Research Handbook 2008_09 RCA

researchhandbook 08·09

rca

Royal College of ArtKensington GoreLondon SW7 2EUt +44 (0)20 7590 4126f +44 (0)20 7590 4542 [email protected]/research

Please open flap for Chapter Overview.

researchrca handbook 08·09

Please open flap for Important Dates and Contact Details.

Chapter Overview

Research at the Royal College of Art see pages 12–21

Research Degrees at the Royal College of Artsee pages 22–29

Research student progressionsee pages 30–39

Final examination see pages 40–47

Research Methods Coursesee pages 48–55

Student support servicessee pages 56–61

RCA research resourcessee pages 63–67

Research student fundingsee pages 68–77

Dissemination of research see pages 78–85

Guidelines on bibliographical referencessee pages 86–95

Core bibliographysee pages 96–105

Guide to librariessee pages 106–123

Good research practicesee pages 124–143

Information for research staffsee pages 144–151

Guide to forms see pages 152–155

Important Dates and Contact Details tant Dates and Contact DetailsTerm DatesAutumn Term29 September 2008 –12 December 2008Spring Term12 January 2009 – 27 March 2009Summer Term20 April 2009 – 03 July 2009

Mandatory RMC ComponentsAbstract deadline 5pm, Friday 28 November 2008 Research Proposal deadline 5pm, Friday 13 March 2009Research Presentation dates14, 21, 28 January 2009

Research Supervisors’ ForumAutumn Term1pm, Tuesday 28th October 2008Spring Term1pm, Tuesday 17th February 2009Summer Term1pm, Tuesday 26th May 2009

Research Supervisors’ Training Day10am, Tuesday 18th November 2008

Research Reception6pm, 3rd November 2008

Contact DetailsProfessor Sandra Kemp, Director of Researcht +44 (0) 20 7590 4126email: [email protected] Officet +44 (0) 20 7590 4126email: [email protected] Loveland, Research Student Administratort +44 (0) 20 7590 4135email: [email protected]


rca

Compiled by Professor Sandra Kemp, Director of Research

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Welcome

Research at the Royal College of Art The Research Office Summary of ResponsibilitiesThe CollegeCollege-Wide TimetableThe Students’ UnionResearch Student RepresentativesWider Research Community

Research Degrees at the Royal College of ArtRegistration PeriodsAegrotat Degrees Research Degrees: Assessment Standards and CriteriaDefinitions of Research

Research student progressionAdmissions ProcedureAdmissions Examination Board Late ApplicationsInduction Meetings Personal Development Plan Interim Examination Transfer from MPhil to PhD Changes in student statusLeave of absenceProgramme and Title of Work Complaints ProcedureStudent Appeal ProcedurePlagiarism

Final examination Nomination of External ExaminersNotification of Submission of ThesisSubmission of ThesisAppointment of External Examiners Date of Final Examination – viva vocePreparation for viva voceSubmission of pre-viva report by External ExaminersFinal Examination – viva voceOutcome of the Final Examination Final Examination reportsThesis binding and deposit Convocation

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Research Methods CourseGeneral Course Information Mandatory ComponentsCore Course Components Optional ComponentsVirtual Research Community VitaeUK Grad Programme

Student support servicesInformation and Learning Services Computing Services Library Learning Support Equal OpportunitiesAlumni Services

RCA research resourcesPrinting Services Training StudioPhotographic Services Drawing Studio Helen Hamlyn CentreInnovationRCAProfessional Practice

Research student fundingRCA BursaryResearch CouncilsFunding for TravelInternational StudentsFunding for Students with DisabilitiesSubject-Specific Scholarships & FundingAdditional Sources of Funding

Dissemination of research Layout of the ThesisGuidelines for PrintingGuidelines for BindingGuidelines for Exhibiting at the RCA Summer ShowGuidance for Student Participation in Conferences and Publication of Work

Guidelines on bibliographical referencesReferencing SystemsThe Harvard SystemThe Modern Language Association SystemThe Oxford SystemThe Chicago Manual of Style

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6585858606161

764646566666767

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Core bibliographyRecommended ReadingSubject-specific textsUseful Websites for Researchers

Guide to libraries

Good research practiceIntellectual Property RightsResearch Ethics RCA Research Ethics ChecklistRCA Code of Practice for Research EthicsRCA Health and Safety Policy

Information for research staffResearch CommitteeResearch Development FundResearch AllocationResearch Ethics CommitteeTraining Available for Research StaffExternal Funding OpportunitiesResearch Assessment Exercise

Guide to forms Forms relating to StudentsForms relating to Staff

Appendix 1Current Research Students 2008–09

Appendix 2Research Alumni 1995–2008

Notes

Credits

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100104

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13126127127128136

14146148148149149150151

15154155

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There are currently more than a hundred MPhil and PhD students at the Royal College of Art (out of a student body of 900) and to date the College has played a key role – nationally and internationally – in the development of the disciplines of art and design. Since 1995, 212 MPhil and PhD students have graduated from the RCA, and their fields of research are listed at the end of this Handbook.

