A MAGAZINE - Royal College of Art
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A MAGAZINE
A MAGAZINE
Guest Editor
Professor Paul Anderson
Dean, School of Design
Contributing Editors
Briony McArdle-Oakley Guest Editor: Professor Paul Anderson
Head of Alumni & Supporter Dean, School of Design
Engagement
Peter Piatkowski I am both delighted and honoured to be able to
Alumni Relations Manager
address you, my fellow Royal College of Art alumni,
Jessie Bond
Content Editor as Guest Editor of our magazine – and to introduce
Sarah Macdonald
myself as Dean of the School of Design.
Publishing Manager
Hannah Williams The College has changed immeasurably since I joined
Assistant Content Producer
as an Industrial Design student in October 1984,
Design
Jörg Schwertfeger
a newcomer to London. I met a wide range of students
from every corner of the globe, all of whom went on to
Cover Artwork
Le Gun make varied and valuable contributions to the world
See page 30–31 for bios of all our of design. The MA was in many respects a very relaxed
contributing alumni writers, illustrators
and photographers.
affair, with our tutors visiting occasionally and us
students frequenting the Art Bar on a regular basis –
We’d also like to thank our
Alumni Council: some things never change!
Sir David Adjaye OBE
(MA Architecture, 1993) I am passionate about multiple aspects of design
Frank H Auerbach
(ARCA Diploma Class I Painting, 1955)
and am happy to see so many of them represented here –
Christopher Bailey MBE celebrating innovation that comes through a
(MA Fashion Womenswear, 1994)
David Constantine MBE commitment to diversity is a particular highlight.
(MDes Computer Related Design, 1990)
Sir James Dyson CBE, OM Another element close to my heart is digital design –
(MDes Furniture, 1971)
Tracey Emin CBE
I founded Glasgow School of Art’s Digital Design Studio
Television Design that gave basic training (MA Painting, 1989) in 1997 – so I’m extremely enthusiastic about the new
COMING
in film-making to a select few students. Lady Hamlyn
There was no department as such, only (DesRCA Diploma Fashion, 1955) approach to robotics here at the RCA.
Thomas Heatherwick CBE
a Bolex clockwork camera, an instruction
(MA Furniture, 1994) The way that we approach design has changed
FULL CIRCLE
book and a light meter. The head of
the course was George Haslam, a talented
David Hockney OM CH RA
(ARCA Diploma Class I Painting, 1962)
dramatically over the last two decades: we no longer
television designer, who was our tutor, Alison Jackson limit the discipline to purely object-oriented activities.
(MA Photography, 1999)
adviser and supporter.
Asif Kapadia STEM to STEAM is a growing agenda, and system,
Image: Boy and Bicycle (film still), I presented my script for a short film (MA Film & Television, 1997)
Ridley Scott, 1965 Boy and Bicycle to George, who allowed Orla Kiely OBE experience and service design are now integral parts
me to borrow the Bolex for a month to (MA Knitted Textiles, 1992)
Professor Magdalene Odundo OBE
of RCA disciplines.
Director, producer and Royal College of Art alumnus, Sir Ridley Scott (ARCA shoot the film in North Hartlepool. I was
Diploma Graphic Design, 1961) is celebrated for his distinctive visual style also given £65 to finance the film and
(MA Ceramics & Glass, 1982) The inventiveness of the RCA community never fails
Dame Zandra Rhodes DBE
and ability to craft memorable and atmospheric cinematic worlds. From the processing – a big budget, and something (DesRCA Diploma Class I Textile Design, 1965) to astound. Just flicking through these pages will take
dystopian cityscapes of Blade Runner (1982), through the iconic deserts I’m still grateful for. Peter Schreyer
(MA Vehicle Design, 1980) you from fondly remembered visionary John Minton
of Thelma & Louise (1991), to the evocation of second-century Rome While at the College, films of differ
in Gladiator (2000) and chilling psychological scenes of Hannibal (2001) – ent genres, languages and locales,
Sir Ridley Scott
(ARCA Diploma Graphic Design, 1961)
to the pioneering research happening at our Intelligent
Scott is an innovator of the filmic form. In 2018 Scott received the highest especially those with a certain grittiness, Emma J Shipley Mobility Design Centre, as well as insights from our
accolade from BAFTA, the BAFTA Fellowship for lifetime achievement. had a particular impact on me. I should (MA Textiles, 2011)
This year, Scott’s company created a film for the RCA. Directed by Juriaan name Saturday Night and Sunday Clare Waight Keller foremost thinkers on the challenges and opportunities
(MA Fashion Knitwear, 1993)
Booij (MA Visual Communication, 2009), the film launches GenerationRCA, Morning (1960), The Seven Samurai of globalisation.
the College’s largest fundraising campaign to date and a celebration of (1954), Citizen Kane (1941) and The
In the end, it’s all about people – whether artists,
every past, present and future generation of talented RCA students and staff. Third Man (1949) – Kurosawa and Welles
Here he talks about his time as a student at the RCA and the process of making were masters. designers, writers, or theorists – and what they
his first film, Boy and Bicycle (1965), with his brother, the late filmmaker There aren’t very many devices can achieve together. I hope you enjoy the stories in
Tony Scott. I employ cinematically that I can trace
back to my student days. You try not
this magazine, and that you keep in touch with the
‘From an early age, it was film that attracted me. All my free time in Stockton- to repeat yourself, or at least, I try not to. College and with each other.
on-Tees was spent at the local cinemas, watching everything and learning. You never At the RCA, I was focused on my own
stop learning. You can even learn from so-called ‘bad’ films and television; there is desire to become better; curiosity
usually something that makes you react or ponder. and determination are still needed
I was a Graphic Design student so there were few opportunities to work with film on every film I make and develop. That
while at the RCA, although I was fortunate to be offered a one-year course in Film and process never stops.’
