Indi-vidual Study Track.

internationalisationWe have a large population of students from various countries. In addition, the study programme is placed within an international perspective from the outset. Each study year includes a project week abroad, and we collaborate with other art schools throughout Europe. In addition to these activities, we receive exchange students for a semester, and our stu-dents have the opportunity to complete an exchange period at one of our part-ner institutes.

We recommend placing exchange programmes in Semester 6, under certain conditions. Advance permission from the department is required.

Propaedeutic yearExploration and visual development

full-time/Part-time: semesters 1 and 2

In the propaedeutic year programme, the programme focuses on visual develop-ment. The properties of photographic vis-ual language are investigated extensively, with technical skills providing a solid foun-dation. The individual abilities of students are explored in a broad packet of sub-jects, which are offered in a coordinated manner, when possible.

Field orientation to the discipline and its professional opportunities plays a central role in the programme. This orien-tation is provided in both theoretical and practical courses, as well as during field visits outside the Academy. The empha-sis is on learning to study and structuring the individual work process. Students are encouraged to pose questions for them-selves and attempt to find the answers. The process is supported by a coach and

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a professional practice programme. This phase creates the foundation for a profes-sional attitude that will enable students to develop the authorship that they will need for their future careers after the Academy.

At the end of the year, students will have gained sufficient insight from the programme in order to choose their pro-files for the remainder of the programme. The motivation for this choice is reflected in a final presentation and in the composi-tion of the portfolio. The course descrip-tions on the website describe the content, teaching methods, instructional forms and assessment of the programme com-ponents. The following study components are covered in the first two semesters:

+ Career orientation + Acquisition of professional practice and study skills

+ Image Development + Photojournalism, Conceptual docu-mentary photography, Photography Fiction (concentrating on people) , Photography Fiction (concentrating on mise-en-scène and space)

+ Photographic Technical Skills + Digital Workflow and Skills + Art/Photography History and Reflection + Research and Discourse + Graphic Design

main Phase/year 2Proficiency & in-depth research

full-time/Part-time: semesters 3 and 4

In this phase, students engage in more extensive and substantive research into the world of photography and the profes-sional practice of their chosen specialisa-tions in Documentary or Fiction photog-raphy (the latter specialisation is available only full-time). Considerable attention is devoted to the competencies required for the practice of the specialisation, with the social functioning and the development of social skills as key concepts. Extensive discussion is also provided with regard to the ethical side of the profession. In the Documentary field, photography focuses on the acquisition of background infor-mation (research) on a diverse range of topics before the actual act of photo-graphing. In contrast, Fiction photogra-phy emphasises the creation of concepts and the pursuit of proper visual execu-tion, in combination with sophisticated technical execution. Students regularly work together in multidisciplinary teams. An important motivation is to change the attitude of involved third parties. Students

are also introduced to specific options for applying their work in the following, highly diverse, markets:

+ Print media (e.g. newspapers, maga-zines, books)

+ Various electronic and social media + Autonomous museum space and other spatial presentations

Within these three frameworks, both spe-cialisations focus on the following:

+ Conceptual photography: images are regarded as guides to and/or trans-lations of ideas, texts, thoughts and experiences

+ Autonomous photography: photogra-phers investigate their personal artistic goals and possibilities

The second year is also divided into semesters, each of which is sub-divided into two thematic blocks (when possible). When necessary, the themes are adapted to the chosen specialisation or to the markets mentioned above. The course descriptions on the website describe the content, teaching methods, instructional forms and assessment of the programme components. The project week in Semes-ter 4 involves a week abroad, in which each student works on a project.

The following fundamental course com-ponents apply to both study profiles:

+ Genre Photography specific to the selected profile

+ Autonomous Photography + Photography Technical Skills + Image and Concept Development + Professional Practice Skills + Audio-visual Media, AV and Film Theory (as an elective after an intro-duction block)

+ Graphic Design + Image Development focusing on spa-tial presentation

+ Interactive Media Design and Media Theory (as an elective after an intro-duction block)

+ Art/Photography History and Reflection + Sociology + Communication

The Fiction specialisation concentrates on ‘staging people’ and ‘mise-en-scène’, as applied in fashion/lifestyle or com-mercial photography. The Documentary specialisation focuses on photojournal-ism and on documentary and conceptual documentary photography.

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main Phase/year 3Professionalisation & presentation

full-time/Part-time: semesters 5 and 6

Full-timeThe third year focuses on the use of research and skills to achieve profession-alisation. Previously acquired knowledge and skills are placed in relation to the field and professional practice. Students choose to engage with the world outside the Academy from their own personal viewpoints. The portfolio is based on this approach, and a thematic, project-based semester offers students the opportunity to test and define their positions within the professional world.

The components photojournalism and conceptual documentary photog-raphy are specific to the Documentary specialisation, and they are supported by a course in sociology. The Fiction spe-cialisation offers the sub-fields of mise-en-scène and staging people. Students substantiate their choices for one of these fields in a related project descrip-tion developed during a research period.

Special attention is paid to visual investigation (i.e. ‘artistic research’) and the student’s ability to work with a variety of visual strategies. The presentation of the work to the outside world is another prominent goal. Students work independ-ently and make highly individual choices. The realisation of the described plans and study content within the central project is accomplished in close consultation with the coach, fellow students and the team of lecturers, as is any participation in prac-tice projects.

The programme includes a number of elements for students from all speciali-sations:

+ Professional Practice Skills + Art, Photography History and Reflection

+ Audiovisual Media, AV (as an elective in the second year)

+ Interactive Media Design (as an elective in the second year)

+ Graphic Design for publication + Image Development aimed at spatial presentation

In the sixth semester, students com-plete one or two internships. These highly diverse experiences are related to the specialisation and at least one of the mar-kets mentioned above. Many students choose international internships within a

field of well-known and established pho-tographers.

During their internships, students learn to work in teams, with formulated assignments, within a time limit and in partnership with clients. They also gain valuable networking experience. Moreo-ver, the internships enable students to test their expectations regarding their own possible specialisations in the field. At different points during the internship, students return to the Academy to dis-cuss their experiences with the intern-ship supervisor and to receive informa-tion about the internship report. At these times, students also have the opportu-nity to exchange experiences with fellow students (second-year students are also present in these meetings as preparation for their choices in the following year). The internship supervisor writes a report, which constitutes part of the evaluation. Additional general information about the internship is provided in Section 6.1.9.

Part-timeThe part-time programme does not include an internship period. Part-time students must therefore initiate their own career orientation independently, albeit as part of the programme. In the sixth semester, students enter the examina-tion track, in addition to taking several foundation courses. Based on the orien-tation to professional practice, each stu-dent also prepares a properly substanti-ated choice of specialisation in relation to the discipline.

The following goals for this phase of the programme are intended to ensure that students:

+ have composed a study plan (profes-sional profile), with an updated accom-panying argumentation

+ have achieved the study objectives of the projects and programme compo-nents associated with this phase

+ have demonstrated that they have acquired the qualities, skills and insights needed to claim a position within the field of photography

+ have added depth to their research + have exhibited an independent study attitude

+ have demonstrated interest in all aspects of the work and design proc-ess and expressed interest in all aspects of the profession

+ are capable of completing the final phase of the programme successfully

+ have explored and experienced the field

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+ have demonstrated preparation as pro-fessional photographer

main Phase + final phaseProfiling and positioning

full-time/Part-time: semesters 7 and 8

This phase is characterised by ‘profiling’. The conclusion of the internship/career orientation period is the prelude to the final year of study. At this point, each student writes another study plan with a revised professional profile:

+ Photojournalistic / Conceptual Docu-mentary / Fiction Photography (staging people) / Fiction Photography (mise-en-scène), related to the written pro-fessional profile

+ assignment or commission, referring to the client profile chosen

+ project of the student’s choice, relating to the selected profile and presented in two of the presentation options/plat-forms: one corresponding to the meth-ods of professional practice and one focusing on the student’s possibilities for use (interdisciplinary)

+ thesis, in which students further expand and explain the research for their projects

+ portfolio + career preparation (including a busi-ness plan)

+ submission of work to an international photo festival (IST) or participation in a prestigious competition

final examinationThe programme concludes with a one-day examination, during which each stu-dent presents work prepared specifically for the exam, along with a well-designed thesis and portfolio. The professional pro-file, business plan and project descrip-tions provide information about the work presented. Each student is allocated a space for installing the presentation beginning at least four days in advance. On the examination day, students have the opportunity to explain and justify their work. The examination committee poses additional questions.

After the examination, graduating students focus on a group exhibition that is open to the public and accompanied by a catalogue. The examination commit-tee consists of the head of department and an external assessor, in addition to a representation of supervising lecturers from the final year. The external assessor is an expert in the field of photography.

2.6.4 Professional objectives

Propaedeutic yearExploration and visual development

full-time/Part-time: semesters 1 and 2

The propaedeutic year concludes with an examination during which students are assessed according to their suitability for the discipline. Students present and substantiate their work and demonstrate its accents. The work prepared for theory courses is part of the examination. Other factors considered include the students’ study attitude, and particularly their com-mitment and level of independence in the work process. The vision and depth that students have demonstrated in both the process and the ultimate outcome are important in passing the exam, as well as for the selection of their specialisa-tions. Students must be deemed capa-ble of completing the programme within the specified period and subsequently working as independent photographers.

The following objectives are inten- ded to ensure that students:

+ learn to study and organise the work and design process, including the acquisition of knowledge, understand-ing and skills related to the employment of substantive and formal visual means, and to apply the acquired knowledge, understanding and skills in order to improve assignments

+ develop an inquisitive, examining and self-critical attitude, taking initiative regarding the work, verbal and written communication skills and demonstrat-ing reflective and analytical ability

+ acquire theoretical knowledge and insight regarding the study content of the project

+ acquire technical skills related to pho-tographic tools and techniques, as well as 2D tools and techniques (e.g. draw-ing, painting and graphic techniques)

+ gain insight into the desired profes-sional field (i.e. editorial, commercial or otherwise)

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competencies for the propaedeutic year

Students are expected to master the fol-lowing competencies during this phase of the programme:

+ Students create work that explores new directions arising from the experiences and insights gained throughout the pro-gramme.

+ Students are able to discuss their own work and review its effectiveness and quality.

+ Students are willing to make new dis-coveries and able acquire new knowl-edge, insights and skills regarding vis-ual and theoretical aspects, as well as in the photographic field.

+ Students are able to develop and imple-ment their own working processes and to document and archive their work.

+ Students are able to justify their choices to use and implement certain sources, materials and/or visual solutions.

+ Students demonstrate broad interest in sociological and cultural develop-ments, in addition to recognising differ-ent approaches in photography.

+ Students are able to realise their own goals while adjusting to others.

+ Students are able to substantiate their choice of specialisation.

artistic technical domainThe development of a photographer/image maker commences at the start of the programme. A professional photog-rapher is not simply someone who takes pictures. Professional photographers share many characteristics with other visual artists. The general visual devel-opment of students therefore takes first priority in the curriculum. Attention is also paid to specific visual aspects related to the medium. The focal point is the work process, with the goal of developing con-cepts. The development of digital skills is the same importance as is the develop-ment of skills with regard to photographic tools and techniques.

theoretical domainIn the propaedeutic year, all students are taught general art and cultural history and academic skills. Students also participate in a programme covering the history of and reflection on art and photography, thus acquiring an extensive frame of refer-ence. They visit exhibitions and museums throughout the year, where they analyse and reflect on the work of others, both verbally and in writing. Debating skills on various topics are developed in the Career

Orientation course. Students are expected to write reports in various courses.

Professional social domainProfessional development takes place throughout the year, primarily through self-study. Students are required to visit exhibitions on their own, creating and maintaining a personal archive of reviews, book reviews and general information relating to the profession. In the Career Orientation module, these activities are related to the attitudes needed in order to work in the field and to meet to the demands of the discipline. At least two project weeks each year are reserved for investigating the professional field. During one of these weeks, students visit photog-raphers, editors, agencies and bureaus. In the other project week, students engage in fieldwork or visit a photo festival. Within the Academy, guest lectures are organ-ised regularly, in relation to current events in the field. Students are encouraged to participate in lectures and workshops in the field.

main Phase/year 2Proficiency and in-depth research

full-time/Part-time: semesters 3 and 4

The primary objective of the first part of the main phase is to provide students with a clear understanding of the field and the professional practice within the spe-cialisation of Documentary or Fiction. To this end, the programme is expanded in both breadth and depth. At the end of the academic year, students are expected to apply their full professional competence to the creative process, demonstrating a command of the actual profession as well as of their own professional attitudes. The execution of assignments is there-fore assessed according to the require-ments of the field.

competencies for year 2Students are expected to master the fol-lowing competencies during this phase of the programme:

+ Students are able to research and develop their own ideas in a methodi-cal and well-organised manner, draw-ing upon their artistic ambitions as pho-tographers.

+ Students are able to evaluate their own images and those of others with regard to content and to visual and communi-cative qualities, in addition to justifying their own photographic choices.

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

+ Students employ an inspiring way of working, managing their working proc-esses efficiently in terms of time and priorities.

+ Students are able to interpret assign-ments, debriefing them verbally and visually for specific goals and target groups.

+ Students research social and cultural sources in order to develop and iden-tify a clear set of inquiries in their own work; they are able to identify the goal and audience for their photography.

+ Students are able to engage in collab-orations, putting their talents to use within them.

artistic technical domainIn the second year, the focal point of gen-eral visual development shifts to the repli-cation and interpretation of methods. Stu-dents gain insight into the coherence of content and form by learning to control the creative process.

Concept development is examined in several different courses in order to cre-ate understanding of the working meth-ods (e.g. by analysing assignments, con-ducting substantive research, developing ideas and developing and implementing images). Students also have the oppor-tunity to broaden their work areas with elective courses in Audio Visual Media and Interactive Media Design, which sup-port research into the possibilities of the artistic process.

theoretical domainArt/Photography History and Reflection are taught throughout the year. In addition to the fixed course content, students are encouraged to extend the framework on their own by conducting research related to the practical course and/or projects. The building of a personal file is indispen-sable in this research process. Students are also asked to substantiate their opin-ions. Assessment is based on debates, an examination and a paper.

In the courses Film Theory and Media Theory, which are chosen in con-junction with the electives Audio Visual Media and Interactive Media Design, the frame of reference is widened and com-pared to that of photography.

Professional social domainAssignments in the curriculum proceed from the demands of functioning in and influencing the profession (i.e. the pro-fessional field) , which also constitute guidelines for assessment. The criteria are specified according to the working methods used in the field. In addition, practical courses in the specialisations are supported by courses in communi-cations and sociology, which focus on the start of the assignment, objectives, target audience and its consequences.

main Phase/year 3Professionalisation and presentation

full-time/Part-time: semesters 5 and 6

The entire year is dedicated to career preparation. Students must now demon-strate their ability to meet the requirement of making unique contributions to the field, in addition to meeting the standards of the outside world. The objectives of this study year are for students to exhibit their own work and function within the profes-sional field outside the academy. Over the course of the year, the internship is completed, after which the written profes-sional profile is assessed and adjusted. The written report, with conclusions about the internship period, provides the starting point for the final year, in which students are expected to bring this final phase to a successful conclusion. At the end of the third year, the course reviews and collec-tive assessment are merged into a single comprehensive assessment.

competencies for year 3Students are expected to master the fol-lowing competencies during this phase of the programme:

+ Students are able to formulate ideas and define their goals, in addition to engaging in research in order to develop and implement their visual concepts.

+ Students are able to adopt a position and relate their own work to develop-ments within the discipline that are rele-vant to the cultural and societal context.

+ Students have developed an authentic vision on photography, to which they are able to add depth.

+ Students are able to find the proper balance between their journalistic and market-oriented activities and those of a more logistical, general and techni-cal nature.

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+ Students are able to present and explain their work and working meth-ods convincingly, while keeping their goals and the target group clearly in view.

+ Students are able to make connec-tions between their own work and that of others, as well as between their work and particular audiences. They are also capable of using their work to react appropriately to their target audiences.

+ Students are able to operate in a goal-oriented manner within working situ-ations, taking different roles and with different responsibilities and interests, in addition to applying their individual talents to reach common goals.

artistic technical domainStudents explore the medium and deter-mine their own positions. Attention cen-tres on the students’ individual projects and the distinguishing features of the exe-cution of assignments. Authorship is evi-dent in the breadth of the work and port-folio. Students demonstrate their ability to use the contexts and settings in which the creative work can manifest itself (e.g. exhi-bitions; magazines, books and other print media; interactively and on the web). Con-cept development is specifically aimed at the outside world. Whether working on job assignments or on individual projects, students are expected to demonstrate awareness of the outside world and the ability to take advantage of such insight.

theoretical domainIn the course of the year, the student’s theoretical knowledge expands further. The history of and reflection on art and photography are specifically applied to further development in the critical review of the medium in relation to the students’ individual positions in the field. The vis-ual art and cultural world continue to play an important role in this regard, and the courses in communication and sociol-ogy help students to determine their posi-tions. Students are assessed according to debates, oral presentations and a writ-ten paper.

Professional social domainThroughout the entire year, the curricu-lum is guided by the professional social domain. The outside world is brought into the Academy through assignments based on professional assignments. Students present work in professional settings, and they are assessed accordingly. The assembling of a portfolio is of great impor-tance in preparation for the internship,

which offers students the opportunity to experience working in a professional environment. In addition, the completed assignments and projects are assessed according to project proposals and plans, budgets, funding and the ability to meet deadlines.

main Phase + final phaseProfiling and positioning

full-time/Part-time: semesters 7 and 8

In the final phase, students prove their abilities by applying their professional skills to position themselves within the field. In this way, they demonstrate their views on the photographic visual lan-guage, in addition to their ability to pro-vide an artistic interpretation of the work and to manifest themselves in such a way that they acquire a starting position within their chosen fields while influencing these fields as well. The examination project is presented in a professional manner, including descriptions, budget and fund-ing. Students must also create support for their examination projects outside the Academy by publishing at least one part of the work or by finding a commission-ing party or sponsors for their projects. Work on the examination is performed throughout the entire year.

The competencies for the final phase correspond to the final qualifica-tions of the programme.

creative ability + Students are able to develop, imple-ment and contextualise distinctive imagery in a meaningful way, draw-ing on their artistic ambitions and the results of their research.

+ Students form their points of departure based on their personal artistic visions, placing them in a broader cultural and social perspective.

+ Students use artistic and technical problems to develop comprehen-sive solutions, and they demonstrate their ability to use knowledge of and insight into the ways in which images, shapes, materials, proportions and col-ours evoke experiences and transfer meanings. Students also find relevant resources with which to photograph in an effective manner.

+ Students employ methods that ques-tion the concept (and/or process) on several occasions, and they use these findings to arrive at a better design.

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+ In their work, students demonstrate their ability to transfer meanings and cause experiences.

capacity for critical reflection + Students are able to reflect on, ana-lyse, interpret and judge their own work and that of others, thinking through the results in order to implement them pos-itively in their own work.

+ Students evaluate results based on communicative effectiveness and artis-tic value, justifying and overseeing the implications of choices and decisions.

+ Students demonstrate awareness of different views existing within the field.

+ Students demonstrate the ability to investigate all matters that are impor-tant for a design.

+ Students extend their knowledge of traditions and theories related to the discipline and of various visions on and approaches to their chosen pro-fessions based on both historical and contemporary philosophical insights (especially ethics and aesthetics) that are of potential importance to photog-raphers.

capacity for growth and innovation

+ Students are able to develop the depth and breadth of their visions, work and working methods through a continuing process of research, thereby contrib-uting to the discipline and to society.

+ Students demonstrate a desire to develop their personal artistic visions further.

+ Students demonstrate the ambition to excel.

+ Students demonstrate a critical and inquiring attitude regarding their work. Each student is able to develop this further into a body of work and an indi-vidual position.

+ Students are able to acquire new knowledge, insights and skills concern-ing techniques, legislation, processing and application possibilities, as well as public and professional approaches.

+ Students use criticism from others as a source of further development.

organisational ability + Students are able to arrange inspir-ing and functional working situations and organise their research, work and practice.

+ Students develop their own work proc-esses, and they are capable of seeing how various aspects of the medium are interconnected within the discipline.

+ Students make business arrange-ments, with the ultimate goal of work-ing independently as photographers.

+ Students are capable of managing the work process and finding a balance between substantive research, photog-raphy, logistics, facilitating and public activities.

+ Students know how to locate possible expertise through colleagues or spe-cialists from other disciplines and how to collaborate with them.

+ Students know how to document and archive their work.

communicative ability + Students are able to present their visions, research and work convinc-ingly, engaging in dialogue about it with clients and other interested parties.

+ Students are capable of obtaining and interpreting job assignments.

+ Students demonstrate the ambition to publish and exhibit their work and pro-claim their own opinions.

+ Students have an overview of the mar-ket and the mass media.

+ Students are capable of finding sup-port for their work.

+ Students communicate about their work orally, visually and in writing.

+ Students make and maintain contacts that are relevant to their own networks.

external awareness + Students are capable of relating their authorship to the artistic and societal context.

+ Students have a vision on the role and position of their discipline, and they are able to relate their work and convic-tions to those of others, as well as to developments in the cultural and social contexts.

+ In their work, students focus on the user and acquire knowledge neces-sary to adapt appropriately to particular groups of users.

+ Students are able to research all aspects relevant to their work.

+ Students study the work and visions of their peers, both nationally and inter-nationally.

+ Students place their own work in the perspective of traditions and theories related to the field.

+ Students recognise a wide range of views in relation to the profession of photographer from both the historical and the contemporary perspective.

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+ Students are inspired by a range of cul-tural and social sources, and they are able to recognise and identify them in their own work.

+ Students reflect on the function of the discipline in society.

capacity for collaboration + Students are capable of making inde-pendent artistic contributions to com-munal products or processes.

+ Students are capable of guiding col-laborative efforts and providing content and quality.

+ Students are able to achieve their goals while working with others.

+ Students are capable of utilising their talents and abilities in collaborative efforts.

+ Students are able to employ different roles, responsibilities and interests effectively and respectfully in the proc-ess of photographing.

artistic technical domainAfter having engaged in extensive explo-ration of the professional field, students use the final phase to sharpen and specify their own visual signatures, proceeding from specialisation and profiling within the medium. Students consciously strive to locate the boundaries of the discipline, moving beyond them if possible. This is particularly important with regard to the presentation of their work. The experi-ence of the work plays an important role in the development of the communica-tion concepts.

theoretical domainThe thesis is the culmination of the research conducted for the practical work. In the thesis, students establish their work and their position as makers within the broader context of the discipline. In the thesis, students demonstrate their abil-ity to engage both the historical and cur-rent situations of the medium, in addition to the situation of culture in general. The determination of standpoints is crucial in this regard.

Professional social domainThe activities of the examination are placed in the context of professional prac-tice and developed further. This means that special attention is paid to all mat-ters related to the entrepreneurship of the photographer. One part of the examina-tion includes a project in which students demonstrate their ability to place the work in the context of the discipline. In addi-tion to the examination projects, students

are expected to write business plans and generate publicity for their examination projects.

The content of the final stage of the part-time programme corresponds to that of the full-time programme. The projects are adapted to fit into three semesters. The objectives associated with the final phase of the programme are the same as the final qualifications and the associ-ated competencies.

2.6.5 organisation of the department*

The photography department has joint-heads: both are responsible for the department’s policy and all aspects related to this policy. The team of lectur-ers reflects the content of the programme and its professional structure. The coor-dinator is responsible for the day-to-day organisation of the department. Coaches are the first point of contact for matters related to study planning and problems arising with regard to the study.

Departmental communication takes place through the student portal of the KABK website, which contains all infor-mation regarding the study programme. The homepage of the student portal has a blackboard for daily announcements.

With a few exceptions, all of the lec-tures have their own professional prac-tices, working either independently or in a team. Because of the diversity in expe-rience and expertise, students are con-fronted with numerous aspects of and approaches to the discipline. Guest lec-tures are organised to provide specific knowledge of the professional field.

heads of department + Lotte Sprengers + Rob Hornstra

coordinator full-time + Marlène Kromhout [email protected]

coordinator Part-time + Raimond Wouda [email protected]

coordinator internship + Lotte Sprengers

staff + Anna Abrahams + Vincent van Baar + Ellen Dosse + Theo van Dusseldorp + Jan Frederik Groot

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+ Thijs groot Wassink + Johan Gustavsson + Sebastiaan Hanekroot + Rob Hornstra + Judith van IJken + Anja de Jong + Ton van Kints + Ben Krehwinkel + Ola Lanko + Ilse Leenders + Anneleen Louwes + Deen van Meer + Hans van der Meer + Krista van der Niet + Kim Nuijen + Pawel Pokutycki + Nancy Schoenmakers + Lotte Sprengers + Ewoud Traast + Ari Versluis + Loek van Vliet + Simon Wald-Lasowski + Donald Weber + Raimond Wouda

staff of lecturers in theory + Elke van Eeden + Ingrid Grootes + Ellie Smolenaars + Martijn Verhoeven + Henriëtte Waal

guest lecturers + Simon Bainbridge (external assessor June 2014-2015)

+ Kim Knoppers (external assessor 2012-2013, 2013-2014)

+ Paul Reas (external assessor 2013-2014, January 2014-2015)

+ Gerrit Scheurs (external assessor 2008-2009, 2009-2010)

+ Wim van Sinderen (external assessor January 2008-2009, 2009-2010)

+ Bart Sorgedrager (external assessor 2008-2009, 2009-2010)

+ Ruud Visschedijk (external assessor 2010-2011, 2011-2012, 2013)

+ Harvey Benge + Lars Boering + Koos Breukel + Sarah Carlier + Joerg Colberg + Anton Corbijn + Ad van Denderen + Hans Eijkelboom + Simone Engelen + Miklos Gaal

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

workshop Photography + Frans de Grood + Andrew Valkenburg

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

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propaedeutic Year main phase, Year 2

creative ability

capacity for critical reflection

capacity for growth and innovation

organisational ability

communicative ability

environmental orientation

capacity for collaboration

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

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

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

You are able to evaluate your own images and those of others with regard to con-tent and to visual and com-municative qualities, in addi-tion to justifying your own photographic choices.

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

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

You are able to develop and implement your own work-ing processes and to docu-ment and archive your work.

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

You are able to justify your choices to use and imple-ment certain sources, mate-rials and/or visual solutions.

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

You demonstrate broad interest in sociocultural developments, in addi-tion to recognising different approaches in photography.

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

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

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

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Main Phase, Year 3 Main Phase, Year 4

Creative ability

Capacity for critical reflection

Capacity for growth and innovation

Organisational ability

Communicative ability

Environmental orientation

Capacity for collaboration

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

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

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

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

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

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

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

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

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

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

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

You are capable of relating your authorship to the artis-tic and societal context.

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

You are capable of making independent artistic contri-butions to communal prod-ucts or processes.