In the 2001 Research Assessment Exercise (RAE), carried out by the HigherEducation Funding Council of England, Scotland, Wales and Ireland, the Royal College of Art received a ‘5’ for Art and Design. The RCA is one of ten top research-rated Art and Design Higher Education Institutions in the UK. The College’s interdisciplinary structure has facilitated its rapidly expanding research profile, as has its commitment to individual research practice, enquiry and output of international excellence.

Royal College of Art research students are part of a cohesive staff and student body – sharing studios and workshops with MA students and participating in work-in-progress seminars and other departmental activities with both staff and students. The College has a large international and part-time student body and seeks to accommodate and develop individual needs and skills. MPhil and PhD students also benefit from their own comprehensive central and group-based Research Methods Course (which offers training in transferable research skills, techniques and management; information and communication technology and professional skills). Research students are allocated individual departmental supervision and offered specialist research seminars in their own department.

Research-specific activities form part of a wider pattern of lectures and seminars across the College. The College’s rich academic life is further enhanced by the extensive relationships we have with other world-class institutions: academic, museum and industrial. Our closest collaborators include Imperial College London, the Victoria and Albert Museum, the National Portrait Gallery, and the Science Museum. The College is unusual both in its particular juxtapositioning of art in a design environment and design in an art environment, and in its advancement of knowledge in the principles of art and design in their specific relation to industrial and commercial processes. All research student activities are coordinated and monitored by the Research Office in liaison with the individual departments and with the College’s Research Committee.

The belief that knowledge can be generated, and questions answered, through analytic scholarship, iterative experiments and innovative examples of artefacts and designs, underpins the College’s developing research projects and disciplines. We aim to offer our research students the best environment and resources to develop and promote their research within the fields of art and design.

This Handbook is designed to introduce you to research procedures and resources at the RCA. I extend a warm welcome. Please feel free to contact me or Research staff for advice in all matters concerning research.

Professor Sandra Kemp,Director of Research

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1research at the royal college of art

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“For the past 30 years, the RCA has played a key role – nationally and internationally – in the development of research-based education within the disciplines of art and design. The College’s multidisciplinary structure has facilitated its rapidly expanding research profile, as has its commitment to individual and group research practice, enquiry and output of international standing.”Professor Sandra Kemp, Director of Research

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Research underpins the academic life of the Royal College of Art. The College was awarded the highest score for Art and Design in the Research Assessment Exercise 2001. Since then it has achieved commendation by the Quality Assurance Agency in 2007 for research leadership and management, including high quality research training; incremental success in winning major research grants from the UK Research Councils and other funders; new digital facilities supported by the Science Research Investment Fund; an increase in research student numbers, and in the number of academic and technical staff engaging in doctoral study themselves and training to supervise research.

Allied to this, there has been strategic development of key research fields in collaboration with researchers, funders and partners, and referenced in accordance with new thinking and new knowledge, based upon changing technological, material and social possibilities. The tradition of being in the vanguard of new research disciplines as well as the research methodologies within them is characteristic of the Royal College of Art. Research staff and students work as individuals and in groups and develop extensive partnerships with world-class academic and commercial institutions.

Current research at the College falls broadly into the following three areas: developmental research (including projects that explore new techniques and processes, and develop new and modified materials with a range of applications; applied research (including design for manufacture, inclusive and sustainable design and strategic design concepts and prototypes that could provide significant value to business and industry); and historical, critical, cultural and studio research (where this relates to, and/or informs art, media, design, production and practice).

the research officeThe Research Office is located in the Rectorate and is staffed by:

Professor Sandra Kemp, Director of Researchextension: 4126email: [email protected]

Jessica Rana, PA to the Director of Researchextension: 4126email: [email protected]

Andrew LovelandResearch Student Administratorextension: 4135email: [email protected]

Professor Sandra Kemp is Director of Research and a member of the Senior Management Group at the Royal College of Art (RCA), providing leadership to enhance the character and academic mission and of the College with respect to staff and student research, including fund-raising and financial planning for research, and estates and recruitment initiatives. She established the Research Office at the RCA in 2001, and has since been responsible for building research teams across public and private sector institutions and cross-border collaboration. She is currently leading the RCA in its international research development with particular respect to partnerships in Europe, the USA and South East Asia and, in particular, brokering new partnerships and collaborations with Imperial College London; Parsons, New York; and Tsing Hua University, Beijing. Her role includes contributing to the latest policy and developments in the sector, through a wide external network, and by election to membership of key institutions, including the Arts and Humanities Research Council (AHRC) and the Higher Education Funding Council for England (Research Assessment Exercise), thereby ensuring representation for the RCA at the highest levels.

Jessica Rana is Secretary of the Research Committee, Research Ethics Committee and Research Development Fund and is responsible for all staff-related research business. In addition, she is responsible for managing external funding applications for both staff and students and is the College’s Je-S account manager.

Andrew Loveland, the Research Student Adminis-trator is responsible for coordinating the College’s processes for research degree programmes, in-cluding registration, supervision, examination and submissions to the Academic Board for Concessions and Discipline and for administering the Research Methods Course.

The Research Office can be contacted for advice in all matters concerning research. Staff and students are reminded, however, that their department Research Coordinators and Heads of Department are responsible for all organisational aspects of their work.