2 1
‘Spending two years solidly include researching in the
ALUMNI
Giulia Garbin (MA Visual Communi-
cation, 2013). Giulia Garbin is a concentrating on my library, sampling in the print
London-based, Italian-born art director, sculptures, with the luxury room, drawing at my desk,
graphic designer and illustrator. having discussions with
STORIES Characterised by her passion for of time purely dedicated to
mixing traditional and modern print building up or picking that peers and pursuing collabor
Writer: Jessie Bond (MA Critical Writing processes, she believes in the apart, meant that I could ations. We also had some
in Art & Design, 2014) importance of craftsmanship within really focus my research and great sessions from diverse
both digital and analogue design. thinking. While studying, visiting tutors. Drinks in the
Giulia began her career working Art Bar were essential at
for renowned branding and design I was thinking a lot about
companies in Portugal, Switzerland scale and how that linked the end of the week to unwind!’
and the Netherlands. She produces with the content of my work.
editorial and exhibition designs for Ideas around the body, and
clients including Penguin Books, insides and outsides,
Ryan Mario Yasin (MA Global Rizzoli, Fedrigoni and the V&A. Her Hugo Eccles (MA Industrial Design,
Innovation Design, 2017). Ryan’s work has been published internatio naturally happen with larger 1995) comes from a family of petrol
graduate project Petit Pli proposed an nally in sources such as Pulp Journal sculpt ures, so I was thinking heads. His father commuted to
innovative solution to ill-fitting (Italy/UK), Brain (Japan), Creative about the details and how work on a metallic orange 1975 Suzuki
children’s clothing. His waterproof Review, Grafik, It’s Nice That and YCN I could address some of my GT250, dressed in a suit and tie under
outerwear uses engineered fabric that and exhibited across Europe and a one-piece waterproof, which was
concerns without using the
expands bi-directionally to grow with the USA. In addition to her studio ‘quintessentially James Bond’ in
a child from age three months up to practice, Giulia works in partnership
size of the works to fall back Hugo’s eyes. After graduating from
three years. The design has been as senior designer with Studio PSK, on. So, in short, the detail MA Industrial Design with a Furniture
awarded the James Dyson UK Award and as art director for Luncheon within the works became Design Award, Hugo went on to
David Rayson (MA Painting, 1997) as well as the D&AD Impact Promise magazine. much more of a focus to me.’ work with the likes of Ross Lovegrove,
is a London-based artist who was Award, and Ryan is currently develop Rodney Fitch and Terence Conran,
Professor of Painting at the Royal ing Petit Pli with support from ‘Studying at the RCA is a but retained a love of all things
College of Art from 2006 to 2017. InnovationRCA, the College’s centre one-time opportunity to meet mechanical, especially motorcycles.
His early work concentrated on for enterprise. He met fellow RCA graduate Adam
incredible people from
meticulous paintings of urban and Nan Li (MA Womenswear, 2015). Kay, founder of Untitled Motorcycles,
suburban scenes, in particular the ‘The RCA has an incredibly different disciplines, who After graduating from the RCA, Nan Li through the London motorcycling
Ashmore Park Estate in Wolver tight-knit, driven and will influence and inspire the returned to Berlin to launch the label community and in 2014 opened the
hampton where he grew up. David engaging community. Every way you work. At the RCA Namilia with fellow designer Emilia San Francisco workshop.
has exhibited widely in the UK and
one is so passionate about I met friends and collabo Pfohl. Their first collection ‘My Pussy,
internationally and his work is rators, and mastered My Choice’ was selected for VFiles ‘It’s fabulous to be part of
included in major collections including what they do; it’s truly an Runway in 2015 and was subsequently a community of like-minded
Tate, the British Council, Deutsche inspiring place. The inter processes – from letterpress featured in fashion magazines and
to linocutting – that form people in an environment
Bank, Brooklyn Museum and the disciplinary nature of the blogs including Vogue Italy, LOVE
where excellence is the norm.
Contemporary Art Society. College and Programmes the backbone of my practice Magazine, Dazed & Confused and i-D.
today.’ Since then, their playful and provo Studying at the RCA confirm
‘My time as a student at the ensure that new approaches cative collections have debuted ed that other people shared
RCA was a time of living and perspectives are always in runway shows each season at my obsessions with quality,
through extreme opposites reflected in people’s work. New York Fashion Week. thoughtfulness and attention
Independent working was a Emma Shipley (MA Textiles, 2011)
– unravelling my habits, is a graphic artist specialising in fine ‘The RCA is one of the to detail. Many of the people
putting myself back together huge part of life at the RCA I met at the RCA I later
for me. It’s armed me with the
drawing, luxury scarves and cushions. greatest schools in the world
and in short, slowly building She launched her own label, Emma and there’s a reason for that. worked with professionally…
up a meaningful practice. It confidence and ability to J Shipley, at London Fashion Week in Postgraduate education
execute ideas and remain 2012 and won the Emerging Brand They expect the best from
was about being surrounded you, which in the beginning really equips you with the
by a peer group going resilient when faced with any prize at the WGSN Global Fashion
wherewithal to think later
challenge.’ Awards and the Newcomer Award at can be challenging because
through the same turbulent the UK Fashion & Textile Awards in they set the bar very high. ally and create meaningful,
cycles. It was a day-to-day 2013. Emma has collaborated with It was tough, but it was enduring designs, and to
reality… as was the nightly brands including Disney, Aspinal of
definitely all worth it! You continue to grow throughout
London and Atelier Swarovski.
unreality of the Art Bar – could feel that the tutors your career.’
opening at bang on 5.30pm.’ ‘I felt inspired every single really cared about each
day. I remember feeling this student, and they supported
Holly Hendry (MA Sculpture, 2016). very real buzz of energy and each student in their own
Since graduating, Holly Hendry’s
site-responsive sculptures and ideas – that feeling of not individual way. You could
installations have been shown in being able to sit still because really do what you wanted
London, Liverpool, Manchester, there were so many thoughts, and explore your own design
Copenhagen and Berlin. Holly, potential plans and experi identity.’