PhotograPhy

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credit points overview

Photography full-time documentary (part 1)

Photojournalism PhJour 4 4

Photography Fiction People PhFicP 4

Documentary Photography PhDoc 4 4

Photography Fiction Mise-en-scène

PhFicS 4

Photography Technical Skills, Technical Skills Lab

PhSk, PhSkL 4 2 2 4

Photography Documentary 1

PhDoc 1 4

Photography Documentary 2

PhDoc 2 4

Autonomous Photography PhAut 3

Image Development (presen-tation in the 3rd & 4th year)

ID 4 4 2 1 2

Digital Workflow & Skills, Digital Lab

DIGI, DIGIL 3 2

Graphic design GD 2 1 1 2

ABPPW: multi disciplinary projectweek

ABPPW 1

Audiovisual/film or Interactive Media Design

AV or IMD 2 2 2

Final year project(s) 1 (assignment)

EX1 10

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

EX2 5 18

subtotal artistic & technical skills 112 19 19 14 12 14 15 18

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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PhotograPhy

Photography full-time documentary (part 2)

Art/Photography History and Reflection

APhH 3 3 3 3 3

Research and Discourse R&D 3 3

Sociology SOC 2 2 1

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

Fth or Mediath 2 2

Studium Generale SG 1

Thesis Thes 6 3

subtotal theoretical domain 37 6 6 7 7 4 6 3

Career Orientation CO 2 2

Programmed Professional Practice Skills (nww, fieldtrip ao)

PPSprog 2 2 2 3 1 3

Integrated Professional Practice Skills

PPS 1 1 1 1 3 3

Internship: preperation, internship and report (*)

IS 2 24

subtotal social & Professional domain 55 5 5 3 4 6 24 3 3

IST / Personal Programming & Projects

IST 6 6 6 6 6 6

subtotal ist 36 6 6 6 6 6 6

total 240 30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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credit points overview

Photography full-time fiction (part 1)

Photojournalism PhJour 4

Photography Fiction People PhFicP 4 4

Documentary Photography PhDoc 4

Photography Fiction Mise-en-scène

PhFicS 4 4

Photography Technical Skills, Technical Skills Lab

PhSk, PhSkL 4 2 2 4

Photography Fiction 1 PhFic 1 4

Photography Fiction 2 PhFic 2 4

Autonomous Photography PhAut 3

Image Development (presen-tation in the 3rd & 4th year)

ID 4 4 2 1 2

Digital Workflow & Skills, Digital Lab

DIGI, DIGIL 3 2

Graphic design GD 2 1 1 2

ABPPW: multi disciplinary projectweek

ABPPW 1

Audiovisual/film or Interactive Media Design

AV or IMD 2 2 2

Final year project(s) 1 (assignment)

EX1 10

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

EX2 5 18

subtotal artistic & technical skills 112 19 19 14 12 14 15 18

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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PhotograPhy

Photography full-time fiction (part 2)

Art/Photography History and Reflection

APhH 3 3 3 3 3

Research and Discourse R&D 3 3

Communication COM 2 2 1

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

Fth or Mediath 2 2

Studium Generale SG 1

Thesis Thes 6 3

subtotal theoretical domain 37 6 6 7 7 4 6 3

Career Orientation CO 2 2

Programmed Professional Practice Skills (nww, fieldtrip ao)

PPSprog 2 2 2 3 1 3

Integrated Professional Practice Skills

PPS 1 1 1 1 3 3

Internship: preperation, internship and report (*)

IS 2 24

subtotal social & Professional domain 55 5 5 3 4 6 24 3 3

IST / Personal Programming & Projects

IST 6 6 6 6 6 6

subtotal ist 36 6 6 6 6 6 6

total 240 30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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credit points overview

Photography part-time documentary (part 1)

Photography Technical Skills, Technical Skills Lab

PhSk, PhSkL 5 3 6 2

Digital Workflow & Skills, Digital Lab

DIGI, DIGIL 3 3

Autonomous Photography PhAut 8

Photojournalism PhJour 8 4

Documentary Photography PhDoc 8 4

Interactive Media Design (in combination w/ Media Theory)

IMD 4

Audiovisual/film (in combina-tion with Film Theory)

AV 4

Image Development (presen-tation in the 3rd & 4th year)

ID 6 2 2

Graphic design GD 2 2

Final year project(s) 1 (assignment)

EX1 10

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

EX2 6 4 16

subtotal artistic & technical skills 112 14 14 14 14 14 12 14 16

Art/Photography History and Reflection

APhH 3 3 3 3 3

Research and Discourse R&D 3 3

Sociology SOC 2 2

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

Fth or Mediath 2 2

Thesis Thes 3 3 3

subtotal theoretical domain 38 6 6 5 5 5 5 3 3

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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Photography part-time documentary (part 2)

PhotograPhy

Career Orientation (also through selfstudy)

CO 3 3 3 3 3 3

Programmed Professional Practice Skills (fieldtrip ao)

PPSprog 1 2

Integrated Professional Practice Skills

PPS 2 2 2 2 1

Internship: preperation, internship and report (*)

IS 1 1 1 1 2 4 4

EVC (Elswhere Acquired Competences)

EVC 4 4 2 3 1

subtotal social & Professional domain 58 10 10 7 7 5 7 7 5

IST / Personal Programming & Projects

IST 4 4 6 6 6 6

subtotal ist 32 4 4 6 6 6 6

total 240 30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

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2.7

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2.7 textile & fashion

2.7.1 general description of the discipline

The Bachelor course Textile & Fashion consists of two fully-fledged study pro-grammes: Textile Design and Fashion Design.

“L’art de capter l’air du temps.”–Coco Chanel

The art of the designer could be described as ‘the art of capturing the spirit of the times’. Both the textile designer and the fashion designer must possess, develop and learn to refine this talent.

If we look at history, the function of textile was traditionally limited to protec-tion. Nevertheless, besides a purely func-tional purpose, weavers also managed to incorporate the spirit of the times. Cloths, carpets and fabrics, for example, reflected the history of a community or culture, its important events, status, wealth, vision, aesthetics and origin. In this sense, textile can be regarded as a canvas, reflecting traditions and the spirit of the time. The rich history of textile is therefore an impor-tant source of inspiration for both textile and fashion designers.

The phenomenon of fashion, as we know it today, emerged much later. The real breakthrough occurred in the 19th century with the emergence of the bour-geoisie and individualism, which became a prominent theme in contemporary cul-ture due to the Enlightenment. Charles Frederick Worth was the first dressmaker to present himself as an artist by signing his name to his work on a label sewn into the garment. He also decided to bring out a new collection every year, thereby introducing the phenomenon of con-stantly changing fashion trends. Later, at the beginning of the 20th century, Paul Poiret, who also surrounded himself with artists, continued to push the bounda-ries of fashion. Thanks to these pioneers, fashion was raised to a higher level and acquired artistic as well as purely func-tional value.

Both disciplines, fashion and textile, originated from craftsmanship. The tai-lor’s and the weaver’s crafts remain the essential technical foundation from which our designers-to-be develop their unique, artistic style and express their creativity.

current state of the disciplineNothing reflects the times quite as truly as fashion and everything related to it.

Designers therefore need to be partic-ularly sensitive to signs of transition. They must develop a talent for sens-ing future developments and respond-ing to changes in society in a personal and visual way. They must find their own form of expression – one that is relevant within the realm of fashion or the world of textile. This is done by reflecting on fashion and textile, by analysing existing concepts regarding ethics and aesthet-ics, and by adopting the flexible attitude needed to survive in a constantly chang-ing environment in order to make a state-ment nationally and internationally, and to keep reinventing themselves. To arrive at an individual visual language, designers must reach beyond the limits of the dis-cipline in search of innovative forms and textures. Today’s designers must there-fore immerse themselves in every form of art and culture from which inspiration could be derived, as well as be capable of thinking and acting in an interdiscipli-nary way.

They must be able to develop their own voice in a globalised fashion or design industry – a voice that makes a difference.

2.7.2 study profile

contemporary professional practice: the professional profile

Textile and fashion designers develop a special skill, a visionary perspective that allows them to capture the spirit of the times better than anyone else. To culti-vate this sensitivity, KABK’s study pro-gramme devotes much attention to reflec-tion and research. The time in which we live as well as the past, the arts and the social context are important. Designers should by nature be interested in the new and unfamiliar. Rather than limiting them-selves to their own domain, an interest in other disciplines such as art, sociol-ogy, anthropology, semiotics, psychology and visual culture is required, allowing them to draw artistic, practical and the-oretical knowledge from these sources in order to develop a unique vision and create authentic work in the form of a collection. Of course, designers will also familiarise themselves with the textile and fashion world to determine their own role and place in the industry.

The Textile & Fashion domain is very diverse and calls for a disciplined approach and attitude. It encompasses not only creation but also visualisation, environment, execution, presentation,

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communication and professional behav-iour. Designers must be able to evolve and grow, and develop a strong vision that makes a difference. Whether they opt for their own label or work in teams for large fashion houses, it is imperative that they master their craft perfectly. It is also important that designers are broadly developed, so that they are in tune with society and are able to create their own vision of it.

Sound professional knowledge, coupled with relevant creativity, innovation and accurate experimentation, is abso-lutely central to our programme.

fashion designersThe focus of Fashion Design is on the necessary and specific skills of the craft. Alongside the importance of craftsman-ship, most attention is devoted to inno-vation, experimentation, creativity and relevance. The emphasis is on artistic authenticity. Students are encouraged to push their boundaries and develop their personalities as fully as they can.

Finally, the programme includes everything that forms part of the spectrum of fashion, such as photography, style, image development, presentation, com-munication, space and time. The ultimate goal: addressing fashion in the broadest sense of the word.

textile designersTextile Design offers a very broad spec-trum of professional opportunities. These opportunities will all be explored during the programme, giving students the free-dom to decide what kind of designers they want to be: autonomous designers, interior designers, industry or product development designers, or designers for fashion collections, to name a few pos-sibilities.

It goes without saying that when it comes to textile, the development and processing of materials plays a crucial role. In the programme, this knowledge is linked to ultimate creativity. The freedom to experiment with various disciplines during the four-year course will allow stu-dents to make interesting – as opposed to obvious – choices, develop a strongly content-oriented signature style, and dis-cover their identity as a textile designer.

description of the programmeThe objective of the study programme is to train students to be independent and professional designers. We guide their individual development process in a semi-professional context.

What is unique about KABK is that the Fashion Design and Textile Design courses are integrated into one study pro-gramme. However, each specialisation has a separate approach and trajectory, allowing students to graduate in either Fashion or Textile. This ensures interac-tion and unique opportunities for creative cross-pollination, which gives this course a specific identity.

In 2003, the study programme of KABK’s Textile & Fashion department was completely rewritten following the model of the fashion department of the Royal Academy of Fine Arts in Antwerp, which regards creativity, innovation and rele-vance as key capabilities. KABK shares this philosophy and has applied it to its study programme in The Hague.

Complex professional knowledge forms the basis with which future fashion or textile designers launch themselves into further endeavours in the discipline to create the most relevant collection or project possible. Designing a collection or creating a textile project therefore plays a central role in the programme.

Students are encouraged to develop their personal vision, style and creative signature. Finding a relevant balance between fashion on the one hand, and the textile aspects of their work on the other, is essential.

After the first joint semester in the propaedeutic year, the textile and fashion specialisations separate into two different programmes. Students are required to choose one of these programmes. Each programme is characterised by exten-sive and intensive research, supported by theoretical subjects designed to provide students with the required content-based skills. Courses such as Art/Fashion/Phi-losophy and Textile, Design and Costume History form an important part of the cur-riculum and are included to stimulate the development of a relevant and personal creative interpretation. From the second year, a historical costume or object, and in the third year, an ethnic costume or item, will be given as study assignment. This assignment is seen as an impor-tant analysis and reflection exercise, and forms an inspiring basis for the develop-ment of the student’s own professional collection.

Another important course in the programme is Drawing. Through model drawing students are taught to examine, to analyse and to think and design three-dimensionally. The ultimate goal here is to develop an authentic visual language. Fashion drawing gives students the

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opportunity to develop their artistic talents and qualities as designers while teaching them to design and communicate.

Finally, technical skills are essen-tial in order for the students to be able to express all that creativity and to create an innovative and experimental, high-quality collection. Hence the focus on the techni-cal aspects of the métier. In the textile pro-gramme a central place is dedicated to exploring the three main technical skills: weaving, knitting and printing. The fash-ion programme focuses on experimental pattern studies, modelling, tailoring and finishing.

final qualifications for textile & fashion

Graduates are expected to meet the final qualifications formulated by KABK, which are listed in the competencies table at the end of this chapter.

diplomaGraduates are awarded the Bachelor of Design (Bdesign) degree in either Textile Design or Fashion Design. This qualifies them for postgraduate programmes in the Netherlands or abroad.

Postgraduate studiesAfter obtaining the Bachelor degree in fashion or textile design, graduates may enrol in a Master programme in either fashion or textile design (Mdesign). For fashion designers, these postgraduate programmes allow them to focus on col-lections, accessories and specialisations. Textile designers focus on the interior, the industry, product development and con-cept design.

2.7.3 study programme overview: full-time

The Textile & Fashion department only offers a full-time, four-year programme. The first year is the propaedeutic year, which is followed by the main phase. After the second and third years, the final year is completed with an internship, a thesis and a fashion collection or textile project.

The propaedeutic phase can be regarded as an orientation year in which the students, during the first semester, explore challenges in both disciplines with regard to form, 3D, materials and tech-niques.

With the exception of the propaedeu-tic year, in which the design assignments are mostly experimental in nature, the fol-lowing three years are fully devoted to the development of a professional collec-

tion or project. The designs are assessed based on the professional standard. To mimic a real-life professional environ-ment, the work of students is evaluated on the basis of fittings and the feedback of teachers, each of whom are experts in their field. Attention is paid to quality, the entire work process, volumes, mate-rials, drawings, execution, as well as to samples and essential research. The final year culminates in a fashion show for the fashion designers and in installations for the textile designers.

Each academic year is divided into clusters which each represent a specific domain in the programme and become more refined and distinctive with each study year. These clusters are:

+ Design I: textile design, fashion design + Design II: technical design (textile) , technical design (fashion)

+ Visualisation: visual development, pho-tography

+ Drawing: model drawing, 2D forms and colour studies, fashion drawing

+ Theory: art history, fashion, textile and design history, thesis

+ Other: internship, Individual Study Track

individual study track (ist)The Individual Study Track is a one-day, weekly programme in which students develop their own highly individualised programmes, in which anything is pos-sible as long as it is related to their own artistic research.

2.7.4 educational and professional objectives

The assignments in each study year are clearly aligned to serve a collection or graduation project. They are designed to guide the students in their search for a personal style and creative signature. In addition, guest lectures and workshops are organised about specific professional domains.

artistic technical domain

Propaedeutic year

Orientation to the professional field

In the propaedeutic year the focus is on the disciplines of Textile Design and Fash-ion Design, enabling students to orient themselves prior to choosing one of these directions in the second semester.

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Then a foundation is laid for a pro-fessional and international vision and development. Knowledge and the mastery of materials, techniques and conceptuali-sation are developed throughout the pro-gramme and, from the first year, form one of the most important pillars for express-ing their creativity.

In the propaedeutic year, creativity is stimulated and encouraged in students by allowing them to experiment freely, giving them the opportunity to discover and explore their creative personalities as thoroughly as possible. Textile students explore the various possibilities and disci-plines that the world of textile has to offer.

Fashion students experiment with forms, expressions, techniques and a wide range of materials, exploring inno-vative ideas and the interaction between fashion and the human body.

The propaedeutic phase offers a wide range of supporting subjects. Knowl-edge of textile, various textile processing techniques and experimental formal stud-ies, together with image development and drawing, are the basis for elaborating on a concept and arriving at a design proc-ess. At the end of this year, the experi-mental designs are presented in combi-nation with the outcome of the clusters. For the fashion designers, this is a skirt, a dress and an experimental creation; for the textile designers, a reversible kimono, a personal textile archive and an experi-mental design.

All first-year students follow classes in pattern drawing and technical subjects such as knitting, weaving and printing. This gives them a useful repertoire of skills upon which to draw in their further studies, generating added value for both disciplines.

year 2Historical and social research

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

which creating a historical costume in fact is, the assignment is expanded to include self-selected sources of inspira-tion, which are used to create a relevant, contemporary design and interpretation.

At the end of the study year, the fashion students present the results of all clusters, their replica of a historical cos-tume and a coherent collection of four outfits inspired by it.

Textile DesignTextile students also choose a historical object, figure or material as the starting point for their research into context, mate-rials and techniques. They, too, make a replica of their selected object. Using the information obtained about materials, col-ours, techniques and social context, sup-plemented by new sources of inspiration, the students are expected to present their work in the form of an installation that makes a contemporary, adequate and innovative statement. Like the propaedeu-tic year, the second year offers students the freedom and opportunity to experi-ment with a range of basic techniques, including knitting, weaving, printing and patterns, and to explore different textile disciplines as a career option, such as interior or fashion. Students may decide to move in the direction of sustainable or innovative textiles, or they may choose an autonomous approach.

At the end of this study year, the students present the results of all clus-ters, their historical textile replica and the contemporary three-dimensional interpre-tation of the design.

year 3Delving into the diversity of ethnic groups

Fashion DesignAfter having explored the history of the historical costume, third-year students conduct research into the many differ-ent types of ethnic groups. Each fashion student chooses a folkloristic or ethnic costume for their collection as the point of departure for an extensive study. Insights gained into ethnic, technical and social characteristics, supplemented by new sources of inspiration, are used to design a relevant, contemporary collection.

At the end of the third year, the stu-dents present the results of all clusters, their replica of an ethnic costume and a collection consisting of six silhouettes.

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Textile DesignTextile students study an ethnic or folk-loristic textile or object to learn about a culture which serves as a source of inspi-ration for an individual collection. Their research includes analysing historical, cultural and anthropological data, con-ducting technical research and studying materials, colours, techniques and tex-tures. The students experiment with vari-ous techniques in their search for alter-native ways to produce a replica of the selected textile or object. Personal hori-zons are expanded by drawing inspira-tion from other sources in order to arrive at a relevant interpretation. The aim of the assignment is to incorporate all this research material in a contemporary and innovative textile project which includes various contrasts, structures, movements, varieties and forms.

At the end of the third year, the stu-dents present the results of all clusters, their replica of an ethnic textile or object, and their contemporary textile project with a three-dimensional translation.

graduation yearIndividual collection

Fashion DesignIn the final phase of the programme, during the graduation year, students are free to choose a theme of their own. The emphasis during this phase is mainly on the students’ individual and autonomous creation process and their personality as a future designer. The theme and the source of inspiration serve as a guide to arrive at a relevant contemporary inter-pretation, via their personal blueprint and creative signature. All acquired interdis-ciplinary skills will be utilised during this stage of the programme and the gradu-ates will develop partnerships with pho-tographers, graphic designers, fashion agencies, businesses and communica-tions officers. In their thesis, students reflect on their own work, the relevance of their designer role and critically reflect on their learning path.

The fashion designers must have completed all clusters by this phase, and are expected to present their thesis and a collection of 10 silhouettes.

Textile DesignThe textile designers are also free to choose a theme and a textile discipline for their graduation project. This project must be of high quality and be an expres-sion of the graduate’s creative personality. The final project must be a three-dimen-

sional installation. The textile design, entire research process and personal experi-ment with different textile techniques will be evaluated.

Like the fashion students, the tex-tile students work in an interdisciplinary manner to achieve their project goals and are expected to present the final result in a visual way.

The textile designers must have completed all clusters by this phase, and are expected to present their thesis and a three-dimensional textile project.

Walk-through and concept discussion

The final result, the fashion collection or textile installation, is presented to a team of lecturers with their own professional practices from the first year onwards. For the fashion designers, the presenta-tion includes a number of fittings; for the textile designers, it takes the form of an installation.

The fashion designers will be evalu-ated based the skills they have developed and which are necessary for the métier, such as insight into formal studies, cut, pattern knowledge, moulage, drapery, modelling, knowledge of machinery and materials, converting two-dimensional images into three-dimensional forms working from a fashion drawing, sewing techniques and finishing.

For textile designers, knowledge of textiles is of paramount importance. Stu-dents are expected to master all the tech-niques and finishes, and must be able to apply them to their creation or design, which of course must reflect their unique vision and personal creative style.

supporting courses

Visual developmentThis course focuses on the development of a unique visual language. Students learn how to create images and make them concrete through the use of collage, photography and drawing. A personal style or ‘signature’ is obtained through intensive research, image analysis and drawing. Students learn to turn experi-mentation, creativity, innovation, reflection, knowledge, intuition, emotions or passion into a visual language that is unique to them. This process is also useful in devel-oping their own artistic vision and will give them the tools to communicate with the outside world, including the professional world, through these images.

This visual language will be used in a later stage to create a house style,

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collection books, websites and portfolios for the purpose of internships, the press, magazines, competitions, job applications and individual projects.

PhotographyThrough photography, the students first learn to observe, and later also to visu-alise. The visual culture is an important source of inspiration and offers students a framework for developing their own con-temporary images.

DrawingDrawing is an important component of the academic study programme and many aspects of this discipline are covered, both in the Textile Design and Fashion Design programme. The ultimate ‘goal’ for each field is the development of a per-sonal style.

In the model drawing lessons, the focus is on drawing from the nude and still-lifes, through which students are taught about anatomy, proportions and drawing techniques.

Two-dimensional forms and colour theory are topics in which themes such as space, colour and line are explored.

Fashion drawing helps the fashion students develop their own artistic expres-sion and create a design from the draw-ing board. Textile students search for their own form of expression and learn to vis-ualise the design process by instruction and practice in observational drawing.

theoretical domain

art historyAll students at the Academy need a solid theoretical base. In addition to knowledge, this foundation rests upon insights into such aspects as history, paradigms, the-ories and processes that are related to the students’ disciplines, as well as to other disciplines that could help students develop as individuals and as designers. A basic knowledge of art history and phi-losophy is essential to the meaningful realisation of the professions of textile and fashion design within the general frame-work of artistic development.

fashion, textile and design theory

Fashion theory addresses the rela-tionships between fashion and soci-ety, between fashion and context and between fashion and culture. Students are introduced to the social and sub-stantial functions and relevance of fash-ion. The course constitutes an orienta-

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

thesisUpon entering the final year, students have knowledge of the most important developments in art and design. They are able to reflect, undertake independ-ent research and present their findings orally and in writing. In this study compo-nent, each student is individually super-vised in the completion of the programme with a thesis that is relevant to the work, has substantial depth and that provides insight into the student’s views and opin-ions about art and design in a contempo-rary and historical context. Students are also expected to provide a written expla-nation of their work for the final exami-nation, along with a core description of themes and point of views.

Professional social domain

Professional developmentThe final assessment in the final phase also marks the achievement of the career preparation.

The presentation of the textile and fashion collections is organised as an independent exhibition of the graduate’s work in the city of the Hague. Students complete the final presentation by adding their own surroundings or contexts and by directing the presentation themselves. The members of the final examination committee evaluate the graduation can-didates and their collections. The depart-ment’s exhibition also offers students the opportunity to display their work to fashion and textile professionals, the press and a large audience.

The second phase of the presenta-tion evaluation focuses on the following aspects:

+ synthesising the design procedure with a personal signature (total collection of 10 outfits and a textile installation)

+ developing a personal style (image) + developing a general style (for Exposed: the textile and fashion exhibition at the end of the school year)

+ completing the portfolio

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+ realise a magazine in collaboration with external agencies (graphic design department/agencies, model agencies, photographers or department), adver-tising, printing

+ preparing the individual presentation and reception

+ preparing the installation for Exposed and the general graduation show

+ internship

assignments

Propaedeutic yearUnlimited creativity in combination with thorough technical research and formal studies are the basis for the first-year assignments.

The first semester includes:

+ Designing and conducting preliminary studies for creating a cotton skirt: study of form, material and expression.

+ Designing and conducting preliminary studies for a textile work with a personal signature.

The second semester includes:

Fashion Design: + Designing and conducting preliminary studies for a dress in an experimental material of the student’s choice.

+ Experiment in which at least three dif-ferent materials are used for one sil-houette.

Textile Design: + Reversible kimono for which different techniques (e.g. knitting, weaving and printing) are used.

Study programme components

+ Textile and fashion design + Technical textile and fashion design: weaving, knitting, printing

+ Visualisation: visual development + Drawing: model drawing, fashion draw-ing, 2D forms and colour studies

+ Theory: introduction to general art his-tory, introduction to science, costume and design theory

year 2 + Study of a historical costume, figure or object and the creation of a replica using all the information obtained. This study is an exercise in form, technique, context and style. The replica should be made from white cotton and reflect the original as faithfully as possible.

+ Designing, drawing and creating a col-lection of four fashion outfits or a textile installation. Research and presentation form part of the process. The starting point is a historical perspective and a freely chosen source of inspiration. The Textile programme also includes col-our studies.

Study programme components

+ Design I: textile design or fashion design

+ Design II: technical design textile, and technical design fashion, draping

+ Visualisation: visual development, pho-tography

+ Drawing: model drawing and 2D forms and colour studies, or model drawing and fashion drawing – technical draw-ing

+ Theory: art history, fashion theory + Individual Study Track.

year 3 + Research into and creation of a rep-lica of an ethnic costume and/or object (including preliminary studies) . The replica should reflect the original as faithfully as possible, both in terms of material use and colour use. The cos-tume will be presented in an appropri-ate atmosphere, setting and casting.

+ The purpose of this assignment is to arrive at a contemporary and authen-tic interpretation. For Textile, the focus this year is on texture.

Study programme components

+ Design I: textile or fashion design + Design II: technical design textile and technical design fashion, draping

+ Visualisation: visual development, pho-tography

+ Drawing: model drawing and 2D forms, colour studies, or model drawing and fashion drawing, technical drawing

+ Theory: art history, fashion theory, busi-ness plan writing

+ Individual Study Track

year 4 + Creation of a final collection working from a freely chosen, well substantiated theme. For the fashion designers, the graduation project comprises a collec-tion of ten silhouettes. For the textile designers, the graduation project is a textile project with a three-dimensional translation.

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+ Design, realisation from start to finish, and presentation of a collection of ten fashion outfits with appropriate cast-ing, including intensive research and drawings. Or a textile project with a three-dimensional translation, in com-bination with an interesting experiment and textile design.

In the final year, textile graduates will also make a magazine and organise an exhi-bition with installations of their own work. Fashion graduates will organise a fashion show that resembles those in the profes-sional fashion world.

Study programme components

+ Design I: textile or fashion design + Design II: technical design textile and technical design fashion, draping

+ Visualisation: visual development, photography, portfolio, magazine

+ Drawing: model drawing + Theory: thesis + Other: Individual Study Track, internship

Credit points overview

NOTE: for the most current overview of credit points please visit:

www.kabk.nl > studies > textile & fashion

2.7.5 organisation of the department

The head of department is responsible for the department’s policy and all aspects related to this policy. The team of lectur-ers reflects the content of the programme and its professional structure. Many of the lecturers have an international back-ground and their own professional prac-tices in which they work independently or in teams.

The diversity of the team of lecturers ensures that students are confronted with a wide range of aspects and approaches relating to the profession. Specific prac-tical knowledge is also offered through guest lectures.

head of department + Jurgi Persoons [email protected]

coordinator + Gerrit Uittenbogaard [email protected]

+ Sanne Jansen [email protected]

internship coordinator + Gerrit Uittenbogaard [email protected]

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

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

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competencies

propaedeutic Year main phase, Year 2

creative ability

capacity for critical reflection

capacity for growth and innovation

organisational ability

communicative ability

environmental orientation

capacity for collaboration

You are able to develop designs, images or spatial works in which they explore new directions, based on the insights and experi-ences they have gained in the course of the pro-gramme.

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

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

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

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

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

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

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

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

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

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

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

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

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

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Main Phase, Year 3 Main Phase, Year 4

Creative ability

Capacity for critical reflection

Capacity for growth and innovation

Organisational ability

Communicative ability

Environmental orientation

Capacity for collaboration

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

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

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

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

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

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

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

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

You are able to present and explain your work and meth-ods in a convincing manner.

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

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

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

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

You are able to make an independent artistic contri-bution to collaborative products or processes.

textile & fashion

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credit points overview

Textile and Fashion Design 7

Fashion Design 7 7 7 7 7 3

Technical Aspects and Skills 4 4 4 4 4 4 2

Draping 3 3 2 2 1

Introduction to Textiles and Weaving 2 2

Knitting 2 2

Print and Dessin 2 2

Model Drawing 2 2 2 2 2 2 1

Fashion Drawing 3 3 2 2

Technical Drawing 1 1 1

Visual Development 2 2 1 1 3 3 1

2D Forms and Colour Studies 2 1 1 1

Photography 1 1 2 1 1

Fashion and Textile History 1 1 1 1 1 1

Art / Fashion Filosophy 1 1 2 2

Studium Generale 1

ABPPW 1

Research and Discourse 3 3

IST 6 6 6 6 6 6

Thesis 6

Internship 15

Graduation Project 18

Business Plan Writing 1

total 30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

fashion

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Textile and Fashion Design 7

Fashion Design 7 7 7 7 7 3

Technical Aspects and Skills 4

(Introduction to) Textiles and Weaving 2 3 3 3 2 2

Knitting 2 3 3 3 2 2 2

Print and Dessin 2 3 3 3 2 2

Model Drawing 2 2 2 2 2 2 1

Fashion Drawing 3

Visual Development 2 2 1 1 3 3 1

Concept and Perception 2 1 1 1 1

Textiles and Space 2

2D Forms and Colour Studies 2 1 1 1

Photography 1 1 1 1 1

Fashion and Textile History 1 1 1 1 1 1

Art / Fashion Filosophy 1 1 2 2

Studium Generale 1

ABPPW 1

Research and Discourse 3 3

IST 6 6 6 6 6 6

Thesis 6

Internship 15

Graduation Project 18

Business Plan Writing 1

total 30 30 30 30 30 30 30 30

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

1

2 3 4 5 6 7 81

2 43Year

Semester

textile

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PreParatory education

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PreParatory courses

3.1

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3.1 Preparatory courses

The Royal Academy of Art (KABK) in The Hague offers the following options to prospective students wishing to prepare themselves for one of the regular study programmes at the Academy:

+ School for Young Talent + Preparatory year + Orientation course + Combined education + Kids Club

In addition, several secondary schools participate in partnership projects with the Academy, which allow pupils of these schools to take classes at the academy as part of the regular art curriculum. Whenever possible, the Academy pro-vides the art and visual education classes (KUBV; formerly the third level of cultural and artistic education, or CKV 3) in the upper levels and fulfils the examination requirements established for this course. Such partnerships have been concluded with the following schools:

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

Efforts are currently underway to expand the range of art programmes offered and the coverage within the surround-ing area. Several schools in Zoetermeer and Alphen aan de Rijn are currently in consultation with the KABK regarding the possibility of joining the preparatory courses.

general informationThe KABK offers a wide range of pre-paratory courses. All are aimed at bring-ing people into contact with art educa-tion and offering them programmes that correspond to their specific needs and levels. Selection and orientation are key terms in this regard. On the one hand, the Academy wishes to offer talented people the opportunity to enhance their qualifi-cations, the ultimate goal being for them to be able to progress to professional art education. Secondly, the preparatory courses offer participants the opportu-nity to investigate whether a study pro-gramme at the Academy and the pros-pect of a career as an artist or designer are a viable option for them. The possi-bility of transferring between the various preparatory courses gives participants as many opportunities as possible to follow

the routes that are best suited to them.The KABK offers the following prepara-tory courses:

+ Kids Club (Years 7 and 8 of primary education: ages 10-12)

+ Partnership arrangements with second-ary schools (Segbroek College in The Hague, Bonaventura College in Leiden, Rijnlands Lyceum in Wassenaar and Zandvliet College in The Hague)

+ School for Young Talent (our own sec-ondary school pupils of HAS, HAVO and VWO)

+ Combined education, in which second-ary pupils take classes within the art plans or the School for Young Talent

+ Preparatory Year (full-time for one year after secondary education)

+ Orientation Course (Saturday Course)

Participation in one of the Preparatory Courses is subject to admission. Appli-cants should bring as much different work as possible to the admission interview. Appointments can be made through the Student Administration office.

more information

Chief Coordinator for Preparatory Courses

+ Zanne Zwart [email protected]

Coordinator of Preparatory Year

+ Nieke Koek [email protected]

Admission consultation hours: by appoint-ment, admission consultation hours for pupils and parents: by appointment.