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summary of responsibilitiesAlthough the role division between the Head of Department, Research Coordinator, Research supervisors and students in each department does vary, below is a general guide to the allocation of responsibilities at the College:

The Role of the Research Coordinator

Each department has a designated departmental Research Coordinator who is usually responsible for the majority of research student-related administration and is a member of the academic team for all MPhil and PhD students.

Research Coordinator responsibilities include:• acting as the first point of contact for prospective

research students who wish to discuss their applications to the College

• answering research-related enquiries specific to that department from staff and students within the College

• ensuring that all research students attend a comprehensive induction programme

• ensuring that all research students attend the Research Methods Course on a regular basis

• ensuring that all research students are up to date with their requisite number of supervisions and that the role allocation between internal and external supervisors is balanced

• ensuring that all research students have their Interim, Transfer, Mock viva and Final exams properly scheduled

• ensuring that all research students are complet-ing the Personal Development Plans and Training Needs Analysis forms as required

• providing pastoral care for their cohort of research students.

In addition, each Research Coordinator is responsible for actively promoting research across their department and enhancing the research environment for both staff and students wherever possible. Such activities might include:• the organisation of discipline-specific

training workshops

• presentations• research seminars• regular updating of their research pages on the

RCA website• disseminating key changes in College policy

regarding research students and staff • attendance at the termly Supervisors’ Fora.

Research Coordinators are an important conduit for enhancing inter-disciplinary and inter-departmental links. All RCA staff can be contacted by email on their RCA email account ([email protected]).

RCA Departments and Research Coordinators

School of Applied ArtCeramics & Glass –Alison BrittonGSM&J – Hans Stofer

School of Architecture & DesignArchitecture – Mark Garcia Design Interactions – Anthony DunneDesign Products – Hilary French

School of Design For ProductionIndustrial Design Engineering – Bronac FerranVehicle Design – Andrew Nahum

School of CommunicationsAnimation – Joan AshworthCommunication Art & Design – Al Rees

School of Fashion & TextilesFashion – Claire PajaczkowskaTextiles – Claire Pajaczkowska

School of Fine ArtPainting – Elizabeth PricePhotography – Yve LomaxPrintmaking – Jo StockhamSculpture – Elizabeth Price

School of HumanitiesConservation – William LindsayCritical and Historical Studies – Martina MargettsCurating Contemporary Art – Mark NashHistory of Design – Jeremy Aynsley


The Role of the Supervisor

Each research student works closely with at least one supervisor. An MPhil student will usually have one supervisor, although a second supervisor may join the team if the nature of the work is interdisciplinary or more than one expert is required. A PhD student has a team of two, or sometimes three, supervisors. The main supervisor is always located within the department where the student is based. It is not unusual for a student to have a second supervisor from another department or one who is external to the College. No RCA supervisor will have more than six students at any one time. As well as the students’ primary point of contact within the RCA and the main source of academic support, the lead supervisor is normally responsible for the students’ pastoral care. The Research Coordinator, Head of Department and Head of School also have responsibilities in this area.

The main elements of a lead supervisor’s role include mentoring, motivating, maintaining standards and monitoring progress. Throughout a research student’s period of study at the College, supervisors are expected to:

Mentor• provide academic guidance• advise on the aims, scope and presentation of

their students’ research • provide effective pastoral support and/or refer the

student to other sources of support, including a departmental personal tutor, the Students’ Union [page 20] and Student Support Officer [page 60].

• help the student to interact with others working in the field of research: for example, encouraging the student to attend relevant conferences, supporting him/her in seeking funding for such events; and where appropriate to submit conference papers and articles to refereed journals.

Motivate• identify any training needs the student may have

and recommend opportunities for training and development

• promote the use of external resources and expertise, and encourage participation in research activities such as attendance and presentation at departmental, College and/or external exhibitions, symposia, and conferences.

Maintain standards• adhere to the College’s requirement of a minimum

of six formal tutorials or progress meetings per year, or in the case of part-time students at least three times a year (to include joint supervisors) and maintain copies of jointly agreed reports of each formal meeting

• ensure accessibility to the student when s/he needs advice, by whatever means is most suitable given the student’s location and mode of study

• Inform the student of the RCA Regulations and legal issues relating to plagiarism, copyright, data protection, Health and Safety, intellectual property, careers guidance, equal opportunities and research ethics

• ensure that the student is aware of the need to exercise probity and conduct his/her research according to ethical principles, and of the implications of research misconduct

• ensure that the Research Office is notified of any potential ethical issues arising from their student’s research

• advise students of plans for extended absence from the College (e.g. sabbatical leave) during their candidature, arrange for the provision of replacement supervision in advance for periods of absence longer than one month, and ensure that these arrangements are ratified by the Academic Board for Concessions and Discipline, via the Research Office

• maintain the necessary supervisory expertise, including the appropriate skills, to perform all of the role satisfactorily, supported by relevant continuing professional development opportunities

• participate in all RCA Supervisor Training programmes, including the Supervisors’ Training Day and Supervisors’ Fora.