a teaching fellow at the Slade School ments to explore. Each day
of Fine Art at UCL, recently partici
pated in the Liverpool Biennial 2018. was different but could
2 3
through dynamic initiatives like our ‘Liveability’-related issues are Dr Rathna Ramanathan interesting definition of globalisation:
THE BIG
Executive Education programmes and increasingly prevalent in developing Dean, School of Communication it is the process by which a given local
the development of fully international countries that have unignorable For us in communication, globalisation condition succeeds in extending its
delivery such as our Global Innovation populations and economy sizes, such offers an understanding of the individual reach over the globe and, by doing so,
QUESTION
Design Programme, which has as China and India. The huge impacts that is more complex and the result of develops the capacity to designate a
partners in Japan, China, Singapore of the process of urbanisation will various conditions – gender, race, rival condition as local. It’s interesting
and the USA, enabling students to not be limited to within these history, nationality, sexuality, religion, because it raises important questions
gain experience in different cultures countries, but will inevitably affect ethnicity – as well as aesthetics. To around the asymmetries of power
WHAT DOES GLOBALISATION MEAN and contexts. Building on these, we our lifestyles, health and environment, consider all these audience needs is an that globalisation produces, but also
FOR ART AND DESIGN? are establishing new strategic global which all require better design exciting challenge for us to work with. because it implies that the idea of
partnerships that will support solutions. Additionally, being more aware local and global are somehow
Illustrator: Ben Westoby (MA Photography, 2015) students to be more mobile, and to and connected to other cultures has contingent and intertwined. In terms
enable the whole RCA community Professor Juan Cruz eased the task of international experts of art and design, this suggests
Professor Naren Barfield, Deputy Vice-Chancellor & Provost, shares his to be more engaged in the important Dean, School of Arts & Humanities working together in interdisciplinary certain principles that might inform
thoughts on what globalisation and internationalisation mean for art and challenges that creative education Globalisation requires me to work very teams on crucial projects – for how we think about engagement in an
design, alongside staff from across the College. and research is uniquely placed to hard at challenging my inherited example, working on typefaces for international context. Firstly, to be
address. responses in an attempt to recognise endangered languages, finding sensitive to the exchange and
The Royal College of Art is a diverse and incredibly rich community of creative the world from a range of perspectives. low-cost mobile solutions for rural distribution of benefits as they arise
people – possibly the most concentrated community operating at postgraduate Dr Stephen Wang I find it more and more difficult to markets and empowering margina from international collaborations.
and research level anywhere in the world. Students and staff from more than Head of Programme, RCA/ICL Global determine what art and design should lised peoples through innovative Perhaps most importantly, it suggests
65 countries work here in a dynamic, challenging and intercultural environment. Innovation Design and Innovation be, or what it should look like. I need publishing frameworks. that a principle of reciprocity should
As such, the RCA is a beacon for creativity globally, and also carries great Design Engineering to spend increasing amounts of time At the Royal College of Art, this act as a guiding ethos for thinking
responsibility for creating intercultural understanding and sharing knowledge. To me, the term globalisation can be looking at the conditions and contexts mix of cultures when grounded in a about the duration, format and
Our work, thinking and creative production transcend geographic, national interpreted as globalised urbanisation, in which things that I or others might community with a common purpose structure of everything from field
and disciplinary boundaries and bring together people of diverse backgrounds and my research interests have identify as art and design arise, is capable of wildly innovative, work and trips, to collaborations and
and experiences to work in teams and to learn from each other, bringing new been focused on its significant issues which it does in many more situations progressive and genuinely vanguard joint projects.
insights to problems and global challenges through collaboration. and associated challenges on a than I am currently able properly work that is built on the values and
Internationalisation is firmly underpinned by the values of mutuality: it’s not only planetary scale. to acknowledge. Importantly though, priorities of people from different Professor Saeema Ahmed-Kristensen
about what is good for the RCA and our community locally, but about what benefit While many people may derive I am also wary of any complicity in cultures and backgrounds. Head of Programme, Design Products
can be brought to partners, organisations and communities around the world, greater economic benefits from appropriating these instantiations Globalisation brings both opportunities
through incredible ideas that lead to impacts and improvements in people’s lives. globalisation, the ever-expanding into our existing hierarchies and aim Dr Adrian Lahoud and challenges – economic, social and
As well as the RCA being committed to providing a welcoming environment population in cities worldwide instead to find other and more gene Dean, School of Architecture political – to designers, manufacturing
for the world to come to, equally our approach is about going out into the world presents a host of various challenges. rous ways to avoid getting in the way. Boaventura de Sousa Santos has an firms and design research.
4 5
CELEBRATING
provided by Teresa and John Bird; and
the exhibition, which took place in the
RCA galleries.
25 YEARS AM
I’m struck by the artist names in those
OF CURATING
early exhibitions: Vito Acconci,
Matthew Barney. It’s incredible to
have such high-profile artists in
CONTEMPORARY
a student exhibition. Can you tell me
more about that?
ART
VW
The exhibition was designed to be a
talent-spotting initiative, identifying
and introducing London audiences
Interview with Victoria Walsh, Head of Programme, Curating Contemporary Art to cutting-edge artists and exhibitions.
(MA Visual Arts Administration, 1994) Very quickly, even as a group of ten,
there was a sense between us that
different people were attracted to
different kinds of curating. This was
about creating new knowledge and
experiences that would come out of
working with artists in new spaces.
It wasn’t about reproducing academic
models, or cultural studies.
AM
It sounds like it differed from the usual
practice of curation at the time.
VW
One can’t underestimate how curating
evolved as the practice of commis
Victoria Walsh, Head of Programme, Curating Contemporary Art sioning began to emerge. The idea of
Large firms have long been globalising scene is in a confused state of flux, (MA Visual Arts Administration, 1994) has a unique insight into the past, working with artists to create new
their value chains, beginning with due to independent art activity present and future of curation at the Royal College of Art. As one of work in site-specific environments
manufacturing processes, to gain being denied during the Cultural eighteen students selected to the Arts Council-funded Programme rather than handling objects that
access to new markets, reduce costs Revolution and an uncertainty in 1992, she returned to become Head of Programme in 2013. She talked belonged to dealers or lenders really
and gain new competencies. Emerging of identity in the emergence of both to A Magazine about the changing face of curation, international visions transferred that relationship into a
markets require new approaches to art and design in ceramics. As China and the lingering smell of turpentine… much more dynamic one. It became
designing for users and infrastructures has opened its doors during the time much more of a dialogue.
that are distant or need results for I have been travelling there, the
lower costs. These methods are also impact of cultural exchange on ideas A MAGAZINE AM AM
needed for local firms to remain and work has been very visible. It has I’m interested to hear about your time That sounds incredible. What was it about the Programme
competitive despite globalisation. not been just a matter of taking on as a student on the new Visual Arts that enabled you to keep pushing at
Beyond the economic issues, a ‘western’ outlook, but more about Administration MA – it’s fascinating VW what it means to be a curator?