3.1.1 school for young talent

The School for Young Talent (SYT) is a school established by the University of the Arts, The Hague, for pupils in primary education (Years 7 and 8) and secondary education. The school offers programmes at three levels of the Dutch school sys-tem: HAS, HAVO, and VWO. The school is open to pupils who would like to progress to the KABK, the Royal Conservatoire or the Conservatoire’s Dance Department. The SYT is a small-scale programme in which individual attention for pupils plays a central role.

The education is offered in the framework of the HAVO and VWO sub-ject clusters Culture and Society. Other

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profiles or subject choices are possible through the Academy’s intensive partner-ship with the Rijnlands Lyceum in Was-senaar. An administrative partnership exists between the SYT and the Haag-sche Schoolvereniging and the Rijnlands Lyceum in Wassenaar. The schedule is arranged in such a way that pupils tak-ing the art component take classes at the Academy at least four times a week. The fixed school subjects are taught in sec-ondary school building housed within the Royal Conservatoire. In this building, the pupils in the visual art group take com-bined classes with pupils of dance and music.

ParticipationA two-part admissions procedure applies for pupils wishing to participate in the combined classes at the SYT and the KABK. Although pupils in Year 8 of pri-mary school can undergo the admissions process, pupils can only enter in the art department of the SYT once they have started secondary school. Candidates are assessed to determine whether their artistic level is sufficient for the classes at the Academy. In the case of a positive assessment, an interview follows with the director of the SYT in order to determine whether the applicant’s academic level is sufficient and whether it corresponds to the educational programme offered. If both components receive a positive assessment, the applicant can be placed in the KABK/SYT. Interim admission (i.e. in all years and at all levels) to the SYT is possible. In practice, this does not apply to the examination year. Interim admis-sions require consultation with the edu-cational programme that the student has been following up to that point. Many indi-vidual-level variants are possible, that can result in a regular HAVO or VWO second-ary-school diploma in addition to prepa-ration for the Academy.

For the 2015/2016 academic year, the tuition fees for the SYT are set at € 1,750. This does not include costs for materials and excursions. For additional information, please see the separate bro-chure from the School for Young Talent.

See also: + www.svjt.nl + www.koncon.nl

Pupils who have been admitted for the programmes in visual arts take classes at the Royal KABK in The Hague, which is located at 10 minutes’ walking distance from the Conservatoire. Classes offered in

the initial phase of secondary school edu-cation introduce pupils to various mate-rials and techniques and teach them to realise and elaborate their own ideas, in addition to other opportunities. This pro-vides students with a good foundation for the secondary phase, where they make well-considered choices and enter a more individually oriented track, in preparation for a subsequent study programme in art education. In the examination year, each pupil builds up a broad portfolio specifi-cally aimed at admission to one of the study programmes of the KABK.

Courses included in the curriculum of the art component include Drawing/Painting, Photography, Graphic Tech-niques, 3D, Concept Development, The-ory, Interdisciplinary and Art Theory, in addition to supplementary modules that provide orientation with regard to the vari-ous specialisations offered at the KABK. Students also have the opportunity to work independently within the Academy and to use various facilities, including the library and the wood, metal, multimedia, 3d printing, photography, graphics and textiles workshops. Customised curricula are possible, in consultation, provided that the overall range of education allows for this. Pupils attend the KABK for at least three half-day periods each week. They are supervised by lecturers who are famil-iar with both secondary education and the training provided at the Academy. All the lecturers are practising artists them-selves.

Collective assessments are con-ducted twice a year. For the ‘Christmas’ and ‘Summer’ assessments, individual pupils create displays of their work from the past semester in designated locations within the Academy building. The team of lecturers views these presentations jointly, asks the pupil questions, and issues an assessment. If the Christmas assess-ment is unsatisfactory, the participant has the time remaining until the next assess-ment in which to improve. In most cases, if the final assessment of the school year is unsatisfactory, the participant will not be allowed to continue the study pro-gramme. In special cases, participants may be allowed to retake the art compo-nent, to perform a task or to receive a con-ditional pass for the art component. The curriculum devotes considerable atten-tion to excursions, cultural trips and exhi-bitions. There are also many projects in which the pupils participate. Participants can also use the facilities offered by the Academy, subject to the rules regarding safety relative to their age. A separate

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classroom area is reserved exclusively for use by pupils of the School for Young Talent. The ‘SYT Workshop’ is launched in the 2014/2015 academic year. This class-room space has the form of one large communal workshop. Additional informa-tion is available on the website and in the BK newsletters at www.svjt.nl.

study variantsPupils can participate in the programme from the first year of secondary education. Pupils who are even younger can take a selection of subjects at the Academy in combination with the programme pro-vided by their own school. It is also pos-sible for pupils to transfer in later years. Pupils who have completed the theoreti-cal track of VMBO at another secondary school can apply for admission to the School for Young Talent to complete the HAVO curriculum in combination with the visual arts programme. Pupils who attained the HAS traject and took a State Examination at VMBO theoretic level, can follow a special programme by contract and take several HAVO subjects. This contract is rewarded a sufficient level for the pupil to do admittance for a Bachelor study at the KABK.

special combined learning track

It is possible to combine secondary edu-cation at the KABK with an external study programme. This is usually arranged on a case-by-case basis, because the schedules do not always mesh. In theory, it should be possible to follow at least part of the curriculum followed by pupils of the School for Young Talent. Participa-tion in this preparatory track is subject to an admissions procedure. Where pos-sible, the applicant’s own school will be consulted, in order to determine to what extent participation in the preparatory track can be combined with the regular school curriculum. This form of partici-pation is offered in exchange for a fee, based on the number of classes/half-day periods taken. Pupils taking final exami-nations at the School for Young Talent in the visual arts programme receive a separate certificate for the art component. After earning their HAVO diploma, a pupil can apply for admission to the KABK. The following KABK study programmes are offered at the level of higher professional education (HBO): Fine Arts, Photography, Graphic Design, Interior Architecture and Furniture Design, Textile and Fashion, Interactive/Media/Design and Inter-faculty ArtScience. A separate admissions pro-

cedure is required for these programmes, linked to the final examination for the vis-ual work. These admissions are usually organised jointly with students in the Pre-paratory Year.

admissionsPupils who want to participate in the com-bined classes offered by the School for Young Talent and the KABK must undergo an extensive admissions procedure. Interim admission to the School for Young Talent is possible. To apply for admis-sion, the pupil must contact the Student Administration office at the KABK (+31 (0)70-3154770) to make an appointment. The pupil is asked to bring a portfolio (i.e. a folder composed of original work created by the student) to this appointment. They can also bring a laptop to display videos, photographs or other digital products. Pupils are expected to use this work to demonstrate what they have been doing recently. The work will be examined for evidence of creative capacity, motivation, aptitude, ideation, uniqueness/original-ity and capacity for growth, in addition to diversity and the ability to work with mate-rials and techniques. All of these aspects are discussed with the student during the interview. After the admissions interview, a decision will be taken on whether the pupil is eligible for admission or whether a second interview will be held, possibly with a follow-up assignment. If the pupil is eligible for admission, a second admis-sions interview will be held with the direc-tor of the school to look at the academic component. If this aspect is also satis-factory, the pupil can be given a place. For additional information about admis-sions procedures for the various study programmes, please visit the website www.kabk.nl.

SYT Director

+ Jan van Bilsen

Head of the SYT Visual Arts Department

+ Zanne Zwart [email protected]

3.1.2 Preparatory year

The Preparatory Year is aimed at moti-vated people who still lack sufficient prep-aration to be admitted to the regular study programme or feel a need for a broad ori-entation preparation before starting their regular studies at the Academy. The Pre-

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paratory Year prepares participants for all the study programmes offered by the KABK. The objectives of the Preparatory Year are orientation, selection and stim-ulation.

admissionsIf you want to participate in the Preparatory Year you need to undergo an admissions procedure to see if you can develop to be a part of the professional art programme and are motivated to fulfil the whole year. Your skills and knowledge according to the world of art are rated. Your work will be examined for creative capacity, motiva-tion, talent, ideation, originality and capac-ity for growth (openness), in addition to diversity and the ability to work with differ-ent materials and techniques. This con-sists of an interview and a presentation of work. After the final assessment of the Preparatory Year, and depending on the study outcomes, students may be admit-ted to the regular study programme at the Academy.

In addition to the possibility of apply-ing for direct admission to the Preparatory Year, some students who have registered for the regular degree programme may also be advised to take the Preparatory Year first. The Preparatory Year is aimed at people who have already earned a VWO, HAVO or MBO 4 diploma. For appli-cants who do not yet meet this admis-sion requirement, there is also an option of completing the required prior educa-tion through a contract with the School for Young Talent (SYT), the Academy’s own secondary school. Information about this option is provided under the heading ‘Special Combined Learning Track’.

Applicants can also take a special test to demonstrate that their academic capacity is equivalent to the HAVO level. We therefore advise all Preparatory Year participants who have not completed HAVO, VWO or MBO to take this test as soon as possible. If the outcome of this test is negative, the student is advised against further participation in this pre-paratory track and encouraged to seek another more suitable study programme outside the Academy. Additional informa-tion may be obtained in a consultation for the preparatory courses.

Appointments for the admissions con-sultation hour can be made through the Student Administration office:

+31 (0)70 315 47 70

curriculum The curriculum consists of a diverse range of classes taught by lecturers affiliated with the KABK. The courses offered could be described as ‘observ-ing and processing the world around you’, ‘observing and processing the art world’, ‘presentation’ and ‘disciplines’. These courses focus on communication skills and the capacity to transform experiences and observations into images. There is an emphasis on the study attitudes and mentality that are needed to study at the Academy.

The year can be divided into three periods. The period before the Christmas vacation is characterised by a broad ori-entation and includes assignments with a wide scope, leaving space for individual interpretations and approaches. During the first period, students gain consider-able experience viewing exhibitions, films and other cultural expressions, and for-mulating reactions to these. A subscrip-tion to the Filmhuis and Theater aan het Spui is included in the first period. The study programme demands full-time effort, autonomy and active participation from the students.

After the first semester, students choose the directions they wish to pursue further. As a result, the second semes-ter, which runs from January through March, has a more individual character and focuses more specifically on a par-ticular subject area. Students are brought into contact with the Bachelor department of choice at the Academy.

The third part of the programme consists of six weeks, starting from late March, during which students work in the Bachelor departments they have cho-sen, preparing themselves for the admis-sions procedure that will follow in late May. As the above overview shows, this programme has a tiered structure. Cus-tomised curricula are possible, in consul-tation, provided that the overall range of education allows for this. It is also pos-sible to work in a variety of workshops, subject to the procedures and rules that apply there. A number of excursions and projects are also organised for students to take part in.

assessments Assessment takes place at two points in the programme. The first assessment is in December, and involves the head lectur-ers of the various Bachelor departments. The second takes place in late May. This final assessment forms the basis for a report, which also constitutes a certifi-

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cate of participation for the year. This final report is connected to an admissions pro-cedure. Individual students present their work and select the department for which they would like to apply. A special commit-tee from this department will then admin-ister a separate admissions procedure.

Students who are not admitted via this procedure have sufficient time to improve their portfolios in order to par-ticipate in the regular admissions round of the department in question. The Pre-paratory Year is successfully concluded when the student is admitted. During the year there are three rehearsal presenta-tion days.

workspaceWe advise all students in the Preparatory Year to create their own workspaces/stu-dios at home so that they can also work at their own pace there, with a sufficient variety of materials at hand.

materialsThe materials that are required are speci-fied for each course. The Academy build-ing houses a shop where materials may be purchased. The ultimate cost of mate-rials will differ and are strongly dependent upon the choices and ideas of individual students.

general informationParticipants in the Preparatory Year are not registered as regular students, and they do not receive financial assistance for students. The costs of participating in the Preparatory Year amount to € 2,000, including a fee of € 200 for the theatre and film subscription and the excursions. Parents may be eligible to receive addi-tional benefits the form of child payments if no financial aid is available for a study programme. Information in this regard is available at www.duo.nl. Classes are held on three days, in order to allow stu-dents sufficient time during the week to create work and to visit cultural sites and events and, where relevant, for part-time employment to help support themselves. In addition to these class days, students are expected to be present on five pres-entation days, as well as for excursions, projects, a Saturday information day and the open day.

Students who withdraw from the Preparatory Year after 1 November 2015 cannot claim a refund of the tuition fees or additional fees. To register for admission and for additional information, please call the KABK: +31 (0)70 315 47 70, or con-tact the Student Administration office to

make an appointment for an admissions consultation.

Coordination

+ Zanne Zwart [email protected]

+ Nieke Koek [email protected]

3.1.3 Partnership projects with secondary schools

In order to improve coordination and pathways between secondary educa-tion and the degree programmes offered by the Academy, and to offer secondary school pupils the opportunity for a thor-ough preparation for such a study pro-gramme in professional art education at the KABK, the Academy has several part-nerships with schools within and outside The Hague. Several other projects are cur-rently being developed. Many secondary schools are focusing more and more on art and culture, as reflected in the estab-lishment of schools with a specific cul-ture profile.

Many secondary students find it dif-ficult to form a realistic view of studying within a professional art programme. In addition, the quality standards applied by most professional art programmes differ from the standards and curriculum of art subjects in secondary schools. Often, the curriculum of the art subjects is insuffi-ciently oriented towards the development of talent. A number of the participating secondary schools’ art classes currently come to the Academy one afternoon a week, to take classes that supplement their own school curricula. Classes from both phases of secondary education are involved in this project. Where possible, classes at the Academy are incorporated into the regular school curriculum, thus making the study load part of the regular programme.

From these programmes, pupils can transfer to more intensive forms of preparation, including the actual prepara-tory courses, the School for Young Tal-ent and the Preparatory Year. In the near future, it will also be possible for pupils from external schools to take their KUBV examinations through the KABK.

structure and coursesDuring the first three years of the ‘art plan,’ pupils are introduced to the various study programmes offered at the Academy. This allows them to acquire a broad founda-tion for the choices they make in the sec-

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ond phase. We conform to the following core objectives specified by the Ministry of Education for the first three years:

1. Core objective 48: Art production

‘By using elementary skills, pupils learn to investigate and apply the power of vari-ous artistic disciplines to express their own feelings, to document experiences, to give shape to their imagination and to realise communication’. Considerable attention is devoted to reflection in each class. All assignments call for students to use their own imagination, with guidance from the lecturers. In this way, pupils are encouraged to represent their own worlds in two-dimensional and three-dimensional objects and digital products. Pupils doc-ument ideas and experiences in blank notebooks known as ‘dummies’, which are later used to create preliminary stud-ies and come up with objects for autono-mous assignments. A dummy is a per-sonal journal in which the pupil can work both during and outside of class hours. This book makes an important contribu-tion to the realisation of this core objec-tive. This core objective revolves around the production of art, which is what hap-pens in every class, in the broadest sense of the term.

2. Core objective 49: Presentation of original work

‘Pupils learn to present their own artistic work to third parties, both individually and as part of a group’. The presentation of original work regularly takes place within each separate class, as well as upon completion of a block of classes within a single discipline. In addition, pupils learn to discuss their work within their own groups and to familiarise themselves sufficiently with the relevant concepts to explain their stories as well as possible. At the end of the school year, all work is presented jointly to an audience made up of all interested parties. The collec-tive exhibition, which is prepared by the pupils, provides an opportunity to view and discuss the work.

3. Core objective 50: Learning to look at and listen to art

‘Based on a certain level of background knowledge, pupils learn to look at visual art, to listen to music and to watch and listen to theatrical, dance and film per-formances’.

The art plan devotes considerable attention to excursions in which look-ing at art plays a central role. In addi-

tion to separate excursions planned by individual groups within each discipline, a collective excursion with all the pupils is always planned as well. During these excursions, pupils experience art and cul-ture in person, which helps them to under-stand and appreciate art. Each excursion is accompanied by an assignment and pupils report on the excursions in their dummies. In addition, exhibitions are often held in the gallery of the Academy build-ing, which pupils are free to visit. Each dis-cipline also pays attention to exhibitions within the discipline that have a particu-lar relevance to the subject matter of the classes, allowing pupils to take the initia-tive to attend these exhibitions outside of these classes.

4. Core objective 51: Reporting on experiences

‘Assisted by visual or auditory resources, pupils learn to report on their participa-tion in artistic activities (as both observ-ers and participants)’.

In their dummies, pupils keep a record of their own experiences with art and culture. These reports receive atten-tion and discussion during the classes. Pupils learn to express their experiences with the artistic expressions of others, including those of professional artists, both orally and in writing. The develop-ment of individual opinions is of great importance in this regard. The develop-ment of a good vocabulary with which to communicate about art is taught in a light-hearted manner.

5. Core objective 52: Reflection on artistic work

‘Students learn to reflect orally and in writ-ing on their own work and the work of oth-ers, including artists’. Within the art plan, students learn to verbalise their opinions of things and what they have learned dur-ing the creative process.

The art plan is intended for stu-dents with an above-average interest in art. Within this plan at the KABK, they are introduced to the various study pro-grammes that the Academy has to offer. We aim to offer these students a curricu-lum that is as good and diverse as pos-sible and that achieves the core objec-tives stated above. We hope that this will provide students with an incentive to con-tinue within the world of art. Our art plan provides a solid base for this ambition.

subject packageThe subjects that are offered this year are as follows: Visual Art, Graphic Design,

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Interior Architecture, ArtScience, Textile and Fashion, Graphics and Photography. These subjects are offered in modules of approximately six classes.

PartnershipThe partnership currently consists of the following schools:

+ Segbroek College: first-year, second-year and third-year classes ‘Segbroek Art’. The upper level includes the sub-ject Art and Visual Education (KUBV) see also www.kunstopsegbroek.nl

+ Bonaventura College Leiden: first-year, second-year and third-year classes and upper level ‘Visual Art and Design Plan’, also known as ‘Art Plan’

+ Rijnlands Lyceum Wassenaar: first-year, second-year and third-year classes, and upper level ‘Visual Art and Design Plan’ also known as ‘Art Class’

+ Zandvliet College The Hague: first-year, second-year and third-year classes, and upper level ‘Visual Art and Design Plan’, also known as ‘Art Class’

The KABK also strives to achieve bet-ter coordination with senior secondary vocational education (MBO). Possibilities include the development of continuing learning tracks (professional column).

admissionsAn admissions procedure is required in order to participate in one of these art plans. This admissions procedure oper-ates through the schools, in cooperation with the lecturers of the KABK. Please inquire at specific schools regarding the procedure and admissions requirements.

Coordination

+ Zanne Zwart [email protected]

3.1.4 combined education

At the KABK, it is possible to combine art courses with secondary education. This is usually arranged on a case-by-case basis, given that the schedules do not always correspond to each other. In theory, it should be possible to follow at least a part of the same curriculum followed by stu-dents of the School for Young Talent. An admissions procedure is required for par-ticipation in this preparatory track. Where possible, the applicant’s own school will be consulted, in order to determine the extent to which participation in the pre-paratory track can be fit into the regular

school curriculum. A fee is required for this form of participation, based on the number of classes/half-day periods taken. After completing HAVO, a student may apply for admission to the KABK. A sepa-rate admissions procedure is required for these programmes, in combination with the final examination for the visual work.

admissionsAn extensive admissions procedure applies for participation in the combined classes at the School for Young Talent and the KABK. Interim admission to the School for Young Talent is possible. In order to be admitted, the student must contact the Student Administration office at the KABK (+31 (0)70 315 47 70) to make an appointment for consultation.

For this consultation, the student brings a portfolio (i.e. a folder composed of original work created by the student). Students may also bring laptop com-puters in order to display videos, photo-graphs or other digital products. Students are expected to use this work to demon-strate what they have done recently. The work will be examined for creative capac-ity, motivation, talent, ideation, unique-ness/originality and capacity for growth, in addition to diversity and the ability to work with materials and techniques.

All of these aspects are discussed with the student during the interview. After the admissions interview, a decision will be taken concerning whether the student is eligible for admission or whether a sec-ond interview will be held, possibly with a follow-up assignment. If the student is eligible for admission, a second admis-sions interview will be held with the direc-tor of the school in order to examine the school component. If this component is also satisfactory, the student can be given a place.

‘speccie’ Pupils who are following a special com-bined learning track are sometimes referred to as ‘speccies’. Because the schedules of the Academy and those of the students’ own schools vary from year to year, we request that ‘speccies’ contact the coordinator at the beginning of each academic year in order to agree upon a schedule for that year. In this way we can prevent a ‘speccie’ from following the Drawing/Painting course on Thurs-day afternoon for a whole year, and then taking the same course on Wednesday afternoon the following year, to name an example. It is possible to take either one or two courses each week.

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Coordination

+ Zanne Zwart [email protected]

3.1.5 orientation course

The Orientation Course is primarily intended for those who are considering entering a study programme at the Acad-emy. This course introduces students to the mentality, working methods and study attitudes required for a programme at the Academy. The course takes place over 14 Saturdays (including one day excursion).

First course: 26 Sep. 2015 – 30 Jan. 2016from 10.00 a.m. – 3.00 p.m. (break from 12.30 until 1.00 p.m.) Second course: 20 Feb. 2016 – 4 Jun. 2016 from 10.00 a.m. – 3.00 p.m. (break from 12.30 until 1.00 p.m.)

The Orientation Course at the KABK offers students the opportunity to develop them-selves and familiarise themselves with the various study programmes. The empha-sis lies on both process-based working methods and the discovery and develop-ment of the students’ own artistic ambi-tions. Societal orientation plays an impor-tant role in this regard.

Students can expect a voyage of discovery that challenges them to develop an inquisitive, visual attitude. The tech-niques and exercises that are offered are tools to this end; they do not consti-tute ends in themselves. The emphasis is more on the process than it is on the final product. Students regularly receive homework assignments that reinforce this process. During the classes, students develop their own portfolios that demon-strate what they are capable of, but also what inspires them: the source of their ideas and the artists with whom they feel an affinity (i.e. their ‘artistic families’). To create a better overview of the subject area at the end of the cycle of classes, it is important to address societal orienta-tion in addition to the classes. The course is taught by lecturers from the Academy.

admissionsParticipation in the course is subject to an admissions procedure. This admis-sions procedure consists of several com-ponents:

+ Presentation of a portfolio. This is a col-

lection of drawings, sketches, designs, models, images, photographs, paint-ings, 3d, works in textile/wood/metal, movies and other works that individual students have created on their own ini-tiative. The addition of a visual journal in which students record their sources of inspiration and their ideas, plans, expe-riences and insights is also important. Please contact the undersigned if you have questions about this.

+ The questionnaire. Students should take this with them to the work day.

+ The work day and the admissions inter-view. Students receive assignments and work under the supervision of various lecturers at the KABK for one day. During this day, the student and a member of the admissions commit-tee discuss the results, along with the portfolio.

The work day and the subsequent admis-sions interview for the first course of the 2015/2016 academic year will be held on:

12 September 2015 10.00 a.m. – 4.00 p.m. (all registrations from before 11 September 2015)

The work day and the subsequent admis-sions interview for the second course of the 2015/2016 academic year will be held on:

6 February 201610.00 a.m. – 4.00 p.m. (all registrations from after 11 September 2015) registration and tuition

Registration is possible only using the registration form on the KABK website. Tuition for the 2015/2016 academic year amounts to € 550 (including the registra-tion fee and a day excursion) per course. The amount must be paid in advance for the entire course. No tuition will be refunded in case of illness, absence or premature withdrawal from the course. After registering using the admissions form, students are automatically notified of the admissions day and the question form.

Students must provide their own materials for the classes. A shop located within the Academy building has com-piled a package especially for participants in this course. This package can be pur-chased at a reduced price.

For questions or additional information, please contact:

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Chief Coordinator for Preparatory Tracks

+ Zanne Zwart [email protected]

Coordinator + Willem Goedegebuure [email protected]

If you would like to make an appointment to discuss the preparatory courses during the dedicated consultation hour, or you have a question according the online reg-istration for the admission, please contact the Student Administration office:

+31 (0)70 315 47 70 3.1.6 other activities

Within the European Exchange frame-work, an exchange project has been established within the preparatory courses with the Instituto Statale d’Arte/Lyceo Bruno Munari in Vittorio Veneto, Italy. Like the School for Young Talent, this school combines secondary education with higher art education. The Academy also participates in various projects in The Hague that are aimed at introducing young children to Visual Arts and Design. Activities include Kunstbende contests and projects by Nest, the Rewire festival, the TodaysArt festival and a range of gal-leries and museums. The preparation of exhibitions and expositions in galleries and other locations forms part of the cur-riculum. In addition, throughout the entire year, information days are held at sec-ondary schools in the region, providing intensive information for prospective stu-dents of the KABK. In collaboration with the Faculty of Arts, a unique art-education model is being developed, which will be elaborated further in the coming years.

Coordination

+ Zanne Zwart [email protected]

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

to build their admissions portfolios.

when, how and where? The Kids Club meets every Friday after-noon from 4.30 to 6.00 p.m. in a class-room of the KABK at Prinsessegracht 4 in The Hague. Admission is open, which means children can choose to attend only once, every week or every other week. New participants should use the follow-ing e-mail address to let the team know that they would like to attend, so they can check whether they belong to the right target group and if there is space avail-able. Attendance costs are € 37.50 for 5 sessions (€ 7.50 per session), including materials, drinks and a treat. This five-session-card is available at the recep-tion desk.

exhibition All works that are created within a six-month period are stored at the Academy. Exhibitions in which all of the works are displayed are held at the end of each period, once in December and once in June. For many children this is their first exhibition. Anyone can attend these exhi-bitions, and all works are taken home at the end.

materials The cost of a class includes materials. This means you do not need to carry around pots of paint. We attempt to use a different material in each class. For example, during this six-month period, we have used paint, paper, clay, charcoal, wire, plaster, fabric, ink, sheets, potatoes, etching pens, etching paper, an etching press, wood, plastic bags and other mate-rials. First-time participants receive a letter containing an overview of which materials will be used in which weeks. Participants are obviously allowed to bring any materi-als from home that they would like to use.

Coordinator and lecturer

+ Zanne Zwart [email protected]

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master artistic research (mmus)

The Master Artistic Research (MAR) is a two-year interdisciplinary Master Trajec-tory for Research in the Arts, and is aimed at students working in the field of visual art and/or music. The programme is a col-laboration between the Royal Academy of Art and the Royal Conservatory, both in The Hague. It was established at the Royal Academy (KABK) in 2009. Around the same time, the PhDarts, the first PhD in Fine Art in the Netherlands, came into being, as a collaboration between the Royal Academy of Art (KABK) and Lei-den University. Both programmes play an important role in the developing conversa-tion around artistic practice as research.

The articulation of ‘artistic research’ as a demarcated activity has emerged out of an enquiry into what sort of knowledge art can be said to contain, or embody, and how this knowledge relates to more traditionally academic knowledge. Artistic research can be understood as making space for research in the arts by artists (as opposed to research about the arts by non-artists). Artistic research embraces the confusion of experience and the com-plex woven nature of our interactions with the world, and looks for ways to reveal the languages, concepts, and material responses we bring to that world-meeting in artistic and creative ways.