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Monitor progress• ensure that their students keep on schedule

within their registration period and meet all requisite deadlines

• ensure that their students keep their Personal Development Plan (PDP) up to date [page 33]

• assist in developing an appropriate plan for successive stages of the research project, including writing up the thesis

• require written drafts from their students on a consistent and mutually agreed schedule; read and provide written comments within a mutually agreed and reasonable period from the time of submission (and no more than one month)

• provide timely, constructive and effective feedback on the student’s work, including his/her overall progress within the programme

• inform their students in writing of inadequacies in their progress or standard of work

• assist in arranging essential administrative steps, such as preparation for departmental presentations, Interim and Transfer Examinations

• prepare their students for Final Examination• notify their students of any recommendations

from examiners and help them prepare for any resubmission.

Any experienced research supervisor (i.e. a member of staff who has completed supervision of more than two research students to successful completion of their research degree) is eligible to sit on the following examination boards:• MPhil/PhD admission• Interim examination with transfer to PhD• Final Examination.

External supervisors are not responsible for the administration of internal research procedures e.g., with respect to Interim, Transfer and Final Examination. However, it is their responsibility to work directly with the lead supervisor to ensure an integrated program of work, and to fulfil all other aspects of the supervisory role as listed above. It is imperative that they complete supervision tutorial reports and are present at Interim Examination. External supervisors are strongly encouraged to participate in all RCA Supervisor Training programmes, including the Supervisors’ Training Day and Supervisors’ Fora.

Further details on the role of the supervisor can be found in The Quality Assurance Agency for Higher Education ‘Code of Practice for the assurance of academic quality and standards in higher education’ Section 1: Postgraduate research programmes – September 2004 available on the RCA website at http://intranet.rca.ac.uk/pages/research/qaa_special_review_of_3327.html Limited copies of the Code of Practice are available from the Research Office.

The Role of the Student

Throughout their period of study at the RCA, research students are expected to:• register with the College on an annual basis, at

the start of the new academic year (if a student fails to register with the College by the end of the autumn term each year, he or she will be deemed to have withdrawn)

• take responsibility for their own personal and professional development

• maintain regular contact with their supervisors and attend supervisory meetings on time, well-prepared and with a clear agenda

• work conscientiously and independently and prepare adequately for supervision tutorials

• maintain progress in accordance with the timetable agreed with their supervisors at the outset and generally maintain satisfactory progress with the programme of research

• present the results of practical work and written material in sufficient time for comment and discussion

• engage with other researchers in their field, attend relevant conferences and disseminate results where appropriate

• take the initiative in making supervisors aware of any specific needs or circumstances and raising problems or difficulties

• participate fully in the Research Methods Course and any additional subject-specific re-search training provision that has been identified when agreeing their developmental needs with their supervisors

• keep their Personal Development Plan (PDP) and Training Needs Analysis (TNA) up-to-date

• recognise that supervisors have many competing demands on their time

• respond with constructive criticism to the annual student feedback questionnaire

• become familiar with institutional regulations and policies, including the RCA Regulations for the degrees of MPhil or PhD, Health and safety, intellectual property and ethical research guidelines

• take responsibility for research funding.

The Role of the Department

Each research student in the College is located in a department, the principle being that they should be integrated into the academic life of the subject area and share the mutual benefits of interaction with other students and teaching staff. Each department makes its own arrangements to ensure that this integration can function effectively, enabling research students to maintain contact with the MA programme through participation in ‘crits’, seminars, short courses and other events. The Head of Department has management responsibility for the programme, and ensures that the appropriate procedures are followed.

Each department has a responsibility to provide at least equivalent materials/resource funding to MPhil and PhD students as to MA students. The exact amount will vary from department to department, depending upon the level of material/resources required. Students are reminded that the College can only reimburse expenses retrospectively upon production of receipts.

A list of facilities considered to be College-wide, open to all students, is included in Course Handbooks issued in the autumn term. Handbooks should also contain details of other more specialised facilities, available to students by arrangement with academic staff.

If a student wishes to use more specialist facilities not found in the department in which he/she is enrolled, they should, in the first instance, discuss the issue with their supervisor. Their supervisor is likely to refer them on to the academic staff in the department where the facility they wish to use is located. As a result of these discussions and a consideration of the academic issues arising,

a decision will be made on whether the use requested can be accommodated.

Students must not make direct approaches to technical staff about the use of specialist facilities. Academic staff should deal with all such requests.

the collegeAt the initial stages, students will rely mainly on their supervisors for subject expertise. Later, they may find that other academic staff will be able to help in offering guidance on their work. This is particularly the case when students are working in a relatively new or interdisciplinary area and will need advice from researchers outside their immediate department. If a student discovers a member of staff outside their School or department who can advise them on their work, they should inform their supervisors and, where relevant, a meeting will be arranged.

college-wide timetableA full timetable of all College events and activities is available on the RCA Intranet http://intranet.rca.ac.uk/. If you are arranging an event and want people to know, give the details to the ILS Administrator on extension 4222.