globalisation requires designing with developing and absorbing new that you’ve been both a student and a Yes, the core of the first year was
responsibility, shifting from designing approaches and influences to create head of Programme. saturation and immersion, meeting VW
for market need to pushing technology a new language that is authentically people, networking and travelling. Although there was no formal
to address global needs – sustain Chinese. VICTORIA WALSH Looking back, I can say that one of the programmed interaction, being in an
ability, environment, health and This exchange is also evident I have a particular perspective, having things the Programme has always art school meant that there were
wellbeing – in different contexts. This the other way round, and I find been part of the first cohort of the done, and continues to do, is give chances for connection with different
means developing an industry agenda my work has transformed through Programme. It’s hard to communicate students the appetite and confidence types of artists. The confidence you
with disruptive technologies that are the possibilities that China has offered now just what that moment was like, for risk. Rather than accepting things gain as young curators to talk to
sensitive to globalisation and its effects. to make work and operate in comple and what the climate for contem as they were, everything was about artists about practice, and the smell,
tely new ways. It has opened up porary art was like. The art world was changing. There were no biblio tactility and messiness of it – you
Felicity Aylieff my practice beyond my expectation. much more localised and fragmented. graphies or course texts. It was about walked into a building every day that
Senior Tutor (Research), MA Ceramics I would say that cultural and global Teresa Gleadowe, who had been lecturers, artists, curators and critics smelled of turpentine – meant that a
& Glass exchange is creating opportunities Head of Information at Tate and had coming in and discussing what they sense of experimentation was imbued
I have been going back and forth for a fresh, and much-needed worked at the British Council curating were doing, and students getting in us that couldn’t be found in books.
to China for over ten years, and re-evaluation of ‘identity’ and an exhibitions, would bring in the most involved in those projects. The art school context can’t be
for the last five years have established excitement in the art world – it has extraordinary list of artists, curators The dynamic – you could say it underestimated, and it’s why I’m
a studio in Jingdezhen, renowned become the important ingredient and museum directors. In that first was a Modernist dynamic – was that delighted that Curating Contemporary
historically for its porcelain, the for moving ideas and thinking forward. year we had people like David nothing was to be left as it was. Art is now part of the School of Arts &
material I work in. Sylvester, Kasper Koenig and John It was building towards two elements Humanities, supporting the idea of
While China can boast a remark Thompson – an extraordinary roster that continue to define the ethos of contemporary art curating as a
able ceramic history, its contemporary of names. the Programme: the theory, which was transient and transcultural practice.
6 7
so curating is about fictional
scenarios, spaces and speculative ‘My time on the
contexts, which would have been
unimaginable 25 years ago. That’s CCA Programme
exciting because it reflects how the
arts have transformed, and how that showed me the
convergence is being driven and
supported by the rise of technology. importance
AM of a curatorial
Can you expand on how you think
curation will continue to transform? practice that
VW engages with
One important factor is that we’re still
understanding how to work with marginalised art
technology in curatorial practice;
there’s a whole new world opening up histories both
with digital-born works online. We’ve
come to understand that through the locally and
students as much as through artists.
Over the next 25 years, we won’t abroad. The
just be working through the gallery or
coursework,
The inaugural CCA exhibition, Acting Out, 1994
in public spaces, but in online, virtual
AM VW spaces. As the noise gets louder,
Turning to your role as head of Pro CCA offers projects that encourage I believe that curators will remain lectures, read
gramme, can you talk a little about students to think about inter much-needed interpolators and inter
current context around the Programme? disciplinary collaboration in relation preters of our culture. ings and tutors –
to public programming and audience
VW development. Public discussion, people like Jean
Over 25 years, we’ve had 300 students whether it’s through seminars or ‘MA Curating Contemporary
from 42 different countries. Whereas performances, is an established and Art provided me with an Fisher – helped
the Programme was originally set up crucial form of practice, particularly
to help foster British curatorship and in a global world with changing defini
invaluable opportunity to
further research artists
me to reconsider
support the creation of Tate Modern, tions of art. There’s no longer the
we’re now in a completely saturated same language of public art, now it’s whose work resists what exhibition
cultural field. The word ‘curating’ much more the about working with traditional categorisation.
can now cover any number of types planners, communities and developers. This was explored both making and
of practice and activity, and our That’s why, for example, one of
students come from countries of the projects encourages students
through my thesis Curating
Art After the Internet, and
research from
different curatorial practice. We no to develop their practice with external
longer have – or would want to have – partners. These are extraordinary by working closely with these perspec
a fixed idea of curating. organisations such as Gasworks in artists to realise exhibitions
south London, which involves one of including Planta: Notes on tives could be.’ Every Second in Between, Kyung Hwa Shon, 2018
AM our alumni, and Delfina Projects. Botanical Dissidence,
And how is that reflected in the work We’ve also launched projects with Victor Wang
of the students? Beaconsfield, one of the oldest artist-
an investigation into the (MA Curating Contemporary Art, 2014)
led spaces. conceptual potential of
VW Similar to 25 years ago, we make plants and Sound Field,
What we do is introduce all our sure that students have enough skills, which featured immersive ‘In a few short phrases, the Curating
students to the two foundations of knowledge and experience to take Contemporary Art Programme
works by Ain Bailey, Mark
curating: the theory and the practice. risks and hopefully go on to be the at the Royal College of Art provided
There’s still a dissertation – writing kinds of people who will help foster Fell and Florian Hecker. time, resources and support for
is fundamental to being a successful that and create more opportunities in The experience of realising my personal and professional
curator. In their final year, students their careers. these projects equipped growth. It stretched my limits and
also choose the type of curatorial me for my current position showed me the viability of marrying
practice that they want to focus their AM theory with practice. It reinforced
as Camille Henrot’s studio
group projects on. Compared to 25 How do you see this environment my values on collaborative working
years ago, where the emphasis would developing in the future? manager, where I have processes and group consensus.
have been on object-based curating organ ised exhibitions It supported cross-disciplinary
or commissioning inside galleries, the VW including Days Are Dogs at experimentations and learning from
projects now reflect the spaces in One of the shifts we’ve seen is in the Palais de Tokyo (2017), different school of thoughts.
which curating currently takes place. emergence of the ‘curatorial’, a new It sharpened my critical awareness
Henrot’s largest solo show
form of practice in which it’s very hard and mind.’