Visual artists and musicians have always researched, without it being named as such, but the uniqueness of artistic research lies in its merged pro-duction of these materials within what could be understood as a visual, discur-sive, and social text or fabric - the many stranded accumulation and production of knowledge within artistic research prac-tices blurs both academic and artistic boundaries.

Students of the MAR are specifically taught a heightened self-reflexivity in rela-tion to their artistic practice. Emphasis is placed on extending students’ research skills, including the ability to gather rele-vant material, to undertake close reading, listening, and looking, and to locate and understand connections within a matrix of research material. Reflective empha-sis is also placed on how the materials of art practice transmit their meanings. The ‘materializing practices’ of creative activ-ity are necessarily unpredictable, and in engagement with any artistic object or moment, semiotics, sensation, and affect are experienced together, by an embod-ied spectator. Finding ways to conceptu-

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

Master Artistic Research students carry out the following activities to fulfill their study point requirements for graduation:

+ Attend regular individual tutorials and group classes with practice, theory, and writing tutors.

+ Participate in course research groups with their peers.

+ Regularly present new works to tutors and fellow students to demonstrate their artistic evolution and the relation-ship between his/her research proc-esses and artistic work.

+ Complete reflection papers in year 1 and an Artistic Research Statement paper in year 2.

+ Actively participate in guest workshops and theoretical seminars, and attend guest lectures.

+ Periodically exhibit or perform new work in MAR exhibitions and events and actively contribute to the organization and putting together of these events.

General learning objectives: + The Master Artistic Research teaches students to critically reflect upon and analyze their artistic practice, in order to develop their artistic outputs to a level suitable for autonomous professional practice in the fields of music and/or visual art.

+ Students are led to explore an expanded field of practice, extending into new areas and further developing aspects of their practice, which may have received limited support due to the restrictions of their disciplinary backgrounds.

+ Students learn to position their prac-tices within wider debates in their respective fields, and in relation to wider social and academic discourses.

+ Students are taught how to present their artistic work within the profes-sional context through the putting together of exhibitions and events, with critical reflection and input from tutors and professionals in their field.

+ The Master Artistic Research teaches students discursive written and oral means to communicate their practice and disseminate their research to audi-ences within and outside of their field.

the musical dimension of the course:

Our course offers a research environ-ment for expanded practice. It enables visual artists and musicians to explore

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the possibilities that come with engage-ment in each other’s fields. Some of our students’ practices already operate on the borderline between music and art. For these students it offers a chance for a deeper dialogue, for critical reflection on the significance of this position, and for a greater level of expertise in a field that has not formed their primary working back-ground. Our guest programme includes practitioners working on this borderline, who share their expertise and insight into this way of working and the position it entails professionally with the students.

The musical dimension of the course can allow further development of areas of art practice related to sound –such as the development of sound for installation art works, video, and film work. Conceptions of performance in relation to both music and visual art can be explored in new ways, including the creative poten-tial of instruments and the voice, and the ideas and methodologies related to musi-cal composition and performance. Stu-dents can participate in selected courses at the Conservatorium to increase their knowledge about specific areas.

the study ProgrammeThe research proposal of each individual student, submitted on application to the course, forms the point of departure for the two-year Master trajectory. This pro-posal outlines areas of specific interest for investigation as well as areas of prac-tice that the student would like to further develop, extend or break open. This pro-posal is revisited and revised during the course of the study, and results typically in a series of artistic products alongside reflection papers on their practice, and in year 2, an Artistic Research Statement paper.

The methodologies artistic research entails are as diverse as artistic practice itself, and include inter-personal dialogue; reading and discussing philosophical and art theoretical texts, artists’ writings and academic essays; gathering and working creatively with aural, visual, and physical materials; forming image-based, textual, musical, and sound archives; watching and making films, doing interviews, visit-ing exhibitions, attending performances, and carrying out collaborative experi-ments with people in other fields. An exploratory, focused approach to these activities and the continuous further development of lines of enquiry define them as research.

The study is conceived as a mix of prat-ical and theoretical research. It is under-stood that the status of what constitutes research or an artwork can be fluid, and students are encouraged to consider the many aspects of their course work as an integrated field of research, and to develop, strengthen and reflect on the matrix of relationships between practice and theory in their work through ongo-ing dialogue with their tutors and fellow students. One important focus of the core teaching curriculum is to encour-age reflection on the form each practice takes, on how the needs of the research might be most fully articulated in specific artistic/musical products.

Students are provided with a work-ing space and have access to the exten-sive workshop facilities of the Royal Acad-emy and the Royal Conservatorium. (For details, please see the KABK website.)

During the course students learn to develop critical reflection in relation to their own work and their areas of interest, to analyze and explore ideas and find-ings, and to communicate these with oth-ers through speech and on paper. In the first year, the research trajectory is docu-mented and explored through research reflection papers, in which students reflect on and analyze their unfolding process and their relationship with the strands of external input they have worked with over two semesters (including texts they have studied and other materials from their core tutors, research groups, and visi-tors to the course). These reports provide insight into the departure points, meth-ods, and outcomes of the artistic process and form an important basis for dialogue with tutors. In the second year, students complete a single Artistic Research State-ment, which will bring reflection on their final artistic presentation together with considered analysis of texts and other external source materials studied over the year. This statement will embody how these materials relate, or form part of the greater whole that is the student’s artistic research practice.

All students participate in one artis-tic research group per year. An invited external tutor leads this group in the spe-cialized study of a particular area of inter-est. The research groups for 2015/16 are ‘Art + Politics,’ led by Maria Hlavajova, and taking place partly at BAK, Utrecht, and ‘Between Thought and Action - The Dynamics of performance,’ led by Franc-esco Bernardelli. The research groups fol-low a programme of lectures, seminars, and workshops. Each research group is

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supported by guest lectures and/or studio visits by practitioners and theorists. Each student will select one of the set texts from their research group as a special object of study, and complete a written text in relation to it as part of their reflec-tion paper (year 1) or Artistic Research Statement (year 2).

Each semester there is an addi-tional programme of guests: artists, cura-tors and theorists, specifically selected to support the interests of the current stu-dents. In the second year, students take part in professional practice skills work-shops, and curatorial workshops, both of which help them prepare a professional final presentation.

Each year, the MAR also organ-izes student excursions, to visit sites of special interest, or to take part in inter-national workshopping events with stu-dents from other schools. We try to make these excursions as affordable as possi-ble, but we cannot finance student travel and accomodation, so we offer them as important optional extras to the core cur-riculum.

During the course of the academic year, a number of exhibitions and events are organized during which students can practice presenting their work at a profes-sional level. These events are guided by core tutors and sometimes by a curator, or other expert from the field. These are important developmental moments within the course structure, and students are asked to critically reflect on the process and outcomes of these events, treating them as a valuable learning opportunity as well as a means to disseminate their work to a wider public. These exhibitions and events take place within the galleries and auditorium of the Royal Academy of Art, at exhibition spaces in The Hague, and if appropriate, other public spaces.

The Master Artistic Research has a close working relationship with the Acad-emy of Creative and Performing Arts, fos-tering the students’ involvement in a wider artistic research community and intro-ducing Master students to discourse at PhD level. The Master Artistic Research in The Hague also collaborates in organ-izing an annual exchange with students of the Master Artistic Research at the Uni-versity of Amsterdam with a view to fur-ther extending this research community. Students are also occasionally invited to attend and/or participate in conferences or events related to artistic research.

master artistic research study Programme

Core Practice and Research, years 1 and 2

The primary goal of core practice and research is the development of the stu-dent’s artistic practice, including their research trajectory, and their capacity for critical reflection in relation to this. This is the backbone of the curriculum, and is taught by two core tutors each year, one specialized in studio practice and one in theoretical issues. Students also have regular meetings with the head of dept on all aspects of this module. Through regular meetings with each tutor, either in groups, or on an individual basis, students are guided and supported through the development of their creative ideas, their theoretical research, and how these sup-port and enrich each other. The research proposal of each individual student, sub-mitted on application to the course, forms the point of departure for the core teach-ing curriculum. Students are also taught how to present their artistic work within a professional context through participation in end of semester exhibitions and events, either within the galleries and auditorium of the Royal Academy of Art, the perfor-mance spaces of the Conservatorium, or at external venues. Critical reflection on these presentation moments forms an important part of the curriculum.

Through both studio practice and written reflection papers, students are supported in the exploration of an expanded field of practice.

They will advance their methodolo-gies of critical thinking and how to develop their artistic outputs to a level suitable for autonomous professional practice in the fields of visual art, performance and/or music.

Artistic Research Groups,years 1 and 2

Each student participates in one artistic research group per year, split over two semesters.

The research groups are organized and led by invited specialists in their fields. These specialists present their research trajectories in the autumn semester, and students choose which group to follow for that year. The groups explore their topic in depth, through reading, lectures, semi-nars, making work -individually and/or collaboratively, visiting relevant exhibitions and performances. The research group leader may invite guests to be part of theprogramme, or take students to specific

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locations or events. The dynamic of these research groups changes from year to year. Within the general programme of each group, there will always be one (or more) practice led workshop. There should also be a research group out-come, to be determined by the groupleader.

Research groups 2015-16 are: Art + Politics, led by Maria Hlavajova, Director of BAK, Utrecht, and Between Thought and Action: Dynamics of Per-formance, led by Francesco Bernardelli, freelance critic and curator, Turin.

Introduction to Artistic ResearchThe primary goal of this three-day semi-nar and workshop is to introduce some of the possibilities of ‘artistic research’ as a means of engagement and production, and as a discursive field. A mix of lec-tures, group discussions, and workshop activities will be organized to stimulate an exchange of perspectives on the broad subject of artistic research.

Visiting Artist Programme – ‘A Day with…’

In addition to our core teaching pro-gramme, an important part of the course is delivered by the input of our visiting art-ists. This is a constantly developing pro-gramme of guests to the dept, invited in response to the particular needs of each student.

Writing WorkshopThe writing workshop will consider the role of writing in research, and as a mate-rial of artistic practice. Students will be invited to write on the spot, as well as to reflect on their use of writing in their practice. Attention will be paid to creative, artistic and academic forms of writing.

The writing workshop introduces students to the potential of writing for the dissemination of areas of the artist’s practice to both public and professional worlds. Students receive individual and group guidance on the process of writing.

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

Exchange with University of Amsterdam (UvA) MAR dept.

Students will follow a short research tra-jectory alongside fellow Artistic Research students from the University of Amster-dam MAR. Working with tutors and spe-cially invited guests, students will develop and test new ideas in relation to the lec-tures, site visits, and workshops.

Core Practice and Research –Graduation Project

Much of semester 4 is taken up with the making and presentation of the student’s final graduation project. The plan for this final presentation of work will be agreed with core tutors at the beginning of the semester. The student will work through-out the semester to develop and realize this plan as fully and creatively as pos-sible. The Artistic Research Statement, the student’s year 2 theoretical paper, is completed in semester 4.

In the preparation and presentation of a body of work for the final exam, and the presentation of their final research paper, the student will bring their two-year artistic research trajectory to a creative resolution.

Professional Practice - Skills Workshop

A workshop will be given specially for year 2 students to explore issues around pro-fessional art practice, and offer practical advice on the documentation of work, funding and exhibition applications, and how to write for these. Both a gallerist and an event organizer will be invited as guest speakers, in order to offer insight into the workings of the professional field.

The professional practice workshop aims help students ready themselves for a professional career in the arts, and offers guidance on the personal, digital, and written presentation of their work and ideas so that they will leave the course better equipped to engage with the pro-fessional art/music worlds.

Curatorial WorkshopCuratorial guidance for year 2 students in the lead up to and installation of the finalgraduation exhibition will come from a professional curator. This will take the form of individual and group talks in both the studio and gallery space.

The curatorial workshop explores the formal presentation issues of each student’s work, and how to come to bring the work to its fullest possible resolution. Through the making of the final exhibition, it

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will also look at the group dynamic of exhi-bition making, the many factors and consid-erations that need to be brought into play.

applicationThe Master programme is officially reg-istered to the Royal Conservatoire as a research path within the ArtScience Inter-faculty. In practical terms, this means that students are officially registered at the Royal Conservatoire, even if their study directions are in the visual arts. Upon completion of the programme, students are awarded the Master of Music degree.

Admission to the Master pro-gramme requires a Bachelor in one of the disciplines of the arts from a Dutch uni-versity of applied sciences (HBO/Hoge-school) or an equivalent Bachelor of Arts degree earned abroad. Prospective stu-dents are also required to demonstrate affinity for theoretical research, artistic reflection or both. The working language of the Master programme is English, and proficiency in both speaking and writing is required. Applications and letters of moti-vation should be written in English.

Once these entrance requirements have been met, applicants are judged according to the following: a portfolio of artistic work; a research proposal and/or study plan that clearly demonstrates an understanding of and affinity with research. Interviews are held following an initial pre-selection of potential students.

how to applyPlease visit our website and submit the following documents and materials to [email protected] before 1 April 2016:

+ completed application form + portfolio in PDF format (If the portfolio is too large to send by e-mail, it can be sent on CD-ROM or DVD by post to the address below or by using WeTransfer or a similar service)

In addition, please submit these docu-ments by post to the address below:

+ a photocopy of your diplomas + a photocopy of the relevant pages of your valid passport (showing passport number and expiry date) or EU/EEA National Identity Card

+ recent passport photo (3×4 cm; please write your name on the back. Please send only original photos. Photocopies are not accepted)

+ optional: portfolio (only if the portfolio is too large to be sent by e-mail, see above)

Incomplete applications will not be accepted. All documents sent by post should be in our possession by 1 April 2016.

addressMaster Artistic ResearchPostbus 116702502 AR The Hague

[email protected]

4.1.2 staff *

head of department + Janice McNab

coordinator + Weronika Zielinska

lecturers + Jasper Coppes + Yael Davids + Dr. Sher Doruff + Frank Mandersloot + Katarina Zdjelar

recent guests include: + Babak Affrassiabi + James Beckett + Frederique Bergholtz/ IICD + Jelle Bouwhuis/ SMBA + Libia Castro & Olafur Olafsson + Clare Butcher + Francesco Bernardelli + Mladen Dollar + Maria Hlavajova/ BAK + Nancy de Freitas + Bram Ieven + Angela Jerardi + Rob Johanessma + Prof. Frans-Willem Korsten + Bruno Listopad + Aernout Mik + Wendelien van Oldenborgh + Maria Pask + Benjamin Seror + Simon Starling + Steven ten Thije + Vincent Vulsma + Thijs Witty + Arnisa Zeqo/ Rongwrong Gallery + 1646

additional information For more information and an overview of credit points please visit:

www.kabk.nl > masters > Artistic Research

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4.2 master artscience

4.2.1 the master artscience programme

The ArtScience Interfaculty is an interdis-ciplinary department situated between and embedded within both the Royal Academy of Art and the Royal Conserva-toire. Classes include scientific and the-oretical knowledge, sensory perception, interdisciplinary composition, hands-on production, performance training, col-laborative projects and critical thinking. We focus largely on individual coaching. ArtScience allows students to code and create never-before heard sounds and never-before seen images, to establish immersive environments, to design new forms of interaction with their audiences and explore media that have never before been used by artists. Most importantly, students are invited to re-invent art, as needed in this century.

The Interfaculty offers a two-year interdisciplinary Master. At ArtScience students and teachers are developing new forms of interdisciplinary art, and they investigate and shape the intersec-tion between artistic concepts and recent developments in science and technology. The ArtScience programme is offered fully in English.

Participants in the Master’s pro-gramme of the ArtScience Interfaculty are admitted on the basis of a research proposal. Depending on the research topic the student chooses two personal coaches. Together they draw up a study- and research plan that will include course modules, projects and labs offered within the ArtScience Interfaculty and elective courses from the Royal Conservatoire, Royal Academy of Art, Leiden University or other institutions. In regular Master Meetings students are trained to present their work and contribute to each oth-er’s research. Twice a year, the students present their individual work to the core group of ArtScience teachers.

goals of the programmeThe Master’s programme is geared towards students who have obtained a Bachelor’s degree in a creative field and who have started an independent artistic practice. During the Master’s study they will pursue a two-year personal research project in order to to develop or transform their own artistic domain within the arts and sciences. Depending on the research proposal and the background of the stu-dent a study and research plan is con-

ceived, enabling the student to acquire the necessary skills, research methods and conceptual background. During their studies, Master students will enhance their creative practise, critical thinking and organisational skills.

The students are challenged to develop a range of professional compe-tencies regarding three domains:

a. the artistic-technical domainb. the professional worldc. the theoretical domain

Within each of these domains students are expected to develop competencies within these areas:

1. creativity2. critical reflection3. growth and innovation4. organisational skills5. communication6. contextual awareness7. collaboration

These competencies are the basis of the evaluation by the teachers at the end of each course module as well as at the presentations of individual projects at the end of each semester.

4.2.2 structure of the programme

the open curriculum and the study plan

The Master’s programme ArtScience, like the Bachelor’s programme, is based on the concept of the ‘open curriculum’. The coaches will assist the student in mak-ing choices on courses to follow within or outside the Interfaculty in relation to the student’s research project.

The ArtScience Interfaculty offers five forms of instruction: research projects, labs, individual coaching, the-oretical courses and workshop-style courses. These activities are open to Mas-ter as well as Bachelor students. There are seven different ArtScience labs, each of which is a combination of a labora-tory, a production facility and a working ensemble of teachers, students, alumni and guests.

Each lab is also a platform to offer coaching and space for projects by indi-vidual students, and a channel for the accumulation, documentation and dis-semination of their research results and artworks. The aim is to gradually inte-grate the research proposals of the Mas-ter students with this new lab structure

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where possible, and work towards a situ-ation where Bachelor students assist in research projects.

Part of the study trajectory can con-sist of courses outside of the Interfac-ulty. Likely choices are courses offered elswhere at the Conservatoire, the Acad-emy and the MediaTechnology Master of Leiden University, but other choices in Leiden or at other universities are also possible. In the past, students have fol-lowed courses in Sonology, Singing, Per-cussion, Photography, Print Making, Art History, Philosophy, Electronics, Sociol-ogy, Bio-informatics, Art and Genomics and Medical Anatomy. We would like to encourage students to explore other pos-sibilities and surprise us.

self-study and coachingEvery Master student has two teachers who coach the individual work, reflect on it together with the student, offer a con-text for it, suggest literature and other sources and often assist in solving prac-tical problems. A considerable amount of time within the Master’s programme is reserved for individual work and self-study.

master meetings

Master Meetings are held approximately twice a month. They are gatherings of all Master students under the guidance of Arthur Elsenaar and Eric Kluitenberg. These meetings focus on students pre-senting their research results in spo-ken and written form and on discussing matters of methodology. Students will be helped to develop a critical context for their projects and to structure their research process.

Presentations and evaluations

Collective presentations of individual projects are organised at the end of eich semester. The mid-term presentations in December/January concentrate more on the research process. In June, students are expected to show a finished artistic work that will be evaluated in the context of the research, with the general com-petences for the Master’s programme in mind.

At the end of May the graduates of the Bachelor’s and the Master’s organise a public preview of the final exam projects. The remaining month from the preview to the exam can be used for rehearsals, fine-tuning and other enhancements on the basis of experiences from the public preview.

4.2.3 admission to the master’s programme of the artscience interfaculty

Students are admitted to the Master’s pro-gramme ArtScience on the basis of their previous artistic work and a research pro-posal. Only candidates with a Bachelor’s degree in the arts or sciences can apply.

In order to be admitted to the entrance examination we ask you to send us a letter of motivation, a research plan, a curriculum vitae (resume), a portfolio and a number of official documents. Also all candidates should submit their response to the assignment described below. All written materials should be in Dutch or English. For the most up to date infor-mation regarding the dates for entrance exams, please refer to: www.interfaculty.nl.

All candidates are asked to fill in the online admission form on www.kabk.nl or www.koncon.nl. After this, candidates are invited to contact the study coordinator ([email protected]).

Candidates will then be invited to send the materials we ask for an appli-cation, as described below, in order to be invited for an interview. European can-didates are expected to by physically present at this interview, with candidates outside of Europe we will propose a Skype meeting.

letter of motivationIn the letter of motivation we ask you to give an overview of where you stand now in your artistic activities and to describe your vision for the future. The letter should cover the following points:

+ Please give us some background to your artistic past; explain the motiva-tion behind the choices for and during your artistic education and develop-ment so far.

+ Please describe the artistic disciplines you have been involved or interested in so far.

+ Please describe the main topics you are interested in concerning art, sci-ence and culture. For instance this can include specific art forms, subcultures, genres, styles, artists that inspire you, philosophical ideas, scientific research topics, developments in society etc.

+ Please give an outline of what you hope to achieve during your studies at the ArtScience Interfaculty.

+ Please describe how you think you will be able to contribute to the learning environment at the Interfaculty and to the arts after you completed your studies.

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+ Please describe the artistic niche you imagine you will develop during your studies.

+ Please ask any questions you might have about the ArtScience Interfaculty.

research ProposalIn your research proposal we ask you to give an overview of where you stand now in your artistic activities, to propose a research project and to indicate how doing this research would change your artistic future. You are free to choose a text format that suits your proposal and background, but it should be between two and four pages A4 of text long. The text should cover the following points:

+ Please give us some background to your artistic past; briefly explain the motivation behind getting involved in art and behind the artistic choices you have made so far.

+ Please describe the artistic disciplines you have been involved or interested in so far.

+ Please give a clear description of your research topic and the fields this topic relates to.

+ Please explain your motivation for choosing this research topic. How do you think doing this research will trans-form your work?

+ Please indicate how your research topic is related to the ArtScience cur-riculum.

+ Please make a first choice for two Art-Science teachers who could coach you in your research (you can look at the Faculty Biographies on the website or in the ArtScience study guide).

+ Please describe two concrete projects you would like to realise as part of this research proposal.

+ Please indicate the materials and facili-ties you will need for your research.

+ Please give an outline of what you hope to achieve during your studies at the ArtScience Interfaculty.

+ Please describe how you think you will be able to contribute to the learning environment at the Interfaculty.

curriculum Vitae (resume)

This should cover:

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

Portfolio Your portfolio should give of a good over-view of your past artworks and/or artis-tic activities. We’re interested in all art forms (including music, visual art, inter-disciplinary art, media art, theater, film, literature, etc). While the documentation should include copies and/or documenta-tion of your works we also expect you to write short texts describing the individual works, illustrated with photos, drawings, reviews, etc.

In the case of time-based documen-tation (audio / video / etc.) we ask you to indicate one piece (or part) that you abso-lutely want to be viewed or listened to by the admission committee.

Digital documentation should run on both Mac and PC. You are requested to use common file formats: jpeg, gif, tiff, pdf, mp3, wav, aiff, flv, quicktime (mov), avi, txt, rtf, word (doc/docx/odt), power-point (ppt/pptx/odp).

official documents Candidates should fill in the online admis-sion form through the websites of the KABK or KC. A copy of the candidate’s passport, a visa (when applicable) , a copy of relevant diplomas, two passport photos, and email address should be included with the materials sent for the entrance exam.

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4.2.4 staff *

heads of department + Edwin van der Heide + Taconis Stolk

coordinator

+ Leonie Zweekhorst

lecturers + Cocky Eek + Arthur Elsenaar + Edwin van der Heide + Kasper van der Horst + Michiel Pijpe + Robert Pravda + Taconis Stolk

guest lecturers + Pieter van Boheemen + Lex van den Broek + Evelina Domnitch + Lucas Evers + Bernard Foing + Dmitri Gelfand + Marcus Graf + Roel Heremans + Gideon Kiers + Eric Kluitenberg + Katinka Marac + Ine Poppe + Frank Theys + Lucas van der Velden + Caro Verbeek

additional information For more information and an overview of credit points please visit:

www.interfaculty.nl

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

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4.3 master interior architecture (inside)

cultural and social challenges in interior architecture

INSIDE is a two-year, Master programme in Interior Architecture taught in English at the Royal Academy of Art (KABK) in The Hague. The programme targets the cultural and social challenges in Inte-rior Architecture in a world that is con-stantly changing. Large-scale interiors, the relationship between private and pub-lic space, sustainability and a greater demand for social cohesion are all top-ics that call for new perspectives on inte-rior architecture.

At INSIDE, we challenge and view the world from inside out, in order to become INSIDE architects.

The content of INSIDE is based on issues that confront designers, clients and users of interior architecture. Through research, conceptualisation and spatial design, sustainable, humane solutions for real-world problems are developed and presented.

4.3.1 description of the study programme

The curriculum of the Master programme in Interior Architecture at the KABK is based on two principles. First, it is based on the analysis of research and design processes. Second, it builds on the princi-ple of ‘learning by doing’. Taken together, these two principles produce a curriculum that is divided into phases, each address-ing specific phases of research and design processes: observation, knowl-edge gathering, planning, research by design, conceptualisation, design and repeated presentation and evaluation. These aspects are addressed in all parts of the curriculum, and they form the cri-teria according to which the work of stu-dents is assessed.

The study programme comprises five parts. The heart of INSIDE is formed by the three studios – INTER, URBAN and SPACE – which together account for about 40% of the entire study load of the programme. In connection to the studios, students participate in the research track FLOWS, investigating the development of sustainable design methods in contem-porary interior architecture.

The STUDIO programme is further supported by THEORY, a theoretical back-bone, which trains students with regard to their reflection on and position within the field of interior architecture, along

with a SKILLS programme that offers students hands-on experience through intensive workshops. Finally, the TRAVEL programme allows students to observe and reflect on the discipline, cultural phe-nomena and social topics.

structure

The total study load for the programme is 120 EC, distributed equally across two years, each of which is divided into two 20-week semesters.

Year 1

The first year focuses on introducing stu-dents to the INSIDE approach of interior architecture. Through working in the STU-DIOS, the FLOWS, the TRAVEL and the THEORY and SKILLS programmes, stu-dents become familiar with all phases of researching and designing for the chang-ing world: observation, knowledge gather-ing, planning, research, design, presenta-tion and evaluation. Students participate in all three STUDIO types tutored by research and design teams from architec-ture offices like OMA, Superuse, MVRDV and Doepel Strijkers during the first year. The other courses run throughout the year, changing their focus to connect to the STUDIOS for each semester or block.

Year 2

The second year is completely focussed on the graduation of the students. Dur-ing the first three months of the second year students participate in a GRADUA-TION STUDIO, where they will be coached by the INSIDE teachers to develop their personal graduation plans. Starting from the second half of the third semester stu-dents work individually on the develop-ment of their graduation project guided and coached by the THEORY and FLOWS teachers and the STUDIO teacher of their choice. In the fourth semester, the knowl-edge and skills that the students have acquired in the first three semesters cul-minate in a final presentation of their per-sonal graduation project that integrates all of the above-mentioned phases of research and design.

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4.3.2 staff *

head of department + Hans Venhuizen [email protected]

coordinator + Marja van der Burgh [email protected]

the team of internationally orientated architects, designers and theoreticians

+ Jan Jongert (Superuse) + OMA (Chris van Duijn, Mark Veldman) + Eline Strijkers (Doepel Strijkers) + MVRDV (Fokke Moerel, Aser Giménez Ortega, Mick van Gemert)

+ Anne Hoogewoning + Louise Schouwenberg

other people involved in the programme

+ ZUS (Kristian Koreman) + REFUNC (Denis Oudendijk & Jan Körbes)

+ Lucas Verweij + Gert Dumbar + Erik Jutten + Vincent de Rijk + Leeke Reinders + Jeroen van Mastrigt-Ide

additional information For more information and an overview of credit points please visit:

www.enterinside.nl

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

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4.4 master type & media

4.4.1 general description of the discipline

In the Type & Media studio, students work for a year in a small group of 12, under the supervision and guidance of an expert and enthusiastic faculty.

The design of typefaces, like any other creative discipline, is a process. The first semester consists of a series of assignments that focus on the foundation of letter forms, drawing and digitisation. The eye and hand are trained in different ways. For instance: writing letters with dif-ferent tools, letter carving in stone and by drawing letters based on prescribed parameters. Contrast research studies of basic form principles are applied to a whole typeface. The revival assignment consists of a thesis on the origin and pro-duction of a historic typeface and a dig-ital revival. Non-Latin glyph structures are explored by drawing Cyrillic, Greek, Ara-bic. Coding and tool development with Drawbot and Robofab let the designer control the workflow of the type design practice.

In the second semester these skills are used to define, design and produce a new typeface. This can be for a spe-cific context or environment (e.g. ‘type on screen’) or application (‘type for news-print’) but generally the projects are con-ceptually very diverse. The development and research for the typeface is docu-mented and presented with a process book and a presentation.