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1the students’ unionThe research degree student community has an important role to play in College affairs. Within each School, regular meetings are held at which general business relating to the School and its departments is discussed. The Senate has agreed that research degree students should be represented formally at these meetings, and there is provision for one research degree student to attend. If a student would like a particular matter raised at a School meeting, they are advised to contact their representative, who will ensure that the issue is discussed at the next available opportunity. Equally, if a student wishes to know what issues are currently being considered by the School meeting, the representative will keep them informed. Research students are represented on the Student Representative Council. The Students’ Union will also represent research student interests at the Academic Standards Committee (ASC) and at Research Committee (RC), and at a more general level, and can be contacted on extension 4211.

The Students’ Union is on the second floor of the Common Room building (above the Canteen and Library).

Sabbatical Union officers:

President: Marcus Lanyon extension: 4211 or 020 7590 4211email: [email protected]

Vice-President: Tom Winstanleyextension: 4212 or 020 7590 4212email: [email protected]

Events Manager: James Green extension: 4213 or 020 7590 4213email: [email protected]

The Students’ Union is there to offer all students help and guidance whilst at the Royal College of Art. The Students’ Union represents the students at all College meetings, and will deal with any personal, course or College problems they may encounter.

The Students’ Union runs two bars:• The ArtBar is open from 5.30pm to 10.50pm

Monday to Friday• The RCAfé is open from 10:30am to 10:00pm,

serving drinks and food until 5:45pm• The RCAfé also features an outdoor terrace.

Students’ Union Benefits: In the Students’ Union students can obtain a National Union of Students’ card (for cheaper entry into theatres, galleries, cinemas, restaurants, libraries) and apply for a London Transport 30% discount Travelcard. For more information: http://intranet.rca.ac.uk/pages/studentsunion/index.php

research student representativesThe research student community is represented by two members each year who are responsible for engaging with all the research students to listen to their concerns and provide a mechanism for disseminating the generic needs of research students across the College through the Student Representative Council, and student fora.

Election: The research students are asked to nominate two students to act as representatives for each academic year. It is advised that one representative should be a first year research student and one is a continuing research student. The elections are conducted through an online voting system.

Role: The elected representatives will meet with the Research Office three times a term – one of these meetings will also include the Students’ Union President – to discuss any research-related issues that may have been brought to their attention and will be invited to attend select Research Committee meetings. They are also expected to meet with the Students’ Union regularly and to attend the monthly Student Representative Council. In addition, the Research Student Representatives should also attend the termly Research Methods Course Reviews.

The representatives will ensure that the require-ments of part-time and international students are addressed. However, Research Student Representa-tives are not able to advise research students on the supervisory relationship.

wider research communityThe best source of support and information avail-able to research students is the wider community of researchers working at both a national and interna-tional level. Students can benefit from their experi-ence and should have the opportunity to discuss their work with them. Supervisors will endeavour to provide their students with information about indi-viduals working in the same field.

As a student’s work progresses, they may find that their work would benefit from the formal support of a particular researcher outside the College. In this case, the student should suggest to their supervisor that this person is made an advisor to complement the work of the supervisory team, or even that they become a full supervisor.

Other support may be found in the strong links that the College has with the various institutions in the South Kensington area. The College runs both a History of Design and a Conservation course with the Victoria and Albert Museum, and this is just one example of the mutual activities which the staff of the College undertake with the staff of the Museum. Some staff in the Museum have studied or are studying at the College, or teach on courses run by the College, and students and staff working in the College have access to the resources in the Museum. The Curating Contemporary Art Course has links with the Tate.

Researchers in the College also have links with staff in the Natural History Museum and the Science Museum, as well as Imperial College London (with which the College runs the Industrial Design Engineering MA course).

The College also has links with a number of industrial sponsors, companies and other Higher Education Institutions which may be of benefit, in terms of provision of both resources and expertise.

The College is a member of the UK Council for Graduate Education, a national body concerned with a range of issues related to postgraduate education at taught Master and research degree levels.

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Research at the College falls broadly into the following three areas within the fields of Applied Arts, Design, Communication Arts and Fine Arts: developmental research (including projects that explore new techniques and processes, and develop new and modified materials with a range of applications); applied research (including design for manufacture, inclusive and sustainable design and strategic design concepts and prototypes that could provide significant value to business and industry) and historical, critical, cultural and studio research (where this relates to, and/or informs art, media, design, production and practice).

research degrees at the royal college of art

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The research degrees offered by the Royal College of Art are:• MPhil by Project• MPhil by Thesis• PhD by Project• PhD by Thesis

registration periodsThe maximum registration periods for the degrees of MPhil, for MPhil followed by subsequent transfer to PhD, and for PhD are:

MPhilFull-time: 2 academic yearsPart-time: 4 academic years

MPhil/PhDFull-time: 4 academic yearsPart-time: 6 academic years

PhDFull-time: 3 academic yearsPart-time: 6 academic years

Students should submit their work within the registration period.