AM to distinguish between the practice to date.’
Can you talk more about the projects of the artist and that of the curator. Grace Storey Jennifer K Y Lam 林家欣
that students can participate in that Programming and commissioning (MA Curating Contemporary Art, 2016) (MA Curating Contemporary Art, 2015)
help to facilitate these ideas? have collapsed that relationship, Who Cares? A Radio Tale, 2018
8 9
INTRODUCING
in Extreme Environment’, a large project
funded by Innovate UK that will
investigate how the application of
ROBOTICS
robotics can make the maintenance
of offshore wind turbines safer
and more efficient.
‘RCA Robotics is particularly
AT THE RCA interested in developing technologies
for situations when human access or
Illustrator: Eva Papamargariti (MA Visual Communication, 2016) human safety is a problem,’ explained
Dr Sareh, ‘such as mobile robotic
manipulation technologies that can
Interdisciplinary research in art and how robotics work, but also how they enable operation or teleoperation in
design has always been at the heart can augment human capabilities extreme conditions or hard-to-access
of the Royal College of Art. As the and when to take risks. We are strong environments. There are also cases
College evolves into a STEAM proponents of understanding failure where we want to augment human
(Science, Technology, Engineering, in order to produce effective design abilities for protected presence in
Art and Mathematics)-focused post solutions.’ such environments – for that we are
graduate university, it is leading One of the primary focuses of the developing stiffness-controllable
the way in demonstrating the RCA Robotics Laboratory is to exploit wearable robotics that can enhance
outcomes and insights that design advances in soft materials and occupational safety.’
methodologies bring to intersecting manufacturing methods for the The lab’s developments on the
human, material and digital deve development of new technologies for latter theme will be informed by
lopments. A key part of this process robot mobility, manipulation and Dr Sareh’s long-term research on
has been the establishment of attachment in unstructured medical and rehabilitation robots and
several new research centres – environments. ‘Soft robotics is not integrates institutional expertise in
the Intelligent Mobility Design only about using soft materials in the areas such as materials and textiles
Centre, the Burberry Material construction of robots’, Dr Sareh with robotics. He is currently principal
Futures Research Group and the stated. ‘In fact, through learning from investigator on ‘PULSE’, a project
cross-College RCA Robotics Labo nature, it is about looking at making funded by MedTech SuperConnector,
ratory – home to a fast-moving new robotic systems that have a which is developing soft wearable
research group which places better ability to interact with the devices for therapeutic applications
students, world-leading researchers natural world. Using a set of and builds on the research capacity
and academics alongside scientists mechanical stiffness design tech within this theme.
and engineers, led by Academic niques, learned from such abilities in The many potential cross-College
Leader in Robotics, Dr Sina Sareh. an octopus’s arm, or stiffness- collaborations paint a compelling
gradient design observed in the picture of what the future Robotics
As an area of technology that brings structure of bone, muscle and skin in centre at Battersea will achieve.
together many strands of enquiry, the the human body, are two examples of As bio-design and bio-inspired artificial
RCA Robotics Laboratory has very different approaches to those intelligence lead to new forms and
established an innovative research used in the development of adaptations in robotics, the RCA
programme of design-led, human- conventional rigid link robots. This has Robotics Labatory’s close links to the
centred robotics. Since joining the applications from surgery to smart RCA’s wider research community will
College in May 2017, academic leader wearables to integration with drones.’ see new bio-inspired materials that
of Robotics Dr Sina Sareh has secured One area of interest within the lab have particular characteristics –
three major research grants and is ‘anchors’, or how a mobile robot such as water-proofing, folding, self-
welcomed the first PhD students to such as a drone might attach itself to repairing or the ability to dissolve –
the lab, where they are researching different surfaces in different as well as new manufacturing methods
soft wearable robotics, soft mobile environments. ‘An octopus attaches that allow 3D printing of parts or
robotics and smart software platforms itself to a rock to withstand a storm; upscaling through the cloud. ‘How
for architectural planning. With new a bird perches in a tree or high we integrate robotics’, Dr Sareh
postdoctoral researchers joining the structures to rest’, explained Dr Sareh. pointed out, ‘is key to the future of
team in early 2019, the lab will create ‘A mobile robot with an integrated human-centred design.’
greater research capacity in existing vision system might similarly anchor ‘Now is the time to be asking
areas, formulate new cross- itself in place in varied environments big questions’, concluded Professor
disciplinary research themes and underwater or in the air filming while Anderson, ‘questioning the
prepare for a cutting-edge facility saving crucial energy.’ sustainability and ethics of what
in the new building at Battersea. Dr Sareh has been awarded an technology is doing. Robotics have
‘Robotics isn’t a new area,’ EPSRC-UKRI Innovation Fellowship, an integral part to play in reaching
explained Dean of Design Professor which has provided funding towards solutions and allowing us to integrate
Paul Anderson, ‘but it’s still very much his project ‘Getting a Grip’. Taking cues with other disciplines, through
associated with sciences and engine from the octopus, ‘Getting a Grip’ connectivity, networks and new
ering. The RCA is approaching robotics develops a sensory-physical materials.’
from a different angle – design led anchoring module that can adjust the
and human centred – building mode of interaction in response to the
on our reputation for innovation and environment. Dr Sareh is also
understanding that the designers of Co-Investigator on ‘Multi-platform
the future need to know not only Inspection, Maintenance and Repair
10
HOWIE STREET QUADRUPLET On sunny days your dust lead to allergies and happiness,
come the winter we
Joshua Leon (MA Photography, 2017) huddled upstairs in your enclosed room; for warmth.