While some Type & Media alumni have gone on to build a career in the design and production of non-Latin type-faces, the emphasis of the course (and the resources and faculty) is on Latin.

Discussions with leading type designers, typographers and graphic designers — each with different views — provide theoretical depth. Various excur-sions to libraries, special collections and conferences are organised, such as the annual conferences of the Association Typographique International and Typo Berlin. The Master programme is also involved in the organisation of the triennial Gerrit Noordzij Award and the Robothon conference. Students of Type & Media play an important role in the activities.

4.4.2 admission to the master’s programme of type & media

If you are interested in applying for the Master programme in Design Type & Media, please make an appointment with the course coordinator. You must be a graduate of an art or design academy, write and speak English at the appropriate level and have sufficient practical expe-rience in typography. You are expected to be familiar with the developments in the field of type design. Your digital port-folio needs to demonstrate your motiva-tion and interest in typography and type design but also give insight into your design process.

4.4.3 staff *

head of department + Erik van Blokland

team of lecturers + Erik van Blokland (professor of type design)

+ Paul van der Laan (professor of type design)

+ Peter Verheul (professor of type design)

coordinator + Marja van der Burgh

guest lecturers + Françoise Berserik + Peter Bil’ak + Frank Blokland + Petr van Blokland + Just van Rossum + Fred Smeijers + Jan Willem Stas

additional information For more information and an overview of credit points please visit:

new.typemedia.org

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

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5.1 Post graduate course industrial design

5.1.1 general description of the discipline

+ You want to further investigate and hone your position in the design field.

+ You will receive input from profession-als from the entire field who contribute international experience.

+ You will work in a nurturing environ-ment on new creative discoveries and be given time to expand on them.

industrial design at the KaBK ID is a part-time course for professionals who would like to learn more about both product design and the process of creat-ing as a craft. Concept, skills, culture and industry are presented in the appropriate proportions. From its inception in 1950, many prominent names have been asso-ciated with the postgraduate course in ID.

Designers including Gerrit Rietveld, Frans de La Haye and Renny Ramakers were either lecturers or students. ID is the oldest recognised course in the field of design and industrial design in the Neth-erlands. The curriculum provides a realis-tic view of the field because it is taught by lecturers with a full-time design practice. Guest lecturers are invited on the basis of their particular expertise and skills. The range of professional backgrounds rep-resented by the students from the Neth-erlands and abroad is likewise valuable.

5.1.2 description of the study programme

The programme consists of six blocks, each of which lasts six months. You will receive a certificate for the individual blocks and an overall diploma.

subjects

Industry & culture You will explore how the industry and cul-ture of designing interlock. This involves sophisticated combinations of different disciplines and skills: industrial design, building prototypes, applied art, mechan-ics, marketing, manufacturing everything from limited batches to mass production, the consumer market, retail and busi-ness to business. You will learn your way around Milan and Frankfurt, where the most important trade fairs are held, and the ID programmes offered by Delft Uni-versity of Technology and Eindhoven Uni-versity of Technology.

Real artistIn this block, you will explore your person-ality and the context in which you create your work. You will gain a clear overview of the world of galleries, museums, cul-tural events, institutes, grants and awards, magazines, presentations and in-house productions. You will develop a personal opinion as an independent designer and become aware of your position in rela-tion to curators, journalists and opinion makers.

Cool industryYou will immerse yourself in the ques-tion of how design is embedded in the process side of product design. Market-ing, corporate identity, technical expertise, customer relations, tenders and acquisi-tion all play a role. You will also frequently work in an international context; after all, clients, manufacturers and consumers are by no means confined to the Neth-erlands. What does that entail?

Presentation

Freehand drawingYou will learn freehand drawing and the basics for 2D design drawing using vari-ous techniques and materials, working individually on different assignments that are an extension of your design assign-ments.

Computer skillsJust like drawing competency, having computer skills will expand your expres-sive capabilities as a designer. You will focus on the basics of various software packages and rendering techniques.

Personal skills, contemplation and culture

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

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ContemplationYou will learn to see your position as designer in the social and theoretical context of the field. You will also become aware of your personal vision of design in this context. By engaging in discus-sion you will increase each other’s abil-ity to reflect.

Culture bearersYou will become familiar with the cul-tural and commercial embedding of design. The guest lecturers are recog-nised authorities in the cultural, political and corporate sectors. From their unique perspective they will provide insight into the context in which design functions and designers have a role, giving you an up-to-date view of design today.

who should apply? This postgraduate course is intended for design graduates and design profession-als who wish to delve deeper into their field. The course offers the perfect oppor-tunity to hone your expertise and skills in conjunction with pursuing your career. For starters, both the schedule, which is divided into six-month semesters, and the condensed curriculum beautifully accom-modate a professional practice.

5.1.3 staff*

head of department + Ernst Bergmans

coordinator + Jacob de Baan

lecturers + Jacob de Baan + Erlynne Bakkers + Alfred van Elk + Jantje Fleischhut + Maaike Roozenburg + Roselien Steur

guest lecturers + Erik Tempelman + Mark de Weijer + Bas Sanders + Heather Leslie + Nicole Uniquole + Joris Castermans + Theo van Dusseldorp + Maartje de Haan + Sam van Haaster + Siem Haffmans + Frans de La Haye + Ineke Heerkens + Milou Ket + Josée Koene + Wilfred Löwensteyn + Hans Menkveld + Bruno Ninaber + Ingeborg de Roode + Loes Wagemans + Jólan van der Wiel + Romy Kuhne

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

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6.1 Phdarts

The PhDArts programme is a high-level international doctorate programme in vis-ual art and design. PhD candidates fol-low individual research trajectories. An appropriate team of supervisors is sought for each doctoral student. The PhD can-didates also participate in the doctoral study programme, which consists of lec-tures, seminars, trainings and workshops. The PhDArts programme is a collabora-tive effort of the Leiden University Acad-emy of Creative and Performing Arts and the Royal Academy of Art (KABK) in The Hague.

The PhDArts programme is a plat-form for artists who regard theoretical reflection and artistic practice as intrinsi-cally related and complementary. Together with a team of supervisors, staff members and guest teachers, the doctoral candi-dates in the PhDArts programme form an inspiring and challenging research environment. A unique programme in the Netherlands, PhDArts creates new possibilities for art and its practitioners by questioning and breaking down exist-ing boundaries between art theory and art practice.

about PhdartsArtist/designers-as-researchers take the initiative to make statements about their thinking processes and the production of their work. Researchers allow others to participate in this research process, entering into discussion with them, open-ing themselves up to critique. Research-ers seek discussion within the public domain. Without public discussion and the exchange with peers the research lacks its reason for existence. When this exchange takes place in an academic context (e.g. within the framework of research for a PhD), certain conditions apply. For example, the research should yield fresh insights, not merely into the researcher’s personal work, but into art or design in the broader sense as well. Supervision plays a crucial part in the critical evaluation of contribution to the artistic domain.

Oral presentations and written text play an important part in the research in various ways. The researcher needs to invent a language that enables them to communicate with others and that ena-bles the evaluation of the research. Also, the researcher needs to devise a viable research methodology.

Phdarts doctorateArtistic research or research in and through art is an inseparable part of the art or design practice of the researcher. This research has no predetermined goal, nor does it take place according to predetermined general procedures. The outcome of the research is open. This openness is a condition for conducting research in art and design.

There is a unique relationship between the artist/designer, the research method and the outcome of the research. This research is made possible by the art-istry of the artist and, conversely, the artist develops artistry through the research. The outcome is therefore an artistic prod-uct, combined with a discursive product (i.e. the dissertation), which does justice to the artistic product.

The ultimate outcome of this type of research, which is speculative by nature, cannot be restricted to any particular form. Therefore PhDArts does not specify a fixed ratio between the written disserta-tion and the artistic production.

Certain conditions apply to the PhDArts doctorate. First, a high level of artistry/design is a prerequisite for accept-ance into the PhD programme. Each applicant should have a clear research theme, as well as a research plan. In addi-tion, the context of the research should be clearly described.

The research should offer new insights, not only into to the work of the maker, but also into the field of art and design in the broader sense. The research should contribute to knowledge about art/design, as well as to the international dis-course in the field of research. Research-ers are expected to be in the vanguard of their fields of research.

The research must take place in an appropriate research environment. Exper-imentation is an important part of both the process and the result. Critical engagement is inseparably related to the research theme and its results.

The final product will be commu-nicated both visually and in writing, and thought and reflection must be clearly manifested in several ways. First, a dis-cursive text will provide insight into the departure points, methods and results of the research. Second, the work itself will be deliberative, containing reflection as an integral component. Research that fulfils these conditions will be innovative and relevant to contemporary developments in the world of art and design.

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At the end of the PhDArts trajectory, the work will be presented to a commit-tee of experts for evaluation.

As part of their research, doctoral students attend the doctoral study pro-gramme, including the various assess-ments. Students participate both actively and passively in conferences (e.g. by preparing lectures, papers, conference reports) and events. They periodically exhibit new work in order to explicate the artistic development and the relationship between their research and their artistic work. In addition to this, students publish writings on their work, development and research.

coordinator + Judith Westerveld

contact

+ [email protected]

additional information For more information please visit:

www.phdarts.eu

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7. research domains

7.1 what is a research domain?

Research domains (in Dutch: lectoraten) are the research groups of universities of applied sciences, whose purpose is to make connections in socially relevant areas between education, practice and practice-based research. Each research domain is led by the appointed professor and consists of a number of visual art-ists, designers and theorists from various disciplines. In addition, contact is main-tained with people who are active in the relevant field of practice or who conduct relevant research. People both inside and outside the academy can contribute to the research of a research domain. Some-times students also work on (research) projects in the context of their study programme. Research domains share knowledge with companies and insti-tutions, conduct applied research and develop new knowledge in co-production. They maintain partnerships with compa-nies and institutions at the local, regional, national and international levels.

The University of the Arts (the Royal Academy of Art and the Royal Con-servatoire) gives a high priority to artistic research. There is a partnership that is unique in the Netherlands between the University of the Arts and Leiden Univer-sity, which takes the form of the Acad-emy of Creative and Performing Arts (see PhDArts). At Master’s level, the Uni-versity of the Arts runs an artistic research project, in which the Royal Academy of Art (KABK) and the Royal Conserva-toire (KC) work together. Two university research domains are devoted to artistic research: the Henk Borgdorff research domain (KC) and the Janneke Wesseling researc domain (KABK).

7.2 lectorate in art theory & Practice

Janneke Wesseling is head of the Lec-torate Art Theory & Practice at the KABK and co-director of PhDArts, the PhD pro-gramme in visual art and design at the Academy of Creative and Performing Arts (ACPA) of Leiden University. Wesseling also writes as art critic for the daily Dutch newspaper NRC Handelsblad.

The Lectorate Art Theory & Practice investigates ways in which art and theory can be brought together in art education. To this end, the lectorate has established the Art Research Programme, consisting of interdisciplinary and thematic courses

for Bachelor students. In collaboration with the various departments of the KABK, Wesseling organises interdisci-plinary pilot projects that integrate differ-ent approaches from art practice and art theory. The lectorate also collaborates with various partners to organise sym-posiums, workshops and lectures in the area of artistic research.

Research in art currently plays a major role in art education. This is due to the fact that both artists and theorists are paying increasing attention to the theo-retical aspects of artistic practice, as well as to the cognitive function of art works: art as a way of gaining knowledge about reality. The practice of contemporary art-ists is, in many cases, characterised by continuous and critical (self-)reflection and research.

The introduction of the Bachelor-Master structure at universities and uni-versities of applied science on a European level also calls for reflection on aspects of research in art practices. Wesseling’s lec-torate has an initiating role in the interac-tion between art education and research.

lector + Janneke Wesseling

coordinator + Lotte Betting

7.3 research in arts

Dr. Henk Borgdorff has been professor in Research in the Arts at the University of the Arts in The Hague since Septem-ber 2010. The focus of Borgdorff’s own research is on the political and theoreti-cal rationale of artistic research. This is research where the making of art (creat-ing, designing, composing, performing) is central to the research process, and the outcomes of the research are also artworks and art practices (images, com-positions, installations, performances).

research catalogue

In The Hague Borgdorff has co-founded the ‘Research Catalogue’, an international online multi-medial database and work-space for the archiving and exposition of artistic research. This Research Cata-logue is employed by the Royal Conserva-toire as a platform for the collaboration between Master and PhD students and their supervisors and for the publication and dissemination of the research out-comes of students and faculty.

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society for artistic researchBorgdorff represents The Hague in the Society for Artistic Research (SAR), which he co-founded in March 2010, and serves as an editor of the Journal for Artistic Research. In April 2015, Borgdorff was appointed President of the Executive Board of SAR.

other activities

Borgdorff is member of the Committee for Research of the Vereniging Hogesc-holen (Netherlands Association of Univer-sities of Applied Science), the international Quality Advisory Board of Konstnärliga Forskarskolan (the national school for artistic research in Sweden), and the Steering Group of TAhTO, the doctoral programme for artistic research in Hel-sinki, Finland. Borgdorff regularly acts as a reviewer for several funding agencies and research councils in Europe and is member of the expert panel for Cultures and Cultural Production of the European Research Council, Social Sciences and Humanities, Consolidator Grant.

research group royal conservatoire

At the Royal Conservatoire the research group Research in the Arts, chaired by Borgdorff, constitutes a link between the Bachelor, Master and PhD levels. Borg-dorff initiates, facilitates and promotes permanent or ad hoc research at each of these levels tailored to the specific dis-cipline. By conducting research in the framework of the research group teach-ers contribute to the research culture at the conservatoire, which also stimulates students to acquire an inquisitive attitude. Teachers are facilitated in supervising research by students, and some teach-ers decide to study a PhD. The research group also arranges for the results of research to be circulated, externally by giving lectures and presentations, through publications and by organising seminars, and internally by actively participating at relevant meetings. Research results are disseminated to the wider public via the website of the Royal Conservatoire.

Henk Borgdorff occasionally gives seminars for the doctoral programmes DocArtes (music) and PhDArts (visual arts and design) and for the Master pro-gramme Artistic Research at the KABK.

Professor + Henk Borgdorff

For more information please visit: www.kabk.nl > research department

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8.1 educational structure

The purpose of the study programmes at the Royal Academy of Art (KABK) is to prepare students for the profession of artist or designer. The educational pro-grammes have been designed to make this feasible. The educational structure consists of the propaedeutic year and the main phase, which is divided into the main study phase and the final phase.

Programmes at the KABK are designed according to the principles of competence-based education. The programmes offered can be seen as a foreshadowing of professional practice. We pay close attention to career orienta-tion and preparation. Important to these aspects is the expectation that students will take on increasing levels of respon-sibility for their studies throughout the years of the programme. This is particu-larly explicit in the case of the Individual Study Track. Students are also introduced to a wide range of different teaching for-mats. The internship is a very important part of career preparation.

8.1.1 competencies & domains

competenciesCompetencies (i.e. abilities) indicate the coherent set of knowledge, skills, attitudes and other personal qualities of individuals that enable them to perform tasks ade-quately and successfully, as well as to find and apply solutions in specific work situations.

Students are considered competent or suitable for particular jobs or assign-ments when they are able to integrate the appropriate knowledge, skills and atti-tudes effectively in successful behaviour in specific situations. In other words, in addition to knowing how and why some-thing must happen, students must also demonstrate their ability to make it hap-pen.

Competence-based art education is characterised by an integral approach to knowledge, skills and attitudes. It is an educational form with a high degree of self-study, aimed at the future careers of the students. The emphasis on the per-sonal development of the students and their talents results in flexible education with a variety of study tracks. Within the programmes, the professional field is always represented by teachers who are active as artists or designers in addition to their teaching practice. Advisers and guest lecturers from various disciplines are frequently invited.

The following competencies are addressed in the programmes:

+ Creative ability + Capacity for critical reflection + Capacity for growth and innovation + Organisational ability + Communicative ability + External awareness + Capacity for collaboration

Creative ability, capacity for critical reflec-tion and capacity for growth and inno-vation are the key competencies for art education. External awareness is equally relevant, as it stresses the importance of current developments in professional practice.

The capacity for critical reflection and external awareness are strongly inter-related, differing primarily in perspective (i.e. internal and external) . The remain-ing competencies are organisational and communicative ability and capacity for collaboration.

domainsThe competencies can be divided into three more or less overlapping areas (domains). The division focuses more on difference in emphasis within the domains than it does on any sharp demarcation.

In recent years, we have been working towards a further integration of these domains in our education, and this process will continue. Therefore, many courses are no longer clearly positioned in one of these domains but cover two or even all three of them.

artistic technical domainIn the artistic technical domain, students develop their specific creative abilities and their capacity for critical reflection. These abilities or competencies are considered most typical and important for students graduating in the field of visual arts. All art and design courses develop the stu-dents’ abilities in this area. This domain also includes the capacity for growth and innovation, referring to the potential expansion of the artistic or design prac-tices of students (i.e. their personal inter-pretations of the professional situation) in depth and development.

theoretical domainThe making of art and design is intel-lectual work. Art and design are judged according to artistic objectives for their relevance to national and international standards of professional practice. This means that knowledge of the theory of the

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profession is a necessary component of the skill set of any artist or designer. This theory covers several areas: historical and contemporary art history, art theory and art history related to the discipline. The socialisation of the art and design proc-ess also requires knowledge derived from other disciplines, including philosophy, media history and communication sci-ence. In this regard, we distinguish art theory as including art history, philoso-phy, art observation and artists’ theories, in addition to special workshops and lec-tures guided by art theory teachers. The practical teachers contribute by providing grounding for their insights on theoreti-cal arguments. The history, background and departure points of the various dis-ciplines are further discussed and ana-lysed in their respective theory courses.

Professional domainThis field involves almost all competen-cies: capacity for critical reflection, capac-ity for growth and innovation, organisa-tional and communicative ability and capacity for collaboration, as well as external awareness. Art and design have always had a strong foothold in society, and they are created through interaction with the social developments in almost every area. In almost all study compo-nents, therefore, students are provided with examples of how things work in the practice of an artist or designer. The busi-ness element forms a part of the career preparation, including such skills as pre-senting work, dealing with budgets and interacting with clients.

In the descriptions of the various disciplines, the heading ‘professional domain’ focuses on the business-related aspects of preparation for professional practice. We would like to ensure that stu-dents are able to function appropriately as artists or designers after – or even dur-ing – their education, whether independ-ently, as part of a partnership (e.g. artists’ initiatives), working at a design bureau or in some combination of these settings.

8.1.2 teaching formats

Students encounter a variety of teaching formats during their studies at the KABK.

theory educationTheory education is provided in various ways:

+ lectures + seminars + work discussions

+ supervision of papers and the final thesis

The seminars include discussions, analy-ses and debates based on contemporary and historical visual material, exhibitions and texts, presentations on theoretical subjects and personal statements.

Practical educationPractical classes are designed in several different ways:

+ Supervision and instruction for the entire group, usually during the first weeks of a course.

+ Collective work discussions and progress meetings between teachers and students.

+ Studio-based supervision, in which teachers visit students at their work sites or studios in order to discuss their work on location (This can take place either individually or in a group. Many fourth-year students of the Fine Arts department have their own work sites within the Academy. Students in the departments of Textiles & Fashion and Interior Architecture departments work in shared studio spaces).

+ Workshop-based supervision, in which students work both independently and with assistance in a workshop, under the supervision of workshop manag-ers.

+ Work discussions, in which teachers discuss the work of individual students, often in a group setting, thus allowing students to learn from each other.

+ Digital supervision, particularly in Graphic Design and Interactive/Media/Design, in which students can be supervised online when face-to-face contact is not crucial.

internship and other participa-tion in the professional field

Students complete internships with com-panies and institutions, as well as with independent artists, designers and pho-tographers. Because fewer internships are available in Fine Arts and ArtScience, students participate in external produc-tions and projects.

special activitiesVisiting exhibitions, project weeks, excursions and workshops

In addition to, and integrated with, the cur-riculum, several activities are organised each year. The organisation of these spe-cial activities (e.g. workshops, projects,

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excursions and project weeks) is predom-inantly the responsibility of the various departments. The activities are therefore often discipline-related.

In some cases, project weeks and excursions have a very specific purpose (e.g. a visit to a fashion trade fair), while in other cases, they have a much broader character (e.g. a visit to Berlin or the Ven-ice Biennale). Many of the latter type of activities are also open to students from non-organising departments. The travel and accommodation costs associated with the excursions and project weeks are covered by the participants. Contribu-tions from the School Fund are possible, and they are always made collectively. Students may submit proposals to the head of the department for excursions, project weeks or workshops.

self-studyStudents work independently on their art or design work for a large part of the pro-gramme. This work can take place both in the Academy and at home.

8.1.3 individual study track

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

The Individual Study Track can include the following:

+ taking one or more electives or intro-ductory courses at the KABK

+ taking one or more elective courses outside of the KABK

+ participating in external projects + conducting practice-based or theoreti-cal research

+ enrolling in a minor at the Academy of Creative and Performing Arts

+ engaging in various organisational activities for the KABK

general proceduresEach student draws up an IST plan using the IST form. The plan describes the pro-posed activities, motivation and learning objectives, and should be discussed with the coach. In the conversation with the coach, the IST plan is evaluated to deter-mine whether it can truly add breadth or depth to the study programme. Once the plan has been approved, it can be started. Once the activity or activities have been carried out, a formal external evaluation is conducted (e.g. in the case of minors and electives). Students are also asked to assess the learning results and the learn-ing process. The coach provides a final assessment.

Practical informationBeginning in the second year, full-time students are exempt from compulsory study components on Wednesdays, which are reserved for individual sched-uling to deepen and specialise the cur-riculum. To this end, introductory courses and electives are scheduled for Wednes-days. Part-time students are also allowed space in their schedules for the IST.

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

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

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

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8.1.4 internationalisation

The KABK strives to provide an interna-tional learning environment for its stu-dents, first, by creating an international climate in the building, and second, by the encouraging temporary tracks abroad in the form of:

+ study abroad programmes + internships + postgraduate programmes

The advantage of a temporary track abroad is that it brings students into contact with different cultural and living environments and teaching methods. In addition, students learn to function in an international context, which will ben-efit their future careers. Through a vari-ety of mobility programs, the European Union (EU), the Dutch government and several foundations offer many schol-arships each year for students to follow part of their programmes, internships or research abroad. In most cases, the for-eign residency takes place in the third year of the programme. The length of stay varies from three months to a full aca-demic year. The Erasmus exchange has a maximum length of six months.

temporary study abroadA well-developed study plan forms the foundation for the application to study abroad. Students can obtain advice and information about academies abroad from the International Office and the head teacher. The head of department makes the final decision concerning the study period abroad. For foreign study abroad programmes taking place in Europe, stu-dents are eligible for the Lifelong Learning Erasmus scholarship. For additional infor-mation on the KABK’s European partners, the application process, the application form and the amount of the scholarship, please visit www.kabk.nl or the Interna-tional Office of the KABK. Application deadlines are listed on the websites of the institutions.

The KABK has established relation-ships with art schools both within and outside of Europe, including in:

+ Tirana, Albania + Jerusalem, Israel + Tokyo, Japan + Beijing, China + Minneapolis, United States + Bangalore, India + New Delhi, India + Seoul, South Korea

The current list of partner institutions is available on the KABK website.

cumulus

The KABK is a member of the international network of leading art schools ‘Cumulus International Association of Universities and Colleges of Art, Design and Media’. This membership provides students with the opportunity to study temporarily at one of the member schools, and it has significantly expanded the international offerings available to KABK students. An overview of associated art schools is available at www.cumulusassociation.org.

internshipPlease also read the general information on internships (Section 8.1.6).

Internships can take place both in and outside Europe. For questions about internship positions, students should con-tact their own department. The KABK offers scholarships for internships abroad through various sources, including the Lifelong Learning Erasmus Programme of the EU.

For additional information on the criteria, the application process and the amount of the scholarship, please visit www.kabk.nl or the International Office of the KABK.

after graduation

Postgraduate programmeSeveral high-quality postgraduate pro-grammes are available for students wish-ing to continue their studies abroad after graduation. Timely preparation is required. Most admission procedures for foreign postgraduate programmes begin in Jan-uary. This means that students should start their orientation to the available pro-grammes at the beginning of the exami-nation year. The following websites can assist students in their search:

International Association of Universities and Colleges of Art, Design and Media

+ www.cumulusassociation.org

European League of Institutes of the Arts + www.elia-artschools.org/members/index

Association of Independent Colleges of Art and Design (US)

+ www.aicad.org

International Directory of Design + www.penrose-press.com/idd/edu

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

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

+ Cultural Agreements www.nuffic.nl/cultureleverdragen

+ Fulbright Scholar Program (for US) www.fulbright.nl

+ Institute for International Education (for US) www.fundingusstudy.org

+ Mondriaan Fonds www.mondriaanfonds.nl/en/about/

+ Additional foundations are listed at www.beursopener.nl

The following tips are important when applying for scholarships:

+ Make sure that the application looks presentable and that it is free of lan-guage errors.

+ Provide arguments for your plans in a well-written cover letter.

+ In the application, state whether you have already been admitted to the insti-tution of your choice.

VSB Fund ScholarshipStudents graduating from a Bachelor’s programme between 1 March 2014 and 31 December 2015 and wishing to pur-sue further studies or conduct research abroad after graduation are eligible for VSB Fund Scholarships. Continuing programmes should last a minimum of three and a maximum of 24 consecu-tive months, and they must be completed within that period. The grant can amount to a maximum of €10,000. The scholar-ship is not intended for internships, and applicants cannot be older than 29 years at the start of the programme. The appli-cation form is available on the website of the VSB Fund. All applications can be submitted to the International Office of the KABK, along with original docu-ments. The first written and oral selec-

tion is performed by an internal selection committee of the University of the Arts, The Hague. The selection committee pro-poses a number of candidates (prede-termined by the VSB Fund) to the Board of the University of the Arts, The Hague.

Additional information on criteria and procedures is available at the Inter-national Office or on the website:

www.vsbfonds.nl/beurzen

8.1.5 career orientation and preparation

During the course of the study pro-gramme, students increasingly approach the level of a starting professional, thereby contributing to the further professionalisa-tion of their own work in their chosen pro-fessions or occupations. The educational programmes of the Academy can be seen as a foreshadowing of future profes-sional practice. Students encounter this practice in various forms throughout their years of study, and they master its various components. The process begins with an introduction to professional practice in the courses, which are taught by artists and designers, almost all of whom have their own professional careers. The link with the professional field is made even more explicit through internal projects, through work presentations in internal and exter-nal exhibitions and through lectures and workshops. The link is made externally during visits to (and participation in) exhi-bitions and events. During the course of their studies, students gain knowledge and experience through career orientation and, later, through career preparation. The ability of students to function independ-ently becomes increasingly important. In the main phase, we offer the course Writ-ing a Business Plan.

career orientation/field orientation during the propaedeutic year

Especially in the first year, career orienta-tion is important for both the student and the Academy. Both the KABK and the stu-dent must be able to determine whether the student has enrolled in the right programme. Students visit exhibitions, designers and artists, both in groups and on their own, and they prepare reports on these visits. This process also serves as training in written expression skills, and it provides students with the opportunity to reflect further in an oral presentation. This type of career orientation is part of the study programme of each department.

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career preparation in the main phase

In the main phase, students become increasingly independent, possessing more technical and artistic skills and greater conceptual and theoretical knowl-edge. Students are eager to become art-ists or designers, and their professional careers are approaching. Participation in workshops and projects or produc-tions is a method for intensifying career preparation. Each department employs methods that are best suited to the disci-pline. Examples of methods used to pre-pare students for their professions and to teach them how to present themselves as designers or artists include the following:

+ case study: practical education involv-ing a series of fictitious assignments (sometimes simulations) that teach stu-dents to cope with authentic practical problems (in the case) that reflect real-world assignments

+ documentation of original work in a portfolio (digital or otherwise)

+ digital recording of project, production and workshop reports

+ describing the work presented at the collective assessment and giving an oral explanation of the work

career preparation in the final exam track/final phase

Even in the earliest phases of the pro-gramme, but explicitly in the final phase, students demonstrate their ability to work independently as professionals. They are therefore supervised from this perspec-tive. The final thesis and final examination project are two elements in which stu-dents can make artistic statements. In the fourth year, full-time students of Interior Architecture and Furniture Design and full-time students of Textile and Fashion work at their internships.

8.1.6 internship

The internship is part of the career prep-aration for the profession of artist or designer. During their internships, stu-dents experience the working conditions, methods, techniques and limitations of their future professional fields. They are thus an important part of the career prep-aration. The KABK attaches considerable value to the internship, regarding a strong relationship with the professional field as an essential part of the programme. Internships are not yet compulsory for part-time students. Given the difficulty of arranging internships in their fields, full-

time students of the Fine Arts and Art-Science departments work on external projects in lieu of internships.