Where a student is prevented because of ill-health or other circumstances from making progress with their programme of research, their registration may be suspended by the Academic Board for Concessions and Discipline (ABCD) but not for more than one year at a time for full-time students or five terms for part-time students.

aegrotat degrees A student may be considered for the award of an Aegrotat degree if he or she is absent for medical reasons from any part of the Final Examination. A student may be eligible for an Aegrotat degree provided that:• all College fees have been paid• an application for consideration for the award of

an Aegrotat degree has been made to the Head of Department accompanied by a medical certificate or other statement of the grounds on which the application is made

• consideration by the Examination Board of the body of work which has been completed, together with records of the student’s performance and progress during the programme of study, in order to determine whether the evidence demonstrated that the student would clearly have reached a standard qualifying him/her for the award of the appropriate degree under normal circumstances.

If the Aegrotat degree is conferred upon a student, he/she will not be eligible thereafter to re-enter for examination for the degree.

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research degrees: assessment stan-dards and criteriaThe RCA Regulations define the assessment criteria and standards of the MPhil and PhD degrees as follows:

MPhil

“The standard of the degree of Master of Philosophy (MPhil (RCA)) is that expected of a good Honours graduate who has investigated and evaluated or critically studied an approved topic or existing field of knowledge over not less than the equivalent of two years of full-time study and has demonstrated an ability to make a critical assessment of knowl-edge or understanding in the field of research and has presented and defended creative work and/or a thesis by oral examination to the satisfaction of the examiners.

In order to achieve this standard, the candidate will have demonstrated:

Key attributes relating to evidence of: • ability to make a critical assessment of knowledge

or understanding in the field of research• ability to articulate research aims and objectives

and the field of research• contribution of the MPhil to the advancement of

knowledge and understanding • standards of appropriate independent research

practice (including the ethics of experimental techniques used in the research and relevant Health and Safety issues)

• (where appropriate) a clear structural and intellectual link between textual and practical components of the project.

Research skills, techniques and management relating to evidence of the ability to: • identify and access appropriate bibliographical

resources, archives and other sources of relevant information;

• analyse, contextualise, evaluate and develop theoretical concepts and/or methodologies or technical skills for the research field;

• write in appropriate style and to construct coherent arguments and articulate ideas (oral, written and visual)

• defend and expand/elaborate research outcomes at seminars and viva voce examinations

• contextualise the research at national and international levels, and to keep up to date with recent advances within the particular research field.

Professional skills relating to evidence of the ability to:• manage time and resources• understand the transferable nature of research

skills to other environments;• understand the process of academic, cultural or

commercial dissemination of research results.”

The Regulations also define:

MPhil by thesis

“The submission for the degree MPhil by Thesis (MPhil (RCA)) shall consist of a written thesis in English presenting the results of research in the field of history, theory or practice of art, design or communication, supported, where appropriate, by practical work related to the research. The required length of the thesis shall be between 30,000 and 40,000 words (inclusive of footnotes but excluding appendices and bibliography), illustrated as necessary and accompanied by a summary and bibliography. Any thesis which is over 40,000 words in length will be referred.”

MPhil by project

“The submission for the degree of MPhil by Project (MPhil (RCA)) shall consist of a work or a group of works of art, design or communication, presented in the form of original(s), prototype(s), scale model(s), drawings, CD Rom, photographs, film(s), or sound and vision recording(s), together with a piece of written work in English, defining the purpose of the work, the factors taken into account in its conception and development, and explaining the results. The work submitted must demonstrate progression in knowledge or understanding in the candidate’s discipline, or in related disciplinary areas.


The length of the report and other written work shall be 5,000 to 20,000 words (inclusive of footnotes but excluding appendices and bibliography). The textual and practical elements of the project should be conceived as a whole, with both aspects reaching the required standard of MPhil as outlined above. Any report which is over 20,000 words in length will be referred.”

PhD

“The standard of the degree of Doctor of Philosophy (PhD (RCA)) is that expected of a Master’s graduate who has investigated and evaluated, or critically studied, an approved topic over not less than the equivalent of three years of full-time study resulting in an independent and original contribution to knowledge, and who has demonstrated an under-standing of research methods, and/or techniques and approaches in the research field or in related disciplinary areas, and has presented and defended creative work and/or a thesis, by oral examination, to the satisfaction of the examiners applying accepted contemporary international standards. The resulting body of work must be worthy of peer-reviewed publication or presentation.

In order to achieve this standard, the candidate will have demonstrated:

Key attributes relating to evidence of: • originality• ability to articulate research aims and objectives

and the field of research• contribution of the PhD to the advancement

of knowledge and understanding • standards of appropriate independent research

practice (including the ethics of experimental techniques used in the research and relevant Health and Safety issues)

• (where appropriate) a clear structural and intellectual link between textual and practical components of the project.

Research skills, techniques and management relating to evidence of the ability to: • identify and access appropriate bibliographical

resources, archives and other sources of relevant information

• analyse, contextualise, evaluate and develop theoretical concepts and/or methodologies or technical skills for the research field

• write in appropriate style and to construct coherent arguments and articulate ideas (oral, written and visual)

• defend and expand/elaborate research outcomes at seminars and viva voce examinations

• contextualise the research at national and international levels, and to keep up to date with recent advances within the particular research field.

Professional skills relating to evidence of the ability to:• manage time and resources;• understand the transferable nature of research

skills to other environments;• understand the process of academic, cultural or

commercial dissemination of research results.”