1. Frantic voices continuous in the labouring
Open n’ unformed workshops, each awaiting their ecstatic moment. How
Loose n’ unresolved soon our arrival becomes our departure; fighting the
Consumed n’ unclothed, materials of making with unknowing tolerance,
the vibration of the 19, alerting you from in-between the transitions we were undergoing
quiet moments in your afternoon, the sawing motion This, “the birthing ground of potential”, a
below, the grinding and congealing of metal sustained claret bronze undergoing several renewals
from dusk to dawn, directing one’s illusion into fixed ritual, underpinning
and in your garden, we ate, and in your garden, the consideration for the foundations that guide each
we grew, and in your garden, we left our ash, renewed, decision,
the quiet overtones of music peeping out of each feasted upon at the nearby diner, with its brown and gold
individual’s headphones, exterior, sheltering under the bus stop, awaiting
afternoon visits from a friend, coffee’s aroma left the after hours, where silence can enter once more,
lingering for those tired seconds whilst seated at the and thought can combine with time, allowing the daily
balcony’s view, fruits to flex their skinny muscles.
our bodies intermingling as the material of
an eight-year passage, segmented in two-year 3.
accelerations, just before the decade’s end. unknown hustle
The affection of place based in the affections of our faces liquidated by the deadline
Will you remember us as we remember you? the work unfinished
That which we ask ourselves. That which we dare to lose. like an Argo in transition, us at its
These new fears that appeared, rotating around the making, us at the initiation of its beginning
future of our dreams. Us, suspended in the rooms of each year.
this building, delayed reality, until reality appeared, What are the consequences of our role?
banging at our doors. The axiom of our platitude.
So where do we go from here? How we rise. As if flying towards the void of questions,
As if these inductions cannot sufficiently consume our unanswered by none other than ourselves, for it is only
attentions, our attentions us we face
un- detailed; as you held us up, gracing us with your caught between glances and whispered agendas
wisdom, and your old head. Yet in the life of your the voice, auditioning for a place
journey we were just affairs for the bigger glory not yet in existence. Circulating.
awaiting you. Our futures hanging on your walls, Our voice; our voice, consistently changing
mounted to your floors, as you prepare for glass, and its organic basis;
BATTERSEA
residency. The featured works were slick linen on which we can play our individual tunes. crystalized, hardened, through errors in time.
created by Carlos Jimenez (MA Photo The beats of our bodies complementing the storm of must this be our end?
graphy, 2015), Simone Mudde buses carrying us across Battersea. Planted in the an eclectic binding
SOUTH
(MA Photography, 2018), Stewart history of the river’s children, we became the river’s the dancing in the last triplet, followed
Ross Hardie (MA Photography, 2018) children, ghostly, before the night, when the aches of with a serenade of separation, at the corner,
and Martim Ramos (MA Photography, plaster blended into an amber. My friends, my friends, awaiting the tower, we the witnesses.
2018) in response to the changing my friends, do not lament the falling walls, for there Lasting this final stint. Exiled to the home.
Image: Herzog & De Meuron site at Battersea, and the exhibition are falling walls in far off places that require greater Our creations left to flourish, untamed by limitations,
was curated by Agata Kik (MA lamenting. And the eggshell shade that awaited you, unrestricted
Curating Contemporary Art, 2018). will find itself renewed, echoed down the line, as we by the politic of space, feasting in the grandeur of
Between 2018 and 2021, the Royal recognises the potential for innovative Alongside videos, photographic prints return, over, and over. ambiguous design.
College of Art is transforming its creative works to be generated when and a series of zines, the exhibition interlude
Battersea estate with the construction architecture and photography take included a performance of a eulogy our voice in crowded rooms, the interwoven textures 4.
of a new building designed by Herzog place simultaneously. to the former Sculpture Building of taste and similarities between her, and you, and I, Now, fall
& de Meuron. This is the most exten Over four years, including the first Howie Street Quadruplet by poet and like the piano keys played in chorus, such is us; if not for this hesitation
sive building project in the College’s year of academic occupancy, the artist Joshua Leon (MA Photography, we are the chorus our hearts – in reverse
history, surpassing Robin Darwin’s project will create opportunities for 2017). Together these works form of the building inking our last epigraph
visionary concentration of a disparate students, staff and local communities the beginnings of a future archive for transitioning upon the toilet walls
RCA into the Kensington site in the to reflect on the transformation of the College. from the first to say – I was here
early 1960s. The new flagship building the Battersea site – including the end encore at the end and the beginning
will provide space for ten new Pro of 25 years of occupancy of the into the second symphony. slumped in these elegant chairs
grammes and the expansion of Sculpture Building – and generate a Now, fall
research and knowledge exchange sense of ownership of the new 2. at once
centres including computer and building by its future occupants. Blees Cast in stone, a single word what resistance we had, will turn to honey
materials science, advanced manu Luxemburg’s artistic research will also Stages the un- once this moment comes.
facturing and intelligent mobility. contribute to the historic archive of written song. How soon our arrival becomes our departure.
To document the progression of the College, creating a visual record of Howie street, at last. Turning that corner, one strip of Like flints meeting; a spark, a quick shot, a hot flush
the new building, while also generating this period of transformation. privacy, ours. We serenaded you with wine, and beer, Rising and falling in a chain of steel and aluminium
new aesthetic material, the College The exhibition Ariadne Project, and conversation. Bitterly we accepted your changes, and we watch,
has appointed Rut Blees Luxemburg which took place in Battersea in bitter only because we did not know any better, bitter and we watch,
as Senior Research Fellow and artist in September 2018, was one of the first because we wanted the most for ourselves. Yet our and we watch,
residence. Blees Luxemburg’s work outcomes of Blees Luxemburg’s dreams did not sleep. and we watch.