The ability of students to function as aspiring artists or designers during their internships is an important addition to the programme. The process by which stu-dents, clients and teachers define learn-ing objectives prior to their internships and assess their achievements at the end allows for the evaluation of what stu-dents have achieved thus far. By work-ing in the professional field, students also have the opportunity to develop important contacts.

Work placements do not qualify as internships unless on-site supervision is available. For students participating in projects in lieu of internships, the KABK arranges regular supervision. The KABK guarantees the effective contribution of an internship to the programme based on the internship guidelines for the interim and final assessments. Guidelines have also been created for communication with internship companies.

Each department has an internship coordinator, who is often the internship supervisor as well. Numerous websites contain information and tips for students with regard to internships. The KABK web-site provides an overview of several use-ful sites.

internship objectivesThe internship must offer the student the opportunity to demonstrate insight into situations that are typical of the future pro-fession, as well as the ability to act appro-priately, based on this insight. Students formulate their own learning objectives for their internships, which are intended to prepare them for their future careers.

During their internships, students must therefore:

+ become familiar with the profession and their future careers

+ acquire the professional skills and pro-fessional attitude expected of starting professionals (designers/artists)

+ learn to participate in the working/busi-ness world

+ learn to integrate theory and practice + discover their own qualities and learn-ing objectives

+ explore possible specialisations + network: establish contacts in order to minimise the transition to the profes-sional field

+ obtain an understanding of and gain experience in the field under profes-sional conditions

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+ gain experience in professional manu-facturing methods and techniques

+ where applicable, learn to work in teams and with clients and meet pro-duction deadlines, in addition to per-forming acquisitions, preparing quota-tions and managing budgets

internship supervision + Internships are supervised by the department coordinator, who maintains contact with the internship company throughout the internship, in accord-ance with pre-defined arrangements.

+ The internship company has a con-tact person, with whom the intern-ship supervisor holds discussions as needed throughout the internship, in addition to a final conversation.

+ If the internship takes place abroad, contact is usually maintained by email or telephone.

+ The KABK supervisor contacts the internship company and the student at least once during the internship.

+ The department can organise a collec-tive internship meeting halfway through the internship period.

+ The coordinator always visits new internship companies in the presence of the student. If desired, contact with established internship companies is maintained by telephone.

+ In the event of problems, the internship company and/or the student should contact the coordinator.

+ The coordinator is responsible for processing the internship contract.

organisation of the internshipThe internship brochure provides detailed information about the internship proce-dure. It also contains an internship con-tract and the interim and final assess-ment forms. The principles underlying the internship policy and contract are also included in English.

The interim and final assessment forms are available in Dutch and English, and can be obtained from the Student Administration office.

An internship must comprise at least half a semester, with a maximum of one semester. During the actual intern-ship period, sufficient time is devoted to the preparation of an oral or written interim report. Participation in the mid-internship return days, completion of the timesheet, the preparation and signing of the over-view of activities by the student and the internship company, and the prepara-tion of the internship report are inextri-cably linked to the internship. No separate

credits are allocated for writing the report. Internships should include the following steps (please refer to the internship bro-chure for additional information):

+ creation of an internship work plan + locating an internship or internship replacement activity

+ application + preparation of an internship contract + writing an interim report + participation in a return day (where applicable)

+ a mid-term review with the external internship supervisor

+ a final assessment from the internship company

+ writing a final report + creation of a visual presentation about the internship period (where applicable)

For situations in which internships are dif-ficult to obtain (e.g. Fine Arts), the intern-ship is replaced with other activities (see the section on Internship Replacement Activities below).

starting conditionsBefore a student can start an internship, the internship plan must be approved and prior study components must be com-pleted. In exceptional cases, the head of department may authorise an intern-ship before completion of the prior pro-gramme. Necessary preparations must have been made during the period pre-ceding the internship (e.g. by attending the internship return days held halfway through each internship period). Students are also advised to consult the internship brochure.

internship replacement activities

It is more difficult to find internship posi-tions for students of the Fine Arts and ArtScience departments than it is for design students. Occasionally, individual students work in the studios of or par-ticipate in projects with artists, but such positions are very limited.

One solution to this problem involves a non-continuous period (e.g. one or two days per week). Institutions including Stroom Den Haag, the GEM, the Museum of Contemporary Art, the Gemeentemuseum and various artists’ initiatives provide a proper context for conducting research on more general issues (e.g. on the operation of the proc-ess of making art available to the pub-lic within the professional field) . Many Fine Arts students participate in external

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projects or the organisation of exhibitions in lieu of the internship.

Students of the interfaculty Art-Science department work on various productions and projects (e.g. the Sonic-Art Festival). This department prefers to approach education, research and pro-duction as an integrated whole.

The head of department appoints a supervisor for each internship replace-ment activity. The rules regarding credit allocation and the conclusion of these activities are the same as those apply-ing to regular internships. The writing of a report on the replacement activity is compulsory.

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8.2 academy-wide education

In addition to their departmental pro-grammes students participate in acad-emy-wide courses. From the first year, collaboration between students from different departments and disciplines is hence actively encouraged.

Some components of academy-wide education are part of the compulsory programmes. In these cases, the specific courses are included in the departmental credit overviews. In other cases academy-wide programmes may refer to elective subjects.

Courses and subjects organised at an academy-wide level are described below.

8.2.1 research & discourse

The first-year course that relates making to thinking and gets students into contact with all departments within the academy.

During the whole first year they look at different aspects of artistic prac-tice and research. The practice of an art-ist or designer is all about making, but is there any making without thinking? This programme asks questions, discusses visions and both visually and mentally invites students to get informed about the contemporary discourse of the Arts. They explore their position in the fields of art and design and learn how to speak or write about this position.

The Research & Discourse pro-gramme consists of Research seminars and Discourse lectures. It is a compulsory part of the first year of the Bachelor’s pro-grammes. Details are published on the KABK website:

www.kabk.nl/researchanddiscourse

8.2.2 Propaedeutic Project week

The Propaedeutic Project Week is an academy-wide project week for all first-year students. This week is about work-ing across the boundaries of the different disciplines in art education. The aim is to promote collaboration and strengthen connections between the different depart-ments. The KABK strives to stimulate an inspiring ‘open culture’, in which individual experience and skills, connect and collide.

This project week is a compulsory part of the first year of the Bachelor’s pro-grammes.

8.2.3 entrepreneurship

In the world of professional designers and artists it is all about realising projects and ideas. To do this, choices are made and decisions are taken. But one needs more! You may have a very strong con-cept but how do you realise this idea? How do you get to work on projects as artists or designers? How do you apply for a grant? What do you do if your artwork will be exhibited in a museum? How do you organise a performance? How do you make a budget and what do you include in an offer? How do you start cooperation with a partner or other organisations? And what do you include in a press release? To answer all these questions you need certain skills and you should know how the business-side of the professional world looks like. The entrepreneurship course enables the professional practice of art and realise ideas.

Entrepreneurship is an interdisci-plinary course where students are pre-pared for the business-side of the profes-sional practice. With a broad academic programme we work on the development of knowledge and skills in the areas of project management, business devel-opment and entrepreneurship. The stu-dents learn how to organise and shape the practical and financial parts of their own design or art companies/studios. The central themes vary from budget control, budget en project planning to acquisition, being able to sell yourself and present-ing the ideas.

Ellen Schindler, partner/business director of design studio KOSSMAN.DEJONG, will teach this course in coop-eration with teachers from the different departments giving seminars. This course is compulsory for students of the 3rd and 4th year depending on the department/programme they follow.

8.2.4 labs

In order to further explore and deepen the research orientation of the programme and the students’ development in artis-tic research, we organise a number of ‘research labs’. The labs are experi-mental and, most of the time, research-based interdisciplinary working groups, offered by one or more departments and/or research domains. In the labs, the research orientation of the programmes is further explored and deepened by encour-aging students to work together on par-ticular themes with students and teachers from other disciplines.

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8.2.5 studium generale

The activities of the Studium Generale (SG) are designed to broaden students’ knowledge and keep them up to date with regard to cultural and social devel-opments. During the activities of the Stu-dium Generale, all students of the KABK are invited to look beyond the bounda-ries of their own disciplines, in order to question the current events taking place in the world around them and to be con-fronted with ideas from other disciplines. This helps them to develop a critical way of looking at their own disciplines and to engage in conversation with other stu-dents. The exact content of the SG pro-gramme for 2015-2016 will be published on the website.

The Studium Generale is a compul-sory part of all Bachelor’s programmes; the semester/year in which it is included in the programme may differ between the departments. Participation in other semesters/years is encouraged.

For additional information about the programme and participation, please visit: www.studiumgeneralekabk.nl

8.2.6 activities of ’t hart

’t Hart organises lectures, film and video screenings and discussions in the KABK. The association also provides discounts on special theatre and opera perform-ances. Information is available in various locations, including the ’t Hart stand in the hall of the Academy. Many of the activi-ties organised by ’t Hart are planned in collaboration with students.

If you are interested in these activi-ties, please contact Christie van der Haak: [email protected].

8.2.7 electives

Students at the KABK may follow various electives during the main phase of their study programme.

With the approval of their coaches, students may take these electives within the framework of the Individual Study Track.

internal electives

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

Furthermore, the academy offers a range of special elective courses that are not part of the regular programmes. These elective courses vary from short skills training courses, in which stu-dents mainly learn new techniques, to full semester courses. Elective courses are open to students from all departments and can be included in the Individual Study Track if the department approves a student’s proposal to do so before the beginning of the course.

external electivesThrough the Academy of Creative and Performing Arts, students may follow external electives at Leiden University or at the Royal Conservatoire.

Current information about all the external electives is provided in the e-Pro-spectus: www.studiegids.leidenuniv.nl.

More information about the enrol-ment procedure is provided at

www.hum.leiden.edu/creative-performing-arts

Enrolment in an elective course at the Royal Conservatoire does not require registration as a guest student at Leiden University. In this case please contact R. Schneemann: [email protected].

8.2.8 electives for students from leiden university

Through the Academy of Creative and Performing Arts, students from Leiden University may take electives at the Royal Academy of Art and the Royal Conserva-toire.

More information is provided on the website and in the e-Prospectus from Lei-den University where students can reg-ister online:

+ www.studiegids.leidenuniv.nl/en (elective choices)

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8.3 assessment in art education

During their studies at the KABK, students are assessed in a specific, extensive and very thorough manner. The assess-ment methods used in art education dif-fer from those used in other forms of higher education, in which students are usually assessed through examinations. The assessment methods applied at the KABK can be observed even during the admission process. For example, prior education is not the only decisive factor in the decision to accept prospective stu-dents to the KABK. Their creative abili-ties, motivation and ambition are assigned equal importance, as is their potential for talent development.

The individual development of stu-dents places special demands on the method of assessment. Within the KABK, assessments are intended primarily for didactic purposes: they should provide students with insight into the progress of their development as artists or design-ers. In addition to addressing the form of the work, assessments focus on the strength of the concept, the way in which the result has been achieved, the proc-ess and the student’s theoretical knowl-edge. This analysis of the students’ work and designs is made during the individ-ual reviews and collective assessments. The conclusions form the basis for dis-cussions with individual students. These conversations are led by the coordinator or head of department, in order to clarify the specific issues at hand. Information on the various assessments, the composi-tion of the different committees and their authoritative reach are specified in the Education and Examination Regulations (Section 7). It is particularly important for first-year students to read the rules on the propaedeutic assessment.

In the department of Fine Arts, and in several years of the programmes in other departments, the individual reviews and collective assessments are com-bined into a single assessment.

8.3.1 individual reviews

Individual reviews aim to give students feedback on their achievements thus far and recommendations for next steps in their studies. The main focus, therefore, is not on grading and assessing, but on discussing with students how they are developing artistically, professionally and personally, and on that basis, giving the students useful guidance to get the most out of themselves.

8.3.2 collective assessments

The collective assessment evaluates the integral development of the students, as well as their processes, products and skills. In addition to its evaluative purpose, the assessment has the didactic objec-tive of providing feedback to students with regard to their attitudes, their work and the way in which they have approached the work or assignment, as well as the strength of the concept and their theo-retical knowledge.

The collective assessment is based on the presentation of the student’s work, as well as on its developments in com-parison with previous assessments, tak-ing into account the feedback from the teachers of the various study compo-nents. Additional information is provided in the ‘Credit Allocation’ section.

The competencies of visual com-munication/product/spatial designers and those of visual artists are described in their original form in the Educational Pro-files of the OBK. The competencies for each academic year are specified in the curriculum descriptions of each depart-ment.

8.3.3 registration and archiving

+ All collective assessments are signed by the head of department, on behalf of the assessment committee.

+ Each student receives a form, signed by the head of department, in which the result of the collective assessment is stated.

+ One copy of the form is kept in the stu-dent’s file at the Student Administration office.

8.3.4 credits (ec)

Study load is expressed in terms of Euro-pean credits (EC).

The European credit is a unit of measurement used to calculate the study load, which includes all the activities that a student undertakes within the frame-work of a specific study component. In addition to contact hours and classes, the measurement includes hours of inde-pendent study. One study year consists of 42 weeks of 40 hours, for a total of 1680 hours. One EC equals a study load of 28 hours. One year of a full-time programme thus consists of 60 EC (60 x 28 hours = 1680 hours).

A Bachelor’s programme covers four years, each amounting to 60 EC. The propaedeutic phase comprises 60

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EC, with the main phase and final phase covering the remaining 180 EC. Students must obtain a sufficient number of EC each year in order to continue the pro-gramme, and they must receive all of the programme’s 240 EC in order to com-plete the Bachelor’s degree.

The Master’s programme in Type and Media covers one year, amounting to 60 EC. The Master’s programme in Interior Architecture covers two years, amounting to 120 EC.

credit allocationThe study load of the various components is expressed in EC. Individual reviews are followed by the collective assessment. This applies to both the full-time and part-time programmes.

All study components in one semes-ter have a combined study load of 30 EC. During the collective assessments, the assessment committee decides which components have been completed suc-cessfully or not, and awards credits for each of these components, or for clusters of strongly related components, accord-ingly. Therefore no grades are given or pass/fail decisions made during the indi-vidual reviews.

Please note: Due to the different structure of the study programme in the ArtScience department, the allocation of credits takes place after the collec-tive assessment that is linked to the final presentations of each semester.

credit allocation for international exchange

KABK students participating in foreign exchange programmes receive their credits according to the system of the host institution. Many countries currently employ the EC system. For those that do not, a manner of converting the cred-its is formulated. The study load of the exchange programme is determined prior to the exchange by the policy officer for internationalisation, in cooperation with the head of department. Credits allocated by the host institution must be formally verified and registered by the assessment committee of the student’s department at the KABK.

International exchange students studying at the KABK fall under the pro-tocol of the Academy. Individual arrange-ments are made in the event that the credit systems differ.

credit allocation for guest students

Students from other institutions (e.g. Lei-den University) who would like to take classes at the KABK require approval from their own institutions, as well as from the Academy. After a positive assessment, these students receive statements speci-fying the study load of the programme to be followed in EC.

credit allocation for internshipsPrior to the internship, each student draws up an internship plan. Interim and final evaluations are part of the internship, and each student is expected to make a pres-entation and write a report at the end of the internship. Credits are allocated once all conditions have been met. Please also refer to the internship brochure, which contains with extensive information on internships.

credit allocation for individual study tracks

Credits are reserved for the Individ-ual Study Track (IST). The work carried out within the framework of the IST is not always addressed in the collective assessment (e.g. minors or electives at Leiden University). In such cases, the stu-dents are assessed by external parties.

The plan is signed in advance by the coach, who subsequently issues a Credit Statement upon completion, if everything is in order. A standard form is available for this purpose. As with all other cred-its, any credits earned through activities in the IST are not allocated until after the collective assessment.

credit allocation for minorsPending positive final results, KABK stu-dents taking minors at Leiden University can use a maximum of 36 EC for their programmes. This is the space offered by the Individual Study Track. If the study load of a minor exceeds 36 EC, the addi-tional credits earned are noted, but they are not counted towards the compulsory programme.

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8.4 study and progress guidance

The KABK distinguishes between guid-ing students in the content of their pro-gramme and artistic development, and supervising their study progress. The guidance of the student’s artistic devel-opment takes place continuously through constant discussions between students and teachers with regard to the work and work process.

8.4.1 mentors and coaches

Mentors and coaches monitor students’ study progress. Mentors guide students in the propaedeutic year, while coaches guide students in the higher years.

Mentors meet with the student twice each year. At the end of the first semes-ter, all full-time first-year students receive provisional interim recommendations concerning their study progress. A final, binding decision follows at the end of the second semester.

The mentor is a teacher of the rel-evant discipline. The tasks of the mentor focus on the following:

+ discussing the student’s study progress

+ discussing the assessment of the first semester

+ discussing the assessment of the second semester

+ keeping a concise record of the date and content of the conversations

Coaches are available to students in the main phase. The coach is a teacher of the relevant discipline. In some cases, the head of department assumes the role of coach. The tasks of the coach focus on the following:

+ discussing the student’s study progress

+ pre-approving the IST plan + assessing the IST plan after completion

+ recording and filing the students’ IST plans

8.4.2 student counsellor

The KABK has an independent student counsellor who supplies information of a more general nature. The student coun-sellor represents the individual interests of the students and is bound by an agree-ment of confidentiality. The counsellor may also mediate or make referrals to agencies or individuals outside the Acad-emy. Third parties are contacted if neces-sary, but only with approval of the student.

The counsellor provides informa-tion on and assists (if possible) with the following matters:

+ study grants and financial issues + applications for funding and grants + housing + problems in study progress due to illness

+ personal problems + professional procedures + adjustment difficulties, study moti-vation, study planning, performance anxiety, switching programmes

+ conflicts with teachers + information on de-registration + information on postgraduate programmes

The KABK student counsellor is Paul Deneer. Paul Deneer is also a confidential contact person, along with Pauline Schep. Appointments can be made by email.

+ Paul Deneer [email protected]

+ Pauline Schep [email protected]

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8.5 Quality assurance

Quality assurance refers to the totality of measures with which an institute system-atically defines, monitors and improves the quality of education in the broadest sense of the term.

8.5.1 accreditation

Accreditation is a designation indicating that an educational programme meets the requirements set by the Minister of Education, Culture and Science. It is a condition for the recognition of diplomas, for the funding of the programmes and for grant applications. An external committee reviews and evaluates the programmes and reports to the Accreditation Organi-sation of the Netherlands and Flanders (NVAO). The designation is granted by the NVAO. A list of accredited programmes is available on the NVAO website:

www.nvao.net

Quality assurance is an important part of the accreditation process. It involves the continuous examination of the perform-ance of both the education and the organ-isation. This is accomplished through interviews and evaluations (see below). If the outcomes of the assessments are negative, improvements will be made.

The KABK Bachelor’s programmes and the Master’s programme in Type and Media were accredited in July 2015. The Bachelor’s programme in Autonomous Fine Arts (ArtScience and Fine Arts) was assessed as ‘good’, while the Bachelor’s programme in Design (Graphic Design, Interactive/Media/Design, Interior Archi-tecture and Furniture Design, Photog-raphy and Fashion and Textile) and the Master’s programme in Type and Media were assessed as ‘excellent’.

The Master’s programmes in Art-Science and Artistic Research were accredited in September 2013 as ‘excel-lent’ and were recognised for ‘internation-alisation’ as a distinctive quality feature (as a specialisation in the Master’s pro-gramme in Music).

The Master’s programme in Interior Architecture was accredited on June 8th 2010 and is due for accreditation by the end of 2015.

8.5.2 Quality assurance at the KaBK

The staff, students, alumni and profes-sionals of the different departments are actively involved in the internal quality assurance process of the KABK. Great importance is attached to solid quality in policy, both throughout the Academy and within the departments. The Acad-emy considers opinions concerning the programmes and their results. This takes place internally with students and staff members, as well as externally with alumni, committee members, key figures in the art and design worlds, internship companies and art institutions from the professional field.

At the KABK, quality assurance con-sists of the following:

satisfaction surveys

Written or digital surveys are used to ques-tion students about their satisfaction with the educational programme in general, as well as with regard to specific parts of the programme. Aspects addressed in the surveys include the level of the course, assessments and the level of difficulty. The surveys are developed in close col-laboration with the ICLON department at Leiden University, which also performs the automatic processing of the responses.

Participation in national satisfaction surveys

The KABK regularly participates in national satisfaction surveys, in order to ensure its compatibility with other institu-tions of higher education in the arts.

student panels/class representative meetings

Within each course, meetings are sched-uled regularly (at least once a year) between the head of department and the class representatives. The class repre-sentatives also meet at least once a year with the director of the KABK.

course committeeThe Course Committee (in Dutch, Oplei-dingscommissie, or OC) plays an impor-tant role in the developments in the pro-grammes and in quality assurance, by providing solicited and unsolicited advice on all matters concerning education. The committee is also involved in finding the best way to gather information on educa-tion. The Course Committee consists of students and teachers. The meeting dates are provided in the Academy calendar.

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departmental meetingsTeachers and the heads of departments meet regularly to discuss operations and the quality of the education. This informa-tion is then used in the further develop-ment of the programmes.

study daysThe director, heads of departments and other staff members participate in study days several times each year, in order to discuss the current developments within the academy and to develop new ideas.

external assessorsEach year, renowned experts, artists and designers are involved in the final exami-nations as external assessors. They are asked about their experiences and find-ings in relation to the department. Depart-ments use this information to develop their programmes. The assessors are also questioned about their findings in writing.

Professional advisory committees

A professional advisory committee has been established within each depart-ment, in order to ensure compatibility with the professional field. There is also a professional advisory committee for the academy as a whole. These commit-tees consist of respected people from the professional field who advise the KABK and comment on the content of the pro-grammes, the final objectives and the final level, as well as on developments in the field and the resulting demands for the education and organisation.

internship companiesThe companies at which students com-plete their internships are asked about their findings, with regard to the level of the students and their needs in the pro-fessional field.

alumni studiesSince 2003, all alumni who have com-pleted their studies successfully are asked about their experiences. This takes place about three months after gradua-tion. For the first few years, these ques-tionnaires were distributed by post. For the past few years, alumni have had the option of completing the questionnaire digitally. The response rate is high for this type of research, around 40%. In the near future, an additional survey will be con-ducted on the manner in which alumni are able to establish their own positions within the world of art and/or design.

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

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9. education and examination regulations

This part of the Education and Exami-nation Regulations specifies the rules and provisions that apply to the educa-tion at the Royal Academy of Art (KABK) as a whole, in conformity with art. 7.13.2 a–u, of the Higher Education and Scien-tific Research Act (Hoger onderwijs en Wetenschappelijk onderzoek (WHW)) . It has been approved by the Board of Governors of the University of the Arts, The Hague, formerly the School of Vis-ual Arts, Music and Dance. These regu-lations came into force on 1 September 1998, and they were modified in part by the Board of Governors (most recently in July 2015) for all programmes of study at the Royal Academy of Art.

The general description of the edu-cation provided at the Academy and the concise description of the curriculum for the programmes in this Study Guide are an integral part of these regulations.

These regulations apply to all cohorts of students of the programmes and courses referred to, and to the 2015–2016 academic year.

By way of exception to the above, if the 2015-2016 Education and Examina-tion Regulations have not been completed as of 1 September 2015, the 2014-2015 Education and Examination Regulations shall remain in force until the 2015-2016 Education and Examination Regulations take effect.

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

Admission + Article 4: Admissions

Duration and structure of the programmes

+ Article 5: Duration of the programmes + Article 6: Propaedeutic phase (WHW art.7.8)

+ Article 7: Admission to the main phase of the Bachelor’s programmes

+ Article 8: Main phase of the Bachelor’s programmes

+ Article 9: Structure of the Master’s pro-grammes

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

+ Article 13: Determining the result and awarding credits

+ Article 14: Propaedeutic phase assess-ment/regulations (WHW art. 7.8; only applies to Bachelor’s programmes)

+ Artikel 15: Regulations concerning the recommendation on continuation of studies and rejection (WHW art. 7.8b; bachelor’s programmes only)

+ Article 16: Green light assessment + Article 17: Sequence of the assess-ments

+ Article 18: The assessment commit-tees

+ Article 19: Semester assessments of the assessment committees

+ Article 20: Regulations for the semester and propaedeutic assessment com-mittees

+ Article 21: Final assessment commit-tee: Composition and working method

+ Article 22: Final examination regula-tions for the Royal Academy of Art

Resits, exemptions, substitute activities

+ Article 23: Exemption + Article 24: Resits/retakes and com-pensation

+ Article 25: Substitute activities due to financial reasons

+ Announcement and registration of results; statements and certificates

+ Article 26: Registration and announce-ment of assessment results: Validity of results

+ Article 27: Declarations and certificates (WHW art. 7.11)

Safekeeping + Article 28: Safekeeping

Irregularities during assesments/examinations

+ Article 29: Irregularities + Article 30: Misconduct

Objection and appeal + Article 31: Regulations for objections and appeals

Other provisions + Article 32: Copyright + Article 33: Tests and examinations (assessments) for students with dis-abilities

+ Article 34: Reference title + Article 35: Effective date

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general

Article 1Applicability of the regulations

These regulations apply to the education and examinations of the following pro-grammes and courses of study:

+ Fine Art Bachelor’s programme (CROHO 39110), with the ArtScience and Fine Arts courses

+ Design Bachelor’s programme (CROHO 39111), comprising Photog-raphy, Graphic Design, Interior Archi-tecture and Furniture Design, Textiles and Fashion, and Interactive/Media/Design courses

+ Interior Architecture Master’s pro-gramme (CROHO 49238)

+ Type and Media Master’s programme (CROHO 49106)

Article 2Definitions

Academic year:The period beginning on 1 September and terminating on 31 August of the sub-sequent calendar year: An academic year has two semesters.

Academy for Creative and Performing Arts:

This is a collaborative partnership between the University of the Arts, The Hague and the University of Leiden.

Admissions committee:A committee established by the institu-tion’s management, represented by the faculty director, to bear responsibility for assessing the attitude and suitability of prospective students for specific study programmes (WHW art. 7.26a).

Admissions review:A review of the suitability of prospective students.

Assessing:Assessing is an accepted term in higher art education that is equivalent to ‘admin-istering examinations’ in regular higher education. (see WHW art. 7.10, para. 1).

Assessment:

A term in art education that is equivalent to the terms ‘interim examination’ and ‘examination’ in WHW art. 7.3, para. 3 and art. 7.10, para. 1. Assessments involve an investigation into the knowledge, insights and skills of the examinee, as well as the

evaluation of the results of that investiga-tion. We make the following distinctions:

+ in the Bachelor’s programmes: propae-deutic (first-year) phase assessment following semester 2

+ semester assessment (comprising individual reviews for the separate study components and a collective assessment, or an integrated assess-ment where these are combined)

+ final assessment

Assessment committee:Committees of examiners (or assessment committees) are established for the pur-pose of preparing and/or implementing examinations and parts of examinations, as referred to in WHW art. 7.12c, para. 1. The examiners are responsible for setting and assessing tests and examinations.

Assessment committees are estab-lished for the propaedeutic and main phases of the Bachelor’s programmes and for the Master’s programmes, and are responsible for collective assess-ments. For the Bachelor’s programmes, the Academy establishes assessment committees for the propaedeutic assess-ment, the assessments in the subject study phase and the final assessment. For the Master’s programme, assess-ment committees are established for the semester assessments and for the final examination.

These assessment committees have different powers, depending on their tasks. Articles 18, 19 and 21 of these reg-ulations specify the composition of the assessment committees.

Bachelor’s degree:Degree that can be earned after complet-ing a four-year higher professional edu-cation (HBO) programme (or after com-pleting a three-year university level (WO) programme). An HBO Bachelor’s pro-gramme usually lasts four years, each worth a possible 60 ECTS.

Board of Appeals for Examinations:The Board of Appeals, as referred to in WHW art. 7.60, can be reached through the Central Office of the University of the Arts.

Board of Governors:The Board of Governors of the Univer-sity of the Arts, The Hague is the com-petent authority, bearing responsibility for the education, organisation and manage-ment of the institution.

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Course:The Fine Art and Design programmes each have different courses that train stu-dents for a specific profession.

Block/Period:This is half of a semester, with a maxi-mum of four blocks/periods per aca-demic year.

Coach:A student counsellor for specialisation students, possibly with responsibility for coaching the Individual Study Track (IST).

Committee of Examiners:See: assessment committee.

Competence:Competence is the integral whole of knowledge, skills, attitudes and other per-sonal qualities that individuals possess, which enable them to carry out tasks in an adequate way, to find solutions and to put them into effect in practising their profession.