PhD by thesis

“The submission for the degree of PhD by Thesis in a theoretical discipline (PhD (RCA)) shall comprise a written thesis in English presenting an account and the results of a programme of research in the field of history, theory and practice of art, design or communication, supported, where appropriate, by practical work related to the research. The thesis shall be between 60,000 and 80,000 words in length (inclusive of footnotes but excluding appendices and bibliography). It shall be illustrated as necessary and accompanied by a summary and bibliography. Any thesis which is over 80,000 words in length will be referred.”

PhD by project

“The submission for the degree of PhD by Project in a studio discipline (PhD (RCA)) shall comprise a work or works of art, design or communication, or a group of interrelated works of art, design or com-munication, presented as appropriate in the form of original(s), prototype(s), scale model(s), drawings,

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CD Rom, photographs, film(s), or sound and vision recording(s), together with a piece of written work in English, defining the purpose of the work, the factors taken into account in its conception and develop-ment, and explaining the results.

The work submitted must demonstrate progression in knowledge or understanding in the candidate’s discipline, or in related disciplinary areas. The written component shall be not less than 25,000 words and not more than 40,000 words in length (inclusive of footnotes but excluding appendices and bibliography). The textual and practical elements of the project should be conceived as a whole, with both aspects reaching the required standard of PhD as outlined above. Any written component which is over 40,000 words in length will be referred.”

definitions of researchThe following three definitions (from the joint Research Councils, the AHRC and the RAE) outline the skills that doctoral research students are expected to develop during their research training and the components of research. All students and supervisors should be familiar with these mandatory national requirements.

Joint statement of the Research Councils’ Skills Training Requirements for Research Students, September 2004

Research Skills and Techniques – to be able to demonstrate:• the ability to recognise and validate problems • original, independent and critical thinking, and

the ability to develop theoretical concepts • a knowledge of recent advances within one’s

field and in related areas • an understanding of relevant research

methodologies and techniques and their appropriate application within one’s research field

• the ability to critically analyse and evaluate one’s findings and those of others

• an ability to summarise, document, report and reflect on progress.

Research Environment – to be able to:• show a broad understanding of the context, at

the national and international level, in which research takes place

• demonstrate awareness of issues relating to the rights of other researchers, of research subjects, and of others who may be affected by the research, (e.g. confidentiality, ethical issues, attribution, copyright, malpractice, ownership of data and the requirements of the Data Protection Act)

• demonstrate appreciation of standards of good research practice in their institution and/ or discipline

• understand relevant Health and Safety issues and demonstrate responsible working practices

• understand the processes for funding and evaluation of research

• justify the principles and experimental techniques used in one’s own research

• understand the process of academic or commercial exploitation of research results.

Research Management – to be able to:• apply effective project management through the

setting of research goals, intermediate milestones and prioritisation of activities

• design and execute systems for the acquisition and collation of information through the effective use of appropriate resources and equipment

• identify and access appropriate bibliographical resources, archives, and other sources of relevant information

• use information technology appropriately for database management, recording and presenting information.

Personal Effectiveness – to be able to:• demonstrate a willingness and ability to learn

and acquire knowledge • be creative, innovative and original in one’s

approach to research • demonstrate flexibility and open-mindedness • demonstrate self-awareness and the ability

to identify own training needs • demonstrate self-discipline, motivation,

and thoroughness • recognise boundaries and draw upon/use

sources of support as appropriate


• show initiative, work independently and be self-reliant.

Communication Skills – to be able to:• write clearly and in a style appropriate to

purpose (e.g. progress reports, published documents, thesis)

• construct coherent arguments and articulate ideas clearly to a range of audiences, formally and informally through a variety of techniques

• constructively defend research outcomes at seminars and viva examination

• contribute to promoting the public understanding of one’s research field

• effectively support the learning of others when involved in teaching, mentoring or demonstrating activities.

Networking and Teamworking – to be able to:• develop and maintain co-operative networks and

working relationships with supervisors, colleagues and peers, within the institution and the wider research community

• understand one’s behaviour and impact on others when working in and contributing to the success of formal and informal teams

• listen, give and receive feedback and respond perceptively to others.

Career Management – to be able to: • appreciate the need for and show commitment

to continued professional development • take ownership for and manage one’s career

progression, set realistic and achievable career goals, and identify and develop ways to improve employability

• demonstrate an insight into the transferable nature of research skills to other work

environments and the range of career opportunities within and outside academia

• present one’s skills, personal attributes and experiences through effective CVs, applications and interviews.

Arts and Humanities Research Council

The Council’s definition of research focuses on a definition of research processes, rather than outcomes. This definition is built around three key features:• it must define a series of research questions

or problems that will be addressed in the course of the research. It must also define its objectives in terms of seeking to enhance knowledge and understanding relating to the questions or problems to be addressed

• it must specify a research context for the questions or problems to be addressed. You must specify why it is important that these particular questions or problems should be addressed; what other research is being or has been conducted in this area; and what particular contribution this project will make to the advancement of creativity, insights, knowledge and understanding in this area

• it must specify the research methods for addressing and answering the research questions or problems. You must state how, in the course of the research project, you will seek to answer the questions, or advance available knowledge and understanding of the problems. You should also explain the rationale for your chosen research methods and why you think they provide the most appropriate means by which to answer the research questions.