12 13
WOMEN
IN INNOVATION
Writer: Lucy Biddle (MA Critical Writing in Art & Design, 2014)
Illustrator: Marta Hernandez (MA Visual Communication, 2016)
Over 100 years ago, the Represen to you’, says Helen Steed (MA Graphic
tation of the People Act in the Design & Art Direction, 1993), Creative
UK granted the vote to women over Director of Aruliden and former
30 years old. Last year, the RCA Creative Director of Glossier. ‘I think
hosted alumna Anita Corbin’s (MA it’s also about always looking for Elena Dieckmann
Photography, 1983) First Women UK opportunities to learn, and to grow.’ (MA Innovation Design Engineering,
2016)
exhibition, which coincided with At the RCA, Steed was taught
this centenary and celebrated by Margaret Calvert, ‘a cool, strong
achievements of women in the woman in what was still predomi
twenty-first century. The exhibition nantly a man’s design world’, who
featured portraits of 100 women taught her that design didn’t have to
who were the ‘first’ in various fields be all about style but about tackling
including rockstar Suzi Quatro, things that improve lives. While Steed
poker player and television host has noticed changes in the sector
Victoria Coren-Mitchell, First over the years – female designers and
Minister of Scotland Nicola innovators are no longer such rare
Sturgeon, business leader Dame figures – she is certain that there is
Inga Beale and Olympic gold medal- more to be done: ‘we definitely need
winner Nicola Adams. more women in tech, more female
VCs, and, I would add, more women
The College is proud to celebrate over 50!’
successful women who have passed
through our doors, from women’s
rights pioneer Sylvia Pankhurst Helen Steed
(Decorative Painting, 1906) – whose (MA Graphic Design & Art Direction,
1993)
‘angel of freedom’ emblem was
essential to the visual language of the
suffrage campaign – to Lubaina Himid,
(MA Cultural Studies, 1984), one of
the first artists involved in the Black
Desire for diversity across gender and
age is shared by Elena Dieckmann
‘We definitely need more women
Art movement in the 1980s and who
continues to celebrate black creativity,
while challenging institutional invisi
(MA Innovation Design Engineering,
2016), who won Innovate UK’s Women
in Innovation award in 2016. The
in tech, more female VCs, and,
bility through her paintings, prints and
installations.
Alongside celebrating the achieve
co-founder of Aeropowder, Dieckmann
captures the properties of bird
feathers and turns the vast amount of
I would add, more women over 50!’
ments of our alumni, the College is waste materials generated by the Helen Steed
also committed to supporting and Michela Magas poultry industry into an additive for
empowering future female innovators, (MA Graphic Design, 1994) composites and paints. The company
entrepreneurs, artists and designers. began life as an MA project and has has launched Industry Commons – she has come to see herself as an desperate need. Taking part was a way
While the passing of the 1918 Act been supported in its development by a platform for designers and inno innovator. Her decision to study for her to counter the lack of visible
paved the way for universal suffrage, the College’s business incubator vators that attempts to bring a at the RCA was a result of the reali role models for women in engineering,
the representation of women InnovationRCA, which Elena describes creative approach to problem solving. sation that simply being able to science and technology. Above all,
continues to be a pressing issue, as as ‘a protected zone where you get Applying one kind of system to ‘communicate a problem’ wasn’t she explains, it was to make the point
seen in revelations on the gender pay to try stuff out’ and ‘a bridge that gets another can be tricky, she admits: enough. She wanted to solve them. that ‘in order for something to
gap and the fact that in the UK, the you from where you were as a student ‘You’re constantly seen as an It was during her time at the be successful, it has to be diverse’.
number of female entrepreneurs is to a fully professional level’. interloper, a disrupter, an outsider.’ College – which she says ‘completely
around half that of their male Another alumna winning accolades The results, however, have been telling. turned my life around’ – that Steel
counterparts. for her work is Michela Magas (MA During the testing stage, Industry found herself in a minority: only one
We spoke to four RCA graduates – Graphic Design, 1994), who was Commons enabled faster, more nimble third of her year group was female.
working in music technology, human- named the 2017 EU Woman Innovator forms of innovation, with ideas She has continued to feel in a minority
centred design, material science of the Year by the European moving to patent stage far quicker throughout her entire career.
and branding – about their thoughts Commission. Founder of Music Tech than anticipated. This experience has been a driving
on diversity, making change and Fest, she studied Graphic Design at This emphasis on human-led force for Steel’s work; she was
the women who’ve inspired them. the RCA before going on to establish innovation is shared by Ruby Steel featured in the BBC Two reality TV
Innovation is about ‘solving prob Ruby Steel the design research and innovation (MA Innovation Design Engineering, programme The Big Life Fix, in which
lems without looking behind you, over (MA Innovation Design Engineering, lab Stromatolite with fellow RCA 2012). Now Senior Strategist in designers worked together to solve
your shoulder, or at the person next 2012) alumnus Peter Russell-Clarke. Magas Design at Smart Design, she says that real-life problems for people in
14 15
JOHN MINTON ‘What makes a
painting itself
REMEMBERED
and not a memory,
an association,
Writer: Jessie Bond
(MA Critical Writing in Art & Design, 2014)
a story, a souve
With works by Frank Auerbach, ‘The warmth and heart of the school
Francis Bacon and Lucian Freud all was John Minton, whose compassion, nir – is the
highlighted in the major Tate Britain sophistication and wit were immensely
exhibition All Too Human, 2018 reassuring. You realised at once that complete trans
proved to be a landmark year for the he was aware that the problems he
‘School of London’ group of post- faced were in essence common ones. lation of what
war British artists, many of whom He was much loved by the students.’
cut their teeth at the RCA. Emerging Bridget Riley (ARCA Diploma the painter
from this context is another key Painting, 1955)
figure: John Minton, painter, knows into a
illustrator and much-loved tutor at ‘He stressed the importance of subject –
the RCA between 1949 and 1956. and the urgency attendant on catching visual structure,
The subject of a BBC documentary, an experience before it vanished…
Mark Gatiss on John Minton: I… found him clear-sighted and very or formula.
The Lost Man of British Art, and direct when anything seemed to him
the emotional centre of Martin sham or inadequate. This was rather It is there not
Gayford’s biography of the scene, stimulating…’ Frank Auerbach
Modernists & Mavericks, the last (ARCA Diploma Painting, 1955) through talent,
year has seen a serious reevaluation
and reexamination of Minton’s work. ‘He was always a great friend to the or skill, or
students... I remember my interview
A dynamic and bohemian character at at the College when I was 17. I’d had a emotion, it is
the College, Minton often taught by really bad cycling accident and I’d
example, painting alongside his really cut my face up and knocked all there only
students in the life room. He took an my teeth out. I did the interview soon
active role in College life, creating sets after that… I must have looked like a through under
for theatrical productions and monster and I was faced with this
frequently transforming the College inquisition… at one end of the table standing. It
for hops and balls by painting sat Johnny Minton… he was the nice
enormous decorations. Purportedly policemen. He was always like that… cannot be taught,
he once spent three days decorating a very nice man, a big influence. He’d
the entire College for a party and was actually sit down and teach you how it can only be
still one of the last people dancing. to do things.’ Peter Blake
Minton wasn’t afraid to voice (ARCA Diploma Painting, 1956; found. There is
harsh criticism, but was much loved Tutor, Painting, 1964–76)
by his students, and as Frances only this for
Spalding observes in her biography of ‘Minton was very brilliant. He burned
Minton: ‘What made his criticisms very brightly. He was perceptive and the painter to
acceptable was the care with which erudite as a critic and as a teacher.