Component of a study programme:A component of a study programme is equivalent to that which is referred to in WHW art. 7.3 as a unit of study. It is a part of the educational programme, which concludes with an assessment.

Degree programme:As referred to in WHW art. 7.3, a degree programme is a cohesive whole of educational units designed to achieve clearly defined objectives with regard to the knowledge, insight and skills that a person completing the programme is required to possess. Each degree pro-gramme concludes with an examination. The programmes at the Academy include several study programmes.

EC/Credits:A measure of the hours of study: One European Credit is equal to a study load of 28 hours (self-study and lectures). The study load of a Bachelor’s degree HBO programme amounts to 240 study cred-its: 60 in the propaedeutic phase and 180 in the main phase. The study load of the Interior Architecture Master’s pro-gramme is 120 credits. The study load of the Type and Media Master’s programme is 60 credits

ECTS:European Credit Transfer and Accumu-lation System: the European system for exchanging and accumulating credits.

Education and Examination Regulations:

The Education and Examination Regula-tions consist of two parts: One part pro-vides a general description of the teaching at the Academy and a concise description of the curriculum of the courses at the Academy and the Interfaculty ArtScience; the other part includes the rules and pro-visions. Both of these parts are included in the Study Guide.

Final assessment / final examination:

The final assessment of a programme, based on the final examination work – usually referred to as “final examination” in common parlance.

Examination:

A review of the candidate’s knowledge, insights and skills and the evaluation of the outcomes of this review.

Examination Board:For the purpose of administering, organ-ising and coordinating examinations, interim examinations and assessments, the Board of Governors of the institute has established an Examination Board for each programme or group of pro-grammes offered by the institute in accordance with WHW art. 7.12.

At least one member of this board must be a lecturer of the programme in question and at least one member must come from outside the programme.

The Examination Board for Fine Art and Design is responsible for the exami-nation procedures.

The Examination Board: + safeguards the quality of the interim and final examinations (WHW art. 7.12.b, para. 1, sub a)

+ can provide invigilators with guide-lines and instructions concerning the assessment and determination of the examination result (WHW art. 7.12.b, para. 1, sub b)

+ applies exceptional regulations, includ-ing those governing exemptions, and allows individual exceptions to the reg-ulations in certain cases (WHW art. 7.12b, para. 1, sub d)

+ is empowered to take measures in the event that fraud is committed by a stu-dent (WHW art. 7.12b, para. 2)

+ appoints the invigilators, including the chair of a committee of invigilators (WHW art. 7.12c)

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+ awards the certificate once the student has taken the required examinations and once the Board of Governors has determined that the procedural require-ments for awarding the certificate have been met (WHW art. 7.11).

Examiner:A member of the Committee of Exam-iners, as referred to in WHW art. 7.12c: Individuals who teach within the relevant degree programme may be designated as examiners, as may experts from out-side the programme.

External students:Students enrolled at the University for the sole purpose of participating in the pro-paedeutic or final examination, or parts thereof.

Faculty:Organisational unit: The University of the Arts, The Hague comprises two faculties: the Royal Conservatoire and the Royal Academy of Art. Additional units include the Interfaculty ArtScience and the Inter-faculty School for Young Talent.

Head:Official in charge of an educational unit or a study programme at the Academy.

Individual Study Track:In the main phase of the Bachelor’s pro-grammes (and also in the ArtScience Master’s programme), study load is reserved for a study component with indi-vidually determined contents approved by the department. This is known as the Individual Study Track (IST). This track allows students to realise their own ambi-tions and to focus on their own interests.

IST credits from full-time internships and/or the final examination can be inte-grated into the internship/final exami-nation assessment in a manner to be approved by the Head of the department of the course.

Interfaculty:

An Interfaculty is a partnership between the Conservatoire and the Academy. Art-Science and the School for Young Talent are Interfaculties. The ArtScience Bach-elor’s programme provided by the Art-Science Interfaculty falls under the Fine Art Bachelor’s programme in the Cen-tral Registry of Higher Education Pro-grammes (CROHO). The ArtScience Master’s programme falls under the Music Master’s programme in CROHO.

Interim examination:An investigation (written, oral or other) into the knowledge, insights and the skills of the student, as well as the assessment of the results of that investigation. An interim examination is usually referred to as an ‘assessment’ in common parlance at the Academy.

Main (subject) phase:

The part of the Bachelor’s programme that follows the propaedeutic phase of the programme and is concluded with its final examination.

Major-minor system:Within the framework of the IST and with the prior approval of the department, stu-dents of the Bachelor’s programmes may take a minor offered by the other higher education institutes within the applica-ble major-minor system. Students of the University of the Arts in The Hague may qualify for a minor at Leiden University after completing the propaedeutic phase. Conversely, Leiden University students can take a minor at one of the Univer-sity’s faculties after being admitted there.

Master’s programme:A one-year or two-year advanced degree programme (as a rule, subsequent to the completion of a Bachelor’s programme) at an institution of higher professional education or a university.

Mentor:A counsellor who assists propaedeutic students in a bachelor programme with regard to progress in their studies.

Participation Council:The Participation Council, as referred to in WHW art. 10.17: The council com-prises elected representatives from vari-ous ranks within the institution: students, teaching staff from each faculty and gen-eral support and educational support staff. The University has a central coun-cil and two faculty councils, one for the Academy and one for the Conservatoire.

Practical exercises:Carrying out assignments or creating designs, conducting research assign-ments, completing internships or partic-ipating in excursions and other neces-sary educational activities, with the goal of achieving the required skills.

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Propaedeutic assessment/propaedeutic examination:

The examination that concludes the propaedeutic phase of a bachelor pro-gramme: The examination takes the form of a propaedeutic assessment aimed at determining whether the student meets the requirements specified for the pro-paedeutic phase.

Recommendation: A distinction is made between:

+ The propaedeutic recommendation: At the end of the propaedeutic or first year of a bachelor degree programme, a recommendation is made with regard to the continuation of the course of study. This recommendation is bind-ing, and it may be negative. A negative binding recommendation means that the student will not be admitted to the main part of the course in question and that the student’s enrolment for that course will be terminated in conform-ity with WHW art. 7.8.b.

+ Interim propaedeutic recommendation: After the first semester in Year 1 for full-time students and after the second semester for part-time students under the previous arrangements, a provi-sional non-binding recommendation is made. This provisional recommenda-tion will be issued at a date that gives any student facing a negative binding recommendation a reasonable amount of time to substantially improve his/her study results. Furthermore, the student will be notified of this term.

+ Green light recommendation: Following the penultimate semester of the pro-gramme, both in bachelor and mas-ter programmes a recommendation will be issued regarding participation in the final examination assessment if all prior study components have been successfully completed, and if there is confidence in the ability of the student to obtain a satisfactory result for the final examination work based on the questions and organisation. This rec-ommendation will be binding in cases described in article 16 of these regu-lations.

Semester:Each academic year has two semesters. A semester comprises blocks or periods.

Semester assessment:A formal assessment conducted at the conclusion of each semester: This assessment is conducted by an assess-ment committee.

Specialisation:A cohesive whole of educational units within a study programme, focusing on a specific domain within the visual arts and/or design, particularly in the Bach-elor’s programmes.

Student:A person who is enrolled at the University of the Arts, The Hague (full-time or part-time) to pursue a degree programme.

Student counsellor:A confidential advisor who, if necessary and as a supplement to the mentor, coach or lecturer, provides advice and information to students with regard to matters relating to their studies: The stu-dent dean also helps students with per-sonal problems of a material and immate-rial nature, refers them elsewhere or acts as intermediary.

Study load:

All supervised and unsupervised study activities: practical exercises, excur-sions, internships, interviews, practical and theory classes, lectures, workshops and independent study within and outside the Academy; also referred to as study hours, and expressed in credits.

The Royal Academy of Art:The Fine Arts and Design Faculty of the University of the Arts, The Hague.

The Royal Conservatoire:The Music and Dance faculty of the Uni-versity of the Arts, The Hague.

The University of the Arts, The Hague:

On 1 January 1990, the Royal Academy of Art and the Royal Conservatoire merged to form the School of Visual Arts, Music and Dance. On 8 July 2010, the name of the institution was changed to the Uni-versity of the Arts, The Hague. The Board of Governors is responsible for the daily operations of the University.

WHW - Higher Education and Scientific Research Act:

The Act on Higher Education and Scien-tific Research, Bulletin of Acts, Orders and Decrees 593, 1992; Implementing Decree 2008 Text, as in force on 1 July 2011.

WSF:Act on Student Grants and Loans, Stu-dent Finance.

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Article 3Degree programmes offered

Bachelor’s programmes:Each Bachelor’s study programme has its own propaedeutic phase. Students who pass the propaedeutic phase are entitled to advance to the main phase of their chosen study programmes.

Fine Arts with specialisations:

+ Fine Arts, full-time and part-time + ArtScience, full-time, provided by the Interfaculty ArtScience

Design: + Graphic Design, full-time and part-time + Photography, full-time and part-time + Interactive/Media/Design, full-time + Interior Architecture and Furniture Design, full-time and part-time

+ Textile and Fashion, full-time

Master’s programmes and postgraduate programmes:

The Academy has four postgraduate pro-grammes.

+ Type & Media Master’s programme + Interior Architecture Master’s pro-gramme

+ ArtScience Master’s programme + Artistic Research Master’s programme

The latter two programmes are the result of collaboration between the Academy and the Conservatoire, and fall under the Education and Examination Regulations of the Music Master’s programme of the University of the Arts.

admission

Article 4Admissions

1. Students are admitted if they meet the requirements relating to previous edu-cation, as specified in WHW art. 7.24, or if they are exempt from those require-ments on the basis of WHW art. 7.28.

2. In addition to the requirements speci-fied in the first paragraph, the students must meet additional requirements in accordance with WHW art. 7.26a.

3. In order to determine whether a candi-date meets the additional requirements specified in the second paragraph, the Board of Governors establishes an admissions committee that provides the board with a recommendation con-cerning the admissibility of the candi-date (based on the specified require-ments).

4. The Board of Governors establishes the Admissions Regulations, which con-tain at least the composition, powers and responsibilities of the committee specified in the third paragraph, as well as the procedures and criteria adopted by that committee.

duration and structure of the programmes

Article 5Duration of the programmes

The Fine Art and Design Bachelor’s pro-grammes amount to 240 ECTS and last four academic years.

The Type & Media Master’s pro-gramme amounts to 60 ECTS and lasts one academic year.

The Interior Architecture Master’s programme amounts to 120 ECTS and lasts two academic years.

Article 6Propaedeutic phase (WHW art.7.8)

Each Bachelor’s study programme at the Academy has its own propaedeutic phase, which corresponds to the main phase of that specific study programme, including the associated specialisations. The propaedeutic phase counts for 60 EC and takes one year of study. The phase concludes with the propaedeutic exami-nation, which takes the form of an assess-ment.

The study components in the pro-paedeutic phase constitute a cohesive foundation for the main phase. The pro-paedeutic phase is arranged in such a way that students obtain insight into the content of the study programme and the future profession, with the possibility of referral and/or selection at the end of this phase. The curriculum of the propaedeu-tic phase is described in the study guide.

In the Master’s programmes, no dis-tinction is made between the propaedeu-tic phase and the main phase.

Article 7Admission to the main phase of the Bachelor’s programmes

1. Students who have successfully com-pleted the propaedeutic phase of a Bachelor’s programme can continue their studies in the main phase of the course in question.

2. A student who has gone through the propaedeutic phase of a course but has not yet passed the propaedeu-

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tic examination may only participate in the main phase if the propaedeutic assessment committee considers the student’s chances of completing the propaedeutic phase in the second aca-demic year are good, and that repeating the first year would not be worthwhile.

3. In consultation with the Head of the department of the relevant course, a student may be allowed to continue his/her studies in a different course within the Academy. The study com-ponents of the ‘new’ course that need to be completed, as well as the amount and type of credits earned in the ‘old’ course that can be transferred to the ‘new’ one, will be determined in each case.

4. On the basis of a recommendation from the admissions committee, the Board of Governors can decide to directly admit a student to the main phase of a course. In such cases, the Examination Board will assess the exemptions from the study compo-nents of the propaedeutic phase of the relevant course as soon as possible after the start of the first year following enrolment in accordance with article 23 of these regulations.

Article 8Main phase of the Bachelor’s programmes

The main phase of the Bachelor’s pro-grammes amounts to 180 ECTS and lasts three academic years. The goal of the main phase is to prepare students for pro-fessional practice in the field of fine arts and design. The curriculum of the main phase is described in the study guide and on the Academy’s website.

Article 9Structure of the Master’s programmes

No distinction is made in the Master’s programmes between the propaedeu-tic phase and the main phase. The one-year Master’s programmes conclude with an examination (a semester assessment also takes place after the first semester). In the two-year Master’s programmes, a semester assessment takes place after the first academic year to determine whether the student will be admitted to the second year, and the second academic year concludes with the final examina-tion (the usual semester assessments also take place after the first and third semesters).

assessments

Introduction: The examination and assess-ment system continuously focuses on supporting students’ development, in line with their personal interests and needs, with the goal of enabling them to eventu-ally attain the final qualifications. For the propaedeutic phase, the goal is to effec-tively orientate students within the course of study and, if necessary, to ensure an adequate selection and referral.

The assessments reflect (profes-sional) practice in the field in which we provide education and in which evaluation largely depends on discourse between creators, peers, critics and the public. In our assessments, we therefore seek a balance between individual and collec-tive judgements, and emphasise the con-nection between the different study com-ponents, which should result in integral development. Furthermore, our assess-ments are more formative than summa-tive (with the exception of the propaedeu-tic and final examinations).

We make a distinction between indi-vidual reviews (of separate study com-ponents) and collective assessments. These two have been combined to form integrated assessments in a number of courses, sometimes in the later years of the programmes. The green light assessment is a special type of collec-tive assessment.

Article 10Semester assessment

Every semester concludes with a semes-ter assessment consisting of a collective assessment preceded by or integrated with individual reviews (see articles 11 and 12). In the last semester of the pro-paedeutic phase of the Bachelor’s pro-grammes this is known as the ‘propae-deutic assessment’. In the last semester of the Master’s programmes and the main phase of the Bachelor’s programmes, it is called the ‘final assessment’.

Article 11Individual reviews

1. A semester consists of one or more study components. For each study component, an individual review takes place in which the student’s develop-ment and results for the relevant study component are discussed on the basis of the learning objectives of that com-ponent.

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2. The individual review is conducted by the lecturer(s)/invigilator(s) responsible for that study component.

3. The individual review is formative and provides students with substantive and qualitative feedback on their progress and results, as well as with instructions and suggestions for their further devel-opment during the course of study.

4. The result of the individual review is recorded in writing and communicated to the student.

5. The individual reviews normally take place one or two weeks prior to the scheduled collective assessments, unless integral assessments take place in the relevant course and academic year. If the study component is not completed at the end of the semes-ter, the lecturer will communicate the date and time of the individual reviews in a timely manner.

6. The individual review does not result in an evaluation (satisfactory/unsatis-factory) or a grade. Whether or not a study component has been completed satisfactorily is determined during the collective assessment based on the student’s overall development.

7. An exception to paragraph 6 above is that the individual reviews in the Art-Science course of study, both the Bach-elor’s and the Master’s programmes, do result in an evaluation because the curriculum is organised differently.

Article 12Collective assessments

1. The semester assessment committee performs an assessment at the end of each semester, known as the collec-tive assessment.

2. The collective assessment involves an investigation into the extent to which the student meets the criteria estab-lished in advance and the determina-tion of the assessment result of that investigation. The criteria are described per academic year and course of study.

3. In the collective assessment, the stu-dent’s work from the last semester is assessed, and his/her individual reviews and results for each sepa-rate study component are discussed and weighed. Eventually, the semes-ter assessment committee reaches a final, collective and integral evaluation based on the competencies formulated for the relevant course and academic year.

4. The collective assessment concerns all of the study components in the semes-

ter to be assessed, including the IST and/or any study components com-pleted at other institutes. The assess-ment is performed on the basis of the results of practical and/or theoretical work in those study components.

5. An exception to paragraph 4 above is that the collective assessments in the ArtScience course of study, both the Bachelor’s and the Master’s pro-grammes, result in an evaluation of the student’s semester project because the curriculum is organised differently.

6. Students are given the opportunity to comment on their work presented at the assessments and on their devel-opment.

7. The assessment committee assesses the student’s work and determines the assessment results after consultation.

8. The collective assessment concludes with a meeting of the assessment committee, in which the assessment results are formulated and registered. If necessary, the committee provides a recommendation on the student’s continuation of studies or selection of specialisation.

9. The assessment committee gives a positive assessment if the require-ments established in advance have been met.

For students who receive a result of ‘unsatisfactory’, the assessment com-mittee determines how they can retake the components or compensate for that result, and when and how this will be assessed.

At the end of the academic year, the assessment committee determines whether the student will be admitted to the next academic year.

The chair of the assessment commit-tee determines how many credits the student has earned on the basis of his/her assessment results.

Article 13Determining the result and awarding credits

1. Assessment results can be expressed in grades (from 1 to 10, with a max-imum of one decimal) , on a qualita-tive assessment scale (unsatisfactory/borderline/satisfactory/good), or on a two-point scale (unsatisfactory/satis-factory).

2. For each study component, students are notified of the applicable scale both before and during the assessments.

10.

11.

12.

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3. The following applies to graded results: result of 6.0 or higher are satisfactory; results below 6.0 are unsatisfactory.

4. During the collective assessment, the semester assessment committee determines the result of each study component and the number of cred-its earned. In addition to the evaluation of the individual lecturer(s) concern-ing that component, the assessment based on the student’s total develop-ment also plays a role. The committee also determines whether, when and how the student can retake specific components or complete additional assignments. Finally, at the end of the academic year, the semester assess-ment committee determines whether or not the student will be admitted to the next academic year.

5. For clusters of study components that are demonstrably and strongly related in terms of content, the student’s result can be determined at cluster level instead of at the level of the separate study components. In such cases, stu-dents are notified in advance which study components make up the clus-ter and how the result of each compo-nent mutually influences the result at cluster level.

6. Results and credits obtained within the framework of an exchange at a differ-ent institute either in the Netherlands or abroad, and formally recognised in the exchange agreement (learn-ing agreement and any subsequently agreed changes to that agreement), are determined in the collective assess-ment in the relevant semester. A state-ment concerning these credits from the partner institute in question (transcript of records) will serve as proof.

Article 14Propaedeutic phase assessment/regulations (WHW art. 7.8; only applies to Bachelor’s programmes)

+ The propaedeutic phase of a Bach-elor’s programme concludes with a propaedeutic examination, in the form of the propaedeutic assessment.

+ The propaedeutic assessment is con-ducted by an assessment committee for propaedeutic examinations.

+ The Academy has an assessment committee for the propaedeutic phase in each Bachelor’s programme, com-prising the Head of the department and supervising lecturers.

+ The assessment committee deter-

mines the extent to which the candidate has met the specified criteria according to previously established general and subject-related criteria, procedures and rules. The committee also determines the assessment result for this review.

+ Students pass the propaedeutic exami-nation by passing collective assess-ments of the propaedeutic phase and completing all individual study compo-nents successfully.

+ The propaedeutic assessment con-cludes with a meeting of the assess-ment committee, in which the result is decided and recorded.

+ The committee may advise the faculty director to issue a binding negative rec-ommendation on the continuation of the study or choice of specialisation. See Article 15 of these regulations.

+ Students passing the propaedeutic assessment receive a certificate to indi-cate that they have passed the assess-ment and that 60 EC credits have been obtained.

+ Full-time students and part-time stu-dents under the current arrangements are required to complete the propae-deutic phase within two years of enroll-ment.

Artikel 15Regulations concerning the recommendation on continuation of studies and rejection (WHW art. 7.8b; bachelor’s programmes only)

At the end of the propaedeutic phase of the Bachelor’s programmes, all students at the Academy, both full-time and part-time, receive recommendations on the continuation of their course of studies, within the programme or elsewhere. A student who has not passed the propae-deutic assessment and whom the Acad-emy deems unsuitable for the main phase of the study programme (with due consid-eration for personal circumstances) may receive a recommendation containing a binding rejection (i.e. a binding negative recommendation). Candidates receive signed, written notification of such recom-mendations from one of the faculty direc-tors (or a deputy). The binding negative recommendation refers to the procedures that students must pursue if they wish to file objections or appeals.

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The recommendation takes one of the following forms:

+ Positive recommendation: Based on the results of the study, the Academy expects that the student will be able to pursue the study successfully and thereby promotes the student to the main phase of the study programme in question.

+ Binding negative recommendation: This recommendation means that the student will not be allowed to continue the course of study and is not eligible to enrol in the same study programme at the Academy again. The binding nature applies to both the full-time and part-time variants of the programme. Stu-dents receive this recommendation if the assessment committee concludes that they will not be able to complete the programme successfully, based on the results of their assessments.

+ Exceptional recommendations allowing the possibility of re-taking the propae-deutic assessment (or parts thereof): This recommendation may be issued for students who show talent but whose study results fail to reflect this suffi-ciently, if the assessment committee expects that repeating the propaedeu-tic phase (or parts thereof) would pro-vide them with a sufficient foundation for successfully pursuing the remain-der of the programme, notwithstand-ing the provisions of 14, para. 9. In the recommendation, the assessment committee states its reasoning for this expectation.

An exceptional recommendation is pos-sible on the grounds of extenuating per-sonal circumstances, as listed below, insofar as the assessment committee deems that they have impeded the stu-dent from obtaining satisfactory results. The following are considered extenuating circumstances:

+ demonstrable and long-term illness of the student

+ serious personal circumstances of the student

+ pregnancy of the student + membership on the Participation Coun-cil

+ membership on the board of a founda-tion that, by virtue of its charter, oper-ates student amenities, as referred to in the WHW

+ membership on the board of a sizeable student organisation or a comparable organisation that primarily serves the

interests of the arts in society and that organises activities to this end

+ circumstances other than those listed above for which the assessment com-mittee deems that a binding negative recommendation would result in seri-ous unfairness

Students should inform their mentors about any extenuating circumstances as soon as possible. If students do not regard their mentors as suitable for this purpose, they may contact the student dean, who will inform the assessment committee of the circumstances in writ-ing. The information may serve no other purpose than the study recommenda-tion, and it is made available only to the assessment committee, which adds it to the student’s file separately, as does the mentor.

A recommendation rejecting further study can be made only if the following criteria have been met:

+ The criteria and the procedure for the study recommendation and the pos-sibility of rejection are communicated clearly in a timely manner.

+ The student’s mentor in the propae-deutic phase discusses the results with him/her in (at least) one individ-ual meeting.

+ During this meeting (or these meet-ings), the student’s study results are made available to him/her. In addition to these results, any special personal circumstances are discussed.

+ Students receive an interim recom-mendation at a date that gives them a reasonable period of time in which to substantially improve their study results. Students will also be notified of this period.

+ The mentor records the result of these meetings and includes it in the stu-dent’s file. Any special circumstances are set down in a separate report that is kept in the student’s file. The men-tor keeps the assessment commit-tee informed of such circumstances in writing.

A negative binding recommendation can be issued so long as the student has not yet passed the propaedeutic examina-tion. It can therefore also be issued dur-ing the second year of enrolment in the propaedeutic phase. Students who fail to complete the propaedeutic phase by the end of the second year of enrolment automatically receive a negative binding recommendation, unless the Examination

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Board decides otherwise on the advice of the relevant assessment committee.

Article 16Green light assessment

1. Following the penultimate semes-ter and the corresponding semester assessment, a separate green light assessment takes place.

2. The green light assessment is per-formed by (a majority of the members of) the final assessment committee and results in a recommendation as to the student’s participation in the final examination assessment (hereinafter referred to as ‘the examination’ in this article) based on the questions and plans presented by the student for this purpose.

3. Students are not usually permitted to participate in the green light assess-ment for the Bachelor’s programmes if they have not yet earned 180 credits by the start of that assessment. The assessment committee can decide to admit the student to the green light assessment anyway if it believes that the student’s lack of progress would not necessarily prevent him/her from passing the final examination. Numeri-cal criteria for participation in the green light assessment do not apply to stu-dents of the Master’s programmes. In the Master Interior Architecture, stu-dents are permitted to participate in the green light assessment if they have successfully completed the first year of the programme and received a positive assessment after the third semester.

4. The green light assessment takes place four weeks prior to the sched-uled final examination at the latest.

5. A positive recommendation (green light) is given if, based on the student’s objectives and approach for the final examination, the assessment com-mittee is confident that the student will pass the final examination. If there is some doubt over the student’s ability to successfully complete the examina-tion, an orange light recommendation is given. A red light recommendation is given where the committee lacks suf-ficient confidence.

6. The recommendation is only binding if it is a red light recommendation AND if it concerns a Bachelor’s degree AND if the student has not yet earned 210 credits. In such cases, the student is not permitted to participate in the final examination. In the Master of Interior Architecture, the recommendation is

only binding in case the student does not show up at the assessment.

Explanation:For the Bachelor’s programmes, the above-mentioned provisions mean that:

+ a student with less than 180 credits may only participate in the green light assessment in exceptional cases (to be determined by the assessment com-mittee)

+ a student with 180–210 credits may participate in the green light assess-ment, but a red light recommendation will be binding

+ a student with more than 210 credits cannot receive a binding red light rec-ommendation

7. Notwithstanding the period stated in paragraph 4 above, the assessment committee can decide to offer the stu-dent the opportunity to retake or post-pone the green light assessment if the result would initially be an orange or red light recommendation. In such cases, the assessment committee determines the period in which the assessment or resit examination will take place.

Article 17Sequence of the assessments

1. Students must pass the collective assessment in the previous semester before continuing their studies in the programme.

2. Students may be allowed to continue their studies if it is anticipated that they can pass the next collective assess-ment. Article 24 of these regulations will then apply.

3. In order to be allowed to start the last semester of the study programme, stu-dents must have successfully com-pleted all previous assessments and earned the accompanying credits. A student who has not yet earned all the previous credits but who the semes-ter assessment committee believes is capable of catching up within the current academic year can be admit-ted to the last semester. The decision as to whether or not the student will be admitted is made by the semester assessment committee.

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Article 18The assessment committees

1. The Academy establishes assessment committees for the semester assess-ments and the final assessment of each course. In the Bachelor’s pro-grammes, the propaedeutic assess-ment is the de facto semester assess-ment at the end of the propaedeutic phase. The assessment committees have different powers, depending on their tasks. A description of the com-mittees and their powers follows below.

2. The composition and working method of the semester assessment commit-tees are set down in articles 19 and 20 of these regulations.

3. The final assessment is performed by the final assessment committee. The composition and working method of the final assessment committees are set down in articles 21 and 22 of these regulations.

Article 19Semester assessments of the assessment committees

1. The Academy establishes an assess-ment committee for each course and academic year; each committee oper-ates under the responsibility of the Examination Board and consists of a Head of the department and support-ing lecturers.

2. The Head of the department of the course chairs the assessment commit-tee, the mentor/coach or the coordina-tor serves as secretary, and the lectur-ers who teach the study components of the course form the other members.

3. The chair determines whether the stu-dents to be assessed can attend the discussion about the outcomes of the assessment.

4. The assessment committee for the propaedeutic year of a course func-tions as the propaedeutic assessment committee. This committee formulates a recommendation on the continua-tion of the studies and possibly on the continuation of the studies in a particu-lar course on the basis of the results of that assessment. See Article 20 of these regulations.

Article 20

Regulations for the semester and propaedeutic assessment committees

+ The chair of the assessment com-mittee is responsible for the sched-uling, organisation and coordination of the presentation of the work to be assessed. For this presentation, each study component should be presented in such a way that it provides a good impression of the performance of the student to be assessed.

+ Voting: The committee may take a vote, if indicated by the outcome of the assessment. The committee’s decision is based on a majority vote. In case of a tie, the chair casts the deciding vote.

+ Postponed assessment at the end of the first semester of the academic year: in the event that the work submitted by a student is incomplete, the chair can establish a period in which an assess-ment will take place and determine the procedure to be followed.

+ Postponed assessment at the end of the second semester of the aca-demic year: if an unsatisfactory result is obtained at the end of an academic year and the committee believes the student can continue his/her studies after obtaining a satisfactory result, the committee can decide to repeat the assessment again after a particu-lar period.

+ Any assessment that is postponed in accordance with paragraph 3 or 4 must take place at the end of the next semes-ter at the latest.

+ Determining the number of ECTS obtained: The chair of the assessment committee determines the number of ECTS obtained.

+ Recording the results of the assess-ment: The chair of the assessment committee is responsible for ensur-ing the maintenance of a record of the study results. The chair dates and signs the form indicating the results of the assessment. After the form has been signed, the results are officially ratified. The chair is responsible for pro-viding the assessment results directly to the student administration office for the purposes of declarations and cer-tificates.

+ Further procedure: The chair of the assessment committee is responsible for any further procedures arising due to the assessment results. Students whom the assessment committee has deemed to have performed unsatisfac-torily in any way must be informed of

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the consequences of the assessment by means of a letter and/or a confer-ence. The resulting decisions must be reported on the assessment form.

+ The chair of the assessment commit-tee informs the Examination Board regarding all matters of a problematic nature that will not be addressed by the assessment committee, as well as with regard to matters for which these regu-lations contain no provisions.

Article 21Final assessment committee: Composition and working method

1. The Academy establishes an assess-ment committee for the final assess-ment, known as the final assessment committee, which operates under the responsibility of the Examination Board. The Head of the department of the course serves as the chair of this committee, which is made up of (a core team of) lecturers that supervise the student during the final study phase.

2. The Examination Board can add one or more external experts to the final assessment committee as members of the final examination committee.

3. The final examination is transparent. However, the transparency of the final assessment never applies to the delib-erations of the final assessment com-mittee.

4. The final assessment committee deter-mines the result of the final examina-tion assessment.

Article 22Final examination regulations for the Royal Academy of Art

+ The final examination (or final assess-ment) is arranged in conformity with the provisions of the WHW. The final examination takes place in the form of a final assessment.

+ The composition of the assessment committee for the final assessment (the final assessment committee) is described in Article 21 of these regu-lations.

+ The final assessment committee decides on the final examination work in a collective assessment, in which the substance of the verdict of the external members is taken into account, as are the assessments of the individual ele-ments contained in the final examina-tion phase. The work presented plays a decisive role in this whole. The decision of the committee concerns whether the

work, as a cohesive whole, manifests an authentic vision of the visual arts or design, and whether the individual theme and research incorporated in the work has been presented to the public in an appropriate manner.

+ The number, subject, technique and execution of the works are deter-mined in consultation with the teachers involved and the head of the study pro-gramme, based on the goal of the final examination, as described in paragraph 3 of this article and in the description of the programmes of the study pro-grammes in the Education and Exami-nation Regulations.

+ For the theory subjects, a written paper is required, the subject and the size of which is determined in consulta-tion with the teacher in question. The paper must be submitted in triplicate: one copy for the student, one for the teacher and one for the records in the library. The copy of the final paper sub-mitted to the teacher and the library remain the property of the Academy. If possible, the final paper must also be submitted in digital form (preferably in PDF format). The thesis is assessed separately.

+ All papers/pieces of work submitted for assessment must have been prepared under the supervision of the teacher (or teachers) in question, and they must have been accepted as such by the teacher (or teachers).

+ All pieces of work presented must be verifiably the inalienable intellectual property of the candidate.

+ The decision of the final assessment committee is based on a majority vote. In case of a tie, the chair has the decid-ing vote.

+ The secretary of the final assessment committee notifies the candidate of the outcome as soon as possible after the final assessment, but within three days at the latest. After the data have been processed, the candidate receives a judicium or verdict indicating the score and the outcome. The formulation of the score comprises a final grade, a list of grades and/or a reasoned writ-ten declaration.

+ If the student has not passed all of the required preceding components of the study, a decision is taken with regard to how and when the student will have another opportunity to pass these com-ponents. The student is informed of this decision by the chair or the secre-tary of the final assessment committee. Completion (if possible) is to take place

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before the end of the current academic year (i.e. by 1 September); otherwise, the student will be required to re-enrol.

+ Awarding of certificates and declara-tions is described in Article 27 of these regulations.

+ Resits: The final examination commit-tee may grant the opportunity for a resit to candidates who have failed one or more parts of the examination.

+ During its meeting, the final assess-ment committee determines whether one or more resits can be taken, if it deems that the candidate would be capable of passing the final assess-ment after taking one or more resits.

+ Candidates who are eligible to take one or more resits must submit a request to take one or more resits to the chair of the final assessment committee within seven days after the announcement of the outcome.

+ The chair of the final assessment com-mittee determines the date, time and location of the resit, which must be taken before the start of the new aca-demic year.

+ The final assessment committee may decide on an ‘extended examination’ (i.e. postponement of the final assess-ment) for candidates presenting incom-plete final examination collections for one or more parts of the exam. An ‘extended examination’ is conditional on the final assessment committee’s view that a resit (i.e. the presentation of additional work or the re-presentation of work) again is impossible before the beginning of the new academic year, and that the candidate is capable of passing the complete final examina-tion within the period of one semester.

+ Extended examination: Any candi-date who has been declared eligible for ‘extended examination’ must sub-mit a request for postponement of the final examination to the chair of the final assessment committee within seven days of the announcement of the afore-mentioned decision. The chair of the final assessment committee deter-mines the date, time and location of the postponed final assessment, which must take place no later than the end of the semester following the final assess-ment. Candidates who do not wish to take advantage of the extended exami-nation are deemed to have failed.

+ Inability to participate in the final assessment (or any part thereof) due to illness, accident or serious family circumstances must be reported to the chair of the final assessment com-

mittee before the commencement of the final assessment. Acknowledge-ment of these circumstances requires written proof of the student’s inability to participate. A new date for the final assessment can be determined in consultation with the chair of the final assessment committee.

+ Candidates may file appeals against the outcome of the final assessment, in conformity with the applicable rules stipulated in Article 31.

+ A book and/or digital file will be com-piled of the final examination work of all candidates in the full-time and part-time programmes of the Academy. Each student is obliged to supply material for this compilation by the specified deadline.

+ A final examination candidate may par-ticipate in this publication of the final work only once. An endeavour is made to have the date of issue of the final exam book and/or digital file coincide with the graduation ceremony.

+ Participation in the final examination exhibition is a one-off event and subject to conditions. If the final assessment committee or the coordinator of the final examination exhibition (commis-sioned by the director) is of the opinion that a student’s presentation is incom-plete, the student may be excluded from participating in the final exami-nation exhibition.

+ The Examination Board decides in cases for which these regulations con-tain no provisions.

resits, exemptions, substitute activities

Article 23Exemption

1. At the request of a student and on the recommendation of the assessment committee, the Examination Board can grant an exemption for one or more study components on the basis of a certificate, diploma, testimonial or other document that proves that the student has already met the requirements of the relevant component.

2. The procedure for requesting an exemption is described in the “Exemp-tion Protocol” appendix attached to these regulations.

3. The period of validity of any exemption granted is unlimited, unless the con-tent of the relevant study component is altered due to changes to the Educa-tion and Examination Regulations. If an

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

Article 24Resits/retakes and compensation

1. On the basis of the results of an assessment, the assessment com-mittee determines whether a student is entitled to a resit and under what conditions.

2. Resits of theoretical subjects: if a stu-dent fails the assessment of a theo-retical subject, he/she may retake that subject. This retake must be com-pleted before the end of the year in question.

3. Resits of practical subjects: if a stu-dent fails the assessment of a practical subject, he/she may retake that sub-ject. In certain situations, compensation regulations may apply or the work in a later semester may count as a resit for assignments that the student failed during a previous semester.

4. Collective assessment: in the event of an unsatisfactory collective assess-ment, the semester assessment com-mittee determines if and how the study component can be retaken. The com-mittee can give the student the opportu-nity to complete the study component by passing the collective assessment and earning a satisfactory grade in the next semester.

5. If resits are taken by accomplishing certain tasks in the next semester, the associated obligations for the student will be established as part of the result of an assessment, and the fulfilment of these obligations will be tested during the assessments in the next semester.

6. The possible application of compensa-tion regulations does not change the fact that the student must achieve all the final qualifications in order to earn the diploma. In principle, a student can only compensate for failing a particular study component if he/she can demon-strate in another way that he/she pos-sesses the required competencies.

Article 25Substitute activities due to financial reasons

Students who cannot participate in certain compulsory study components (such as excursions) for financial reasons will be given the opportunity to fulfil their obliga-tions by means of a substitute activity.

announcement and registration of results; statements and certificates

Article 26Registration and announcement of assessment results: Validity of results

+ The assessment committee uses a form to record the assessment results for each student at the meet-ing following the collective assessment. This form is signed by the chair of the assessment committee.

+ The student administration records the outcome of the assessment for each student in the student tracking system.

+ Students are notified of the outcomes of assessments as soon as possible after the collective assessment.

+ Each student receives a report of the assessment after it has taken place, including the assessment of the per-formance and the outcome of the assessment.

+ As soon as possible after an assess-ment, students who have failed the assessment receive an overview indi-cating whether a resit is possible.

+ For students temporarily interrupt-ing their studies, the results obtained remain valid for one year. As a rule, after this period, students are required to go through a new admissions pro-cedure. The Admissions Committee also formulate recommendations with regard to the validity of credits obtained earlier.

Article 27Declarations and certificates (WHW art. 7.11)

+ Each student receives a written dec-laration containing the outcome of the assessment. Recommendations (if applicable) are made as soon as possible after the collective assess-ment, after the student administration has recorded the assessment results.

+ After the propaedeutic assessment, and after the student administration has recorded the assessment results, students who have passed the assess-ment receive certificates stating the outcome, along with the recommen-dation on continuation of studies.

+ After the final assessment and after the student administration has recorded the assessment results, students who have passed the final assessment receive certificates stating the outcome

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of the final assessment and the status of the diploma obtained.

+ The institutional board confers the Bachelor’s degree and Master’s degree on students who have passed the final examination of a Bachelor’s pro-gramme or of a Master’s programme, respectively.

+ The Board of Governors ensures that the relevant professional field is stated on the degree: Bachelor of Fine Arts (Bfa) for Fine Art graduates and Bachelor of Design (Bdes) for Design graduates, Master of Design in Type & Media or Master of Interior Architec-ture (M Interior Architecture) for grad-uates of the corresponding Master’s programmes.

+ A student who has successfully com-pleted multiple assessments but can-not be awarded a certificate as defined in paragraphs 3 and 4 of this article, will receive on request a statement listing the successfully completed assess-ments from the Faculty of Fine Arts of the University. The student must sub-mit the request in writing to the faculty director.

safekeeping

Article 28Safekeeping

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

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

irregularities during assesments/examinations

Article 29Irregularities

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

2. If the irregularity is first discovered after the propaedeutic assessment or

the final assessment, the assessment committee can refuse to issue the cer-tificate specified in WHW art. 7.11, para. 1, or can decide that the student con-cerned may only receive the certificate after a new assessment of the compo-nents designated by the assessment committee has been completed in a manner to be determined by the com-mittee.

3. Before any decision can be made in the light of paragraphs 1 and 2 above, the chair of the assessment committee will hear both the assessment commit-tee and the student.

4. The chair of the assessment commit-tee will immediately inform the student of the decision, either orally or in writ-ing.

5. The chair of the assessment commit-tee will inform the chair and secretary of the Examination Board of the deci-sion, and will also provide a statement of the facts and justify the decision. In accordance with WHW art. 7.12b, para. 2, the Examination Board will make a decision with regard to the known facts and possible penalties, while taking into account the principles of a fair hearing and proper administration.

Article 30Misconduct

The director of the Acadmy will be noti-fied of any misconduct, including damage caused to the building and/or aggression towards others, who will subsequently take appropriate measures. Possible measures include:

+ demanding the immediate repair of any damage or ordering the repair costs to be borne by the person responsible

+ suspension or restriction of access to the buildings and grounds

objection and appeal

Article 31Regulations for objections and appeals

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

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2. The Board of Appeals rules on appeals that have been filed with regard to:

+ decisions to fail a student with a binding study recommendation, as referred to in Article 15 of these regulations

+ decisions regarding admission to the green light and the final assessments, as referred to in Articles 16 and 21 of these regulations

+ decisions regarding the number of credits obtained

+ other decisions by Assessment Com-mittees, and Examination Committees and examiners

3. An appeal may be lodged if: + the decision is in contravention of any generally binding regulation (e.g. the Edu-cation and Examination Regulations)

+ in taking the decision, the body obvi-ously used its power for purposes other than that for which it was origi-nally intended

+ upon weighing the interests in question, the body involved could not have taken the decision in all reasonableness

+ the decision is contrary to any other principle of good administration pre-vailing as part of the general sense of justice

+ the further provisions regarding the procedure, the handling and the ver-dict can be found in the Legal Protec-tion chapter of the Student Charter of the University of the Arts, The Hague.

other provisions

Article 32Copyright

All of the work that students create during their studies becomes part of the study programme, and it serves as the basis for the credits obtained during the pro-gramme. For this reason, the work cre-ated throughout the entire duration of the student’s programme becomes the prop-erty of the Royal Academy of Arts. Stu-dents obviously retain the right of use. Upon de-registration, the right of owner-ship passes to the student. The Academy retains the right to use the work in the future as well, without any remuneration and within the context of its own objec-tives. Former students who become affili-ated with intermediary copyright agencies are obliged to inform their agencies of this arrangement. The digital conversions of the work assessed as part of the semes-ter assessments must remain available to the Academy for appropriate use within the objectives of the Academy.

Article 33Tests and examinations (assessments) for students with disabilities

Students with disabilities can participate in tests and examinations in a way that con-siders their disabilities. To this end, they may make arrangements with the head or the coordinator of the study programme and/or submit a request to this end to the Examination Board, if necessary.

Article 34Reference title

These regulations can be referred to as the “Royal Academy of Art Education and Examination Regulations 2015–2016” or by the Dutch abbreviation “OER KABK 2015–2016”.

Article 35Effective date

These regulations will take effect on 1 September 2015 or at a later date, once this date has been formally established.

AppendixExemption protocol

1. Students must submit any request for exemption to the lecturer/invigila-tor before the third meeting relating to a subject in a semester at the lat-est (this enables students to better familiarise themselves with the con-tent of the subject and gives them the chance to discuss the matter with the lecturer/invigilator). In order to apply for an exemption, students must complete a form that states at least the following information:

+ the subject/subjects for which the exemption is requested

+ the grounds on which the exemption is requested

+ the number of credits for which the exemption is requested

2. The request for exemption must be accompanied by supporting documen-tation, as well as:

+ the content of the activity on which the exemption is based

+ the activity must be completed with a satisfactory result

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3. The lecturer/invigilator will judge the request on:

+ the similarity to the content of the sub-ject for which exemption has been requested

+ the actual achievement of a satisfac-tory result

4. The lecturer/invigilator will advise the Head of the department on the request and supply the supporting documen-tation. The Head of the department will ensure that the lecturer/invigilator has based his/her recommendation on solid arguments. If this is the case, the Head of the department will adopt the recommendation of the lecturer/invigilator. The recommendation will then constitute a recommendation to the Examination Board.

5. The form signed by the Head of the department will be submitted to the stu-dent administration, together with the supporting documentation.

6. The student administration will register the fact that the Head of the department approves the exemption and keep the form and the supporting documenta-tion in the student’s file.

7. The student administration will compile a longlist of exemptions with a positive recommendation from the Head of the department for the Examination Board.

8. The Examination Board will perform a marginal assessment of the positive recommendations and check that all formal requirements have been met (including the presence of supporting documentation). As a rule, the Exami-nation Board adopt these recommen-dations.

9. Once the board has adopted a posi-tive recommendation, the exemption will be officially granted. It will provide the student administration with a list of the exemptions granted.

The student administration will regis-ter the granted exemptions and inform the students by means of an adjusted study progress overview.

If a request for exemption is rejected by the Examination Board, the board will duly inform the relevant Head of the department and the lecturer/invigilator, stating the reasons for the rejection and requesting the Head of the department to assess the exemption request once again.

10.

11.

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ground floor

Prinsessegracht BuildingReceptionCentral Lending DeskDirector’s OfficeKABK Gallery 1Printing Room OfficesKABK Gallery 2Executive Secretary’s / Head of Operation OfficeKABK Gallery 3Communication & Marketing OfficeLibraryStudio / Webmaster“Gipsenzaal”Photocopy and Mail RoomTheory ClassroomTextile & Fashion WorksitesTextile Workshop (Sewing)Textile & Fashion WorkshopPractical Classroom: 2D TechniquesTextile & Fashion WorksitesColorLabMetal Workshop

Bleijenburg BuildingAuditoriumAcademy Staff Office: Head of Type & MediaType & Media ClassroomTheory ClassroomFine Arts WorksitesExhibition SpaceLithography Workshop: graining table / stone storagePractical Classroom: 2D techniquesGraphics Workshop: LithographyGraphics Workshop: Resin / Charcoal RoomGraphic Workshop: Acid Room3D WorkshopPhotography Workshop: Refined TechniquesGraphics Workshop: Print ShopFine Arts WorksitesWorkspace Catering StaffFine Arts WorksitesFine Arts WorksitesClay and Plaster WorkshopCeramics WorkshopCeramics WorkshopFine Arts WorksitesClassroom Master Artistic ResearchClassroom Master ArtScienceCoordinator Master Interior Architecture (INSIDE)Classroom Master Interior Architecture (INSIDE)Head of Master Interior Architecture (INSIDE)

PA.001PA.002PA.006PA.007PA.008PA.009PA.010

PA.011PA.014PA.015PA.016PA.021PB.002PB.004PB.006PB.012PB.014PC.001PC.002PC.003PC.005

BA.001BA.002

BA.004BA.013BA.016BA.018BA.019

BA.020BA.021BA.023

BA.025BA.027BA.029

BA.031BA.K01BC.001BC.002BC.004BD.001BD.007BD.009BD.011CD.001CD.002DS.001

DS.002

DS.101

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BA.004

BA.002

BA.K01

BA.016

BC.002

BA.029

BA.031

BD.011

BD.007

BD.009

BD.001

BD.003

BC.004

BA.018BA.020

BA.019

BA.013

BA.001

CD001

ENTRANCE HALLBLEIJENBURG

ENTRANCE HALLBLEIJENBURG

BA.021

PC.011

PC.015 PD.027PD.019

PD.015 PD.009

PD.17B

PD.17A

PD.021

PD.025B

PD.025A

PC.005

PC.002

PC.003

PC.001

PB.014 PB.012 PB.006 PB.004 PB.002

PA.011

PA.015

PA.021PA.016

PA.014

PA.010

PA.006

PA.002

PD.004

PD.002

PD.001

PD.003PD.007

PA.009

PA.007

BA.027

BA.025 BA.

023

L CENTRAL HALLPA.0H

RECEPTION

L

PB.0GB PB.0GA

PA.0GA

PA.0GB

PA.0GC

PA.0GD

PD.0GD PD.0GC

PC

.0G

CP

C.G

0BP

C.0

GA

PD.0GB PD.0GA

BA.0HC

BA.0HD

BA.0GA

BA.0GB BA.0GC

BA

.0G

D

BA.0GF

BA.0GE

BA.B0B

BA.0HB

BA

.0H

A

PC.0T PA.0T

PD.0T

BA.B0A

BC.0TA

BC.0TB

BA.0TD

BA

.0G

G

BA

.0TC

BA.0TA

CD002

DS002

BA.0TB

.008

COURTYARDBLEIJENBURG (BB)

COURTYARD GARDEN PRINSESSEGRACHT (BP)

BB.0T

281

floorplan

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BB.112

BB.111

L

BB.109

BB.107

BB.105

BB.115BB.113

BB.108 BB.106 BB.104 BB.102

BB.103

BC.102

BA.112

BA.120

116

118

BA.102BA.108

106

110

BD.106

CATERING

BC.108 BA.101D

BA.103 BD.111

BD.109 BD.107

BD.105

BD.103

BD.101

PA.102

PC.104

PB.102

PC.108

PC.101PD.117 PD.105 PD.101

PD.103

PB.115PB.111

PB

.113

PB.101B

PB.101A

PB.103

PB.125 PB.117PB.119

114

C B A

PD.102

L

BB.1H

BB.1TA

BB.1GD

BB.1TB BB.1GC BB.1GB BB.1GA

BA.1TB

BC.1GA

BC

.1GB

BC.1GC

BD.1T

BA

.1TA

PD.1GA PD.1GB

PC

.1G

C

PC

.1G

B

PC

.1G

A

PC.1T

PB.1GD PB.1GC

PA.1T

PA.1GA

PA.1GB

PB.1GB

PB.1GA

PB.1T

BA

.1G

B

BA.1GA

PD

.1T

COURTYARD GARDENPRINSESSEGRACHT (BP)

COURTYARD BLEIJENBURG (BB)

BB.1TC

BA

.1TC

282

study guide

first floor

Prinsessegracht BuildingPhotography Workshop: Large StudioPhotography Lending DeskPhotography Workshop: Black StudioInterior Architecture WorkspacePhotography Workshop: White StudioPhotography ClassroomPhotography Printing RoomFine Arts Worksites (full-time)Fine Arts Worksites (full-time)Practical Classroom: 2D TechniquesStorage SpaceAcedemic Staff: Head of Interior Architecture and Furniture DesignFurniture Design ClassroomClassroomPhotography ClassroomAcademic Staff: Head of PhotographyStorage PhotographyInterior Architecture ClassroomTheory / PGCID Classroom

Bleijenburg BuildingPhotography Workshop: DarkroomMultimedia DeskPhotography: Consulting RoomMultimedia Workshop: Montage SpaceMultimedia Workshop: Montage SpaceMultimedia ClassroomMultimedia Workshop: Montage SpaceMultimedia Workshop: Montage SpaceMultimedia Workshop: Montage SpaceMultimedia Workshop: Montage SpaceClassroomTheory ClassroomAcademic Staff Office: Head of I/M/DClassroomFine Arts WorksitesAcademic Staff: Head of Master Art-ScienceFine Arts WorksitesAcademic Staff: Head of Master Artistic ResearchInteractive Media Design ClassroomInteractive Media Design ClassroomOffice: LectorateOffice: Janneke WesselingInteractive Media Design ClassroomInteractive Media Design ClassroomFine Arts WorksitesFine Arts WorksitesFine Arts WorksitesCanteenFine Arts WorksitesFine Arts WorksitesMR

PA.102PB.101a

PB.101b

PB.102PB.103PB.111PB.115PB.117PB.119PB.125PB.127PC.101

PC.104PC.108PD.101PD.102PD.103PD.105PD.117

BA.101BA.102BA.103BA.108BA.110BA.112BA.114BA.116BA.118BA.120BB.102BB.103BB.104BB.105BB.106BB.107

BB.108BB.109

BB.111BB.112BB.113BB.115BC.102BC.108BD.101BD.103BD.105BD.106BD.107BD.109BD.111

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BB.112

BB.111

L

BB.109

BB.107

BB.105

BB.115BB.113

BB.108 BB.106 BB.104 BB.102

BB.103

BC.102

BA.112

BA.120

116

118

BA.102BA.108

106

110

BD.106

CATERING

BC.108 BA.101D

BA.103 BD.111

BD.109 BD.107

BD.105

BD.103

BD.101

PA.102

PC.104

PB.102

PC.108

PC.101PD.117 PD.105 PD.101

PD.103

PB.115PB.111

PB

.113

PB.101B

PB.101A

PB.103

PB.125 PB.117PB.119

114

C B A

PD.102

L

BB.1H

BB.1TA

BB.1GD

BB.1TB BB.1GC BB.1GB BB.1GA

BA.1TB

BC.1GA

BC

.1GB

BC.1GC

BD.1T

BA

.1TA

PD.1GA PD.1GB

PC

.1G

C

PC

.1G

B

PC

.1G

A

PC.1T

PB.1GD PB.1GC

PA.1T

PA.1GA

PA.1GB

PB.1GB

PB.1GA

PB.1T

BA

.1G

B

BA.1GA

PD

.1T

COURTYARD GARDENPRINSESSEGRACHT (BP)

COURTYARD BLEIJENBURG (BB)

BB.1TC

BA

.1TC

283

floorplan

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COURTYARD GARDENPRINSESSEGRACHT (BP)

COURTYARDBLEIJENBURG (BB)

BA. 202

BA.204

BB.202BB.212

BA.205

BA.207

BA.203

BB.208

BB.203

BB.205

BB.207

BB.209

BB.223

BB.222

BB.213

BB.219

BB.215

BB.221

BB.206BB.216

L

BB.211

BB.201

PB.225

PB.221

PB.217

PB.213

L

PB.211

PB.209 PB.207

PB.205

PB.203

PB.201

PB.301

PB.302

BB.2G

BA

.2G

PB.2GD PB.2GC

PB.2GB

PB

.2T

PB

.2G

A

PC

.2G

A

PC

.2G

B

PD.2GA

PD.2GB PD.2GC

PD.202 PD.201 PD.210

PC.212

PC.202

PD.208

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study guide

second floor

Prinsessegracht BuildingFine Arts WorksitesFine Arts WorksitesFine Arts WorksitesFine Arts WorksitesFine Arts WorksitesFine Arts WorksitesFine Arts WorksitesFine Arts WorksitesSYT ClassroomStorage SpaceGraphic Design ClassroomGraphic Design ClassroomGraphic Design / Photography ClassroomGraphic Design ClassroomAcademic Staff: Head of Graphic DesignGraphic Design Classroom

Bleijenburg BuildingGraphics Workshop: High PressureGraphics Workshop: Screen-printing Rinsing RoomCinemaGraphics Workshop: Screen-printingGraphics Workshop: Screen-printing Illumination RoomLaboratory WorkshopConference RoomArtScience WorkspaceConference RoomConference RoomConference RoomConference RoomIT OfficeConference RoomOffice: Head of Finances of HogeschoolCollege RoomTheory ClassroomDean / DoctorOffice: HogeschoolOffice: Hogeschool SecretaryOffice: Head of Human Resources of HogeschoolOffice: Human Recources of Hogeschool

third floor

Prinsessegracht BuildingInterfaculty ArtScienceStorage Space

PB.201PB.203PB.205PB.207PB.209PB.211PB.213PB.217PB.225PB.227PC.202PC.212PD.201

PD.202PD.208

PD.210

BA.202BA.203

BA.204BA.205BA.207

BB.201BB.202BB.203BB.205BB.206BB.208BB.209BB.211BB.212BB.213

BB.215BB.216BB.217BB.219BB.221BB.222

BB.223

PB.301PB.302

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COURTYARD GARDENPRINSESSEGRACHT (BP)

COURTYARDBLEIJENBURG (BB)

BA. 202

BA.204

BB.202BB.212

BA.205

BA.207

BA.203

BB.208

BB.203

BB.205

BB.207

BB.209

BB.223

BB.222

BB.213

BB.219

BB.215

BB.221

BB.206BB.216

L

BB.211

BB.201

PB.225

PB.221

PB.217

PB.213

L

PB.211

PB.209 PB.207

PB.205

PB.203

PB.201

PB.301

PB.302

BB.2G

BA

.2G

PB.2GD PB.2GC

PB.2GB

PB

.2T

PB

.2G

A

PC

.2G

A

PC

.2G

B

PD.2GA

PD.2GB PD.2GC

PD.202 PD.201 PD.210

PC.212

PC.202

PD.208

285

floorplan

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287

contacts

director of the royal academy of art and Vice-President of the university of the arts, the hague

+ Marieke Schoenmakers

secretary + Georgia Charitopoulou [email protected]

head of operations + Eric Privee [email protected]

computer helpdesk + George Vincentie + Constant Meeuws [email protected]

financial administration + Tino van Lieshout + Marja de Bruin + Annie Heins [email protected]

opening hoursMonday – Thursday 8:30am – 10:00am 12:00pm – 1:30pm3:30pm – 4:30pm

Wednesday 5:30pm – 8:00pm8:30am – 10:00am 12:00pm – 1:30am

facility management + Frans ten Bosch [email protected]

university of the arts + Arthur Gieles secretary of the board [email protected]

international office + Aparajita Dutta [email protected]

opening hoursMonday, Tuesday, Thursday10:00am – 12:00pm

Participation council + Winnie Koekelbergh teacher Fine Art Theory – president

+ Vasiliki Giakoumi student Fine Art – secretary [email protected]

Planning (rooms & spaces) + Geoffrey Harteveld [email protected]

marketing & communication + Nienke van Beers head [email protected]

+ Wieneke Mulder press and PR [email protected]

+ Lizzy Kok projectmanager events [email protected]

+ Marieke Ladru projects, alumni, partnerships [email protected]

+ Angelina Tsitoura webmaster [email protected]

Quality control + Iskandar Serail [email protected]

[email protected]

student administration + Joop van Pijkeren + Silvia van der Kist + Julia Homoet [email protected]

confidential advisor + Pauline Schep [email protected]

student counselor + Paul Deneer [email protected]

Royal Academy of ArtPrinsessegracht 42514 AN The Haguewww.kabk.nl

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Graphic Design

Photography

Translation

Edition

Printing

Paper

Typeface

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

291

coloPhon

Koos Breen Suzanne Bakkum

Gilleam Trapenberg

UvA Talen

1700

Drukkerij Tielen, Boxtel

Amber Graphic 240 g/m2

100 g/m2

Berthold Akzidenz Grotesk

The Hague,October 2015

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the hague

royal academy of art

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the hague


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