he assessed work and the genuine I was very impressed by him even do, to search.
intimacy this created between student before I went to College. He was a star,
and teacher.’ he had charisma like a star, and he And that is all.’
was very, very famous.’ Robyn Denny
‘He was a very good tutor. He told me (ARCA Diploma Painting, 1957) John Minton
a lot of home truths. I started with (Tutor, Painting, 1949–56)
ideas that I was the reincarnation of ‘He was very, very charming. He
Cézanne, but he soon brought me always complained that he couldn’t
back down to earth! He was one of draw! He was a rather sad figure in a Image top: John Minton’s cover for
those rare people who can criticise way, too, but he was part of a terrific The Plaster Fabric, Martyn Goff
(Putnam, 1957)
constructively. He could instruct gaggle… Lucian Freud, Francis Bacon,
and enthuse you at the same time.’ the Soho crowd. They were all up in Image below: John Minton’s cover design for
Dennis Bailey (ARCA Diploma the Senior Common Room and the Points of Contact
(Contact Books, 1946)
Graphic Design, 1953) drinking used to go on until four in the
afternoon… Very racy, flat out… They
were very impressive people in a
strange way, quite terrifying really!’
Richard Guyatt (Professor of Graphic
Design, 1948–78; Rector, 1978–81)
16INTELLIGENT
implications far beyond the sector.
For us, it’s also about exploring the
wider implications of a technological
MOBILITY
product; city planning, architecture,
leisure spaces and healthcare provi
sion are all within the compass of
these developments.
Writer: Professor Dale Harrow, Chair of Intelligent Mobility Design Centre
and Head of Programme, MA Intelligent Mobility INTELLIGENT MOBILITY
Illustrator: Miguel Valdivia (MA Visual Communication, 2013)
DESIGN CENTRE
The future of intelligent mobility at the
What can the RCA – the inter RCA is embodied by the Intelligent
Mobility Design Centre (IMDC).
nationally renowned art and design Launched in May 2016, the IMDC is
leading research at the intersection
university – contribute to the of people, mobility and technology
within a complex and changing urban
imminent arrival of intelligent and global environment.
Dr Cyriel Diels has recently been
mobility? appointed as Deputy Director of IMDC.
He has a background in psychology
It is clear that we are witnessing a design intelligence are key to survival and human factors, and industry
shift in the perception and design of in a world where traditional product expertise in driver behaviour and
vehicles. The invention and adoption development models are being performance. Senior Research Fellows
of technologies and applications such disrupted. But we recognise that Dr Jiayu (Zoe) Wu and Dr Artur Grisanti
as artificial intelligence, open data, intelligent mobility isn’t just about the Mausbach are leading research projects
autonomous navigation, high-speed automotive industry, it is about at the centre.
telephony and integrated personal transport in the broadest sense, Dr Wu’s interests focus on the
devices – are all driving this including people and goods, the built interactions between vehicles, people,
transformation. environment, and how planning and and environments, looking to a future
We believe that the future of policy can address the shift in where individuals will have un
intelligent mobility isn’t just about mobility. precedented involvement in every
design or technology; it is about the In the field of automotive design, facet of transportation services.
combination of technology and design the RCA has been creating design Dr Mausbach’s holistic design
with people and culture. Through leadership by training the designers of research practice crosses the fields
the philosophies, methodologies and the future for over 30 years. The 35 of urban planning, architecture,
historical precedent of design intelli alumni design directors in global and product and mobility design
gence, we recognise that design is mobility corporations – from Jaguar through a humanistic approach that
fundamentally different from engine Land Rover, Volvo, BMW and Audi aims for sustainability through the
ering or technological development, Group to Rolls Royce and Bentley – application of intelligent design.
and highly value what it can bring are testament to the relevance of our The team at IMDC work across
to the table. We know that design can knowledge and experience. The RCA disciplines with technologists,
unpack the challenges and oppor has been a key partner in Gateway – engineers, the automotive industry,
tunities of new technologies and pull the UK’s only interdisciplinary study the built environment sector and
‘At the RCA, we work in a all the strands of enquiry together,
demonstrating that it’s not just
technological advances but how they
of autonomous vehicles covering
government policy, technology and
commerce in real conditions.
government agencies to research and
design for intelligent mobility. Projects
so far have included research with
creative space to experiment, are applied that matters.
At the RCA, we work in a creative
space to experiment, test, understand
New concepts of mobility services
that have been imagined and tested
– including vehicle-sharing, high-
Hyundai-Kia exploring the future of
luxury and the relationship between
technology and emotions.
test, understand and interpret.’ and interpret. The technology to
develop autonomous vehicles is on
the horizon, and our research shows
speed urban commuting and robotic
delivery – intersect with user
expectations. For users, the adoption
IMDC will provide insights and real
data about human culture and
behaviours that are crucial to future
Professor Dale Harrow that the challenges are not with the of any particular mode of transport mobility developments. In doing this,
technologies themselves (people can depends on affordability, experience, it will harness the whole College in
adopt technologies, as evidenced by style, privacy and utility. There are its research and project work, as one
the success of smartphones), but with some areas of particular sensitivity, in a network of centres that support
the understanding of how to work such as the future of shared transport each other and work collaboratively
with new innovations, the sorts of – and the extent to which people across intelligent mobility, material
products and services that arrive from can be persuaded to forsake their futures, inclusive design and robotics
them and whether they will be used private cars. within the context of the inter
by all members of the population. Intelligent mobility is not without nationally renowned university.
In a sector where attention has consequences. The UK car industry
been centred on brand for decades, alone employs 170,000 people and
the focus has now shifted to delivers 4 per cent of GDP, which
technology. Industry needs to means that the effects of disrupting
understand that both creativity and that economic model have
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