The AHRC definition of research provides a distinction between research and practice per se. Creative output can be produced, or practice undertaken, as an integral part of a research process as defined above. The Council would expect, however, this practice to be accompanied by some form of documentation of the research process, as well as some form of textual analysis or explanation to support its position and to demonstrate critical reflection. Equally, creativity or practice may involve no such process at all, in which case they would be ineligible for funding from the Council.

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The AHRC’s primary concern is to ensure that the research it funds will address clearly-articulated research questions or problems, set in a clear research context, and using appropriate research methods. The precise nature of the outputs of the research may vary considerably, and may include, for example, monographs, editions or articles; electronic data, including sound or images; performances, films or broadcasts; or exhibitions.

Research Assessment Exercise (RAE2008) Definition of Research and eligible outputs

is the sixth in a series of exercises conducted nationally to assess the quality of UK research and to inform the selective distribution of public funds for research by the four UK higher education funding bodies. RAE2008 will provide quality profiles for research across all disciplines. Submissions from institutions are currently being assessed by experts in some 70 units of assessment. The main body of the assessment took place in 2007–08, with outcomes to be published by the funding bodies in December 2008.

The definition of research as set out in the Guidance on Submissions is as follows: “‘Research’ for the purpose of the RAE is to be understood as original investigation undertaken in order to gain knowledge and understanding. It includes work of direct relevance to the needs of commerce, industry, and to the public and voluntary sectors; scholarship*; the invention and generation of ideas, images, performances, artefacts including design, where these lead to new or substantially improved insights; and the use of existing knowledge in experimental development to produce new or substantially improved materials, devices, products and processes, including design and construction. It excludes routine testing and routine analysis of materials, components and processes such as for the maintenance of national standards, as distinct from the development of new analytical techniques.“(RAE 3/2005) http://www.rae.ac.uk/pubs/2005/03/rae0305.pdf

* Scholarship for the RAE is defined as the creation, development and maintenance of the intellectual infrastructure of subjects and disciplines, in forms such as dictionaries, scholarly editions, catalogues and contributions to major research databases.

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“The audit team identified the following areas as being good practice ... the content of the Research Methods Course and its leadership, management and currency, which equips students with excellent skills and research methodology.”Royal College of Art Institutional AuditThe Quality Assurance Agency for Higher Education, 2007

research student progression

32 // research student progression // research rca handbook 08·09

A list of all research-related forms appears at the back of this Handbook. All forms can be downloaded from the RCA Intranet or collected from the Research Office.

admissions procedureThe RCA encourages the liaison of prospective research students with departments during the process of preparing their research degree applications. The Research Office will advise on general issues (such as admission requirements, funding and so on), but applicants are referred to relevant departments for preparation of their application. In the case of multidisciplinary or interdisciplinary research, applicants will always be based in a host department, who will advise them on their application.

Prospective research students should first contact the departmental Research Coordinator [page 16]. If the proposed subject of research is eligible and the prospective student fulfils RCA entrance requirements, a formal application should be submitted to the Registry before 19 January 2009. The application will be logged by the Registry and forwarded to the Research Office. The Research Office will check all applications before sending them to departments and will monitor their progress through the application procedure to ensure a prompt response.

Heads of Departments and Research Coordinators, in consultation with colleagues, will decide which applicants should be invited for interview.

admissions examination board Interviews take place in the departments. Each department sets up its own Admissions Board, which must be composed of:1. Head of Department (Chair)2. Two tutors from the department, one of whom should have experience of supervising research students3. One research degree student chosen by the Head of Department

Following the interviews, all application forms should be returned to the Research Office accompanied, if successful, by the appropriate Admission Criteria Checklist for Admissions Board (MPhil or PhD) forms. If the candidate is not successful, the application must be returned to the Research Office accompanied by the MPhil/PhD – Unsuccessful Application form. These forms can be downloaded from the Research Office pages on the RCA Intranet. http://intranet.rca.ac.uk

late applicationsThe same admissions process will be followed for late applications. It is recommended that all research students start their programme of study at the beginning of the autumn term. The last Academic Board for Concessions and Discipline meeting of the 2008–09 academic year, and therefore the last opportunity for late applications to be confirmed, is on 15 July 2009. Only in very exceptional circumstances would late starts be considered by the Academic Board for Concessions and Discipline.

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induction meetings Departmental: After registration, students will meet their nominated supervisor(s) for an induction meeting. The main objective of this meeting, which must take place during the first week of term, is to familiarise students with the department in which they will be working. The meeting should cover the following:• the location of the students’ desk and/or studio

space (if applicable)• the location of the resources they might require

for their research (e.g. the photocopier, fax, telephone and ICT, if applicable)

• introductions to relevant staff (academic, administrative and technical) in the Department/School

• Health and Safety procedure [page 136]• specific departmental mechanisms for

research degree student assessment, including presentations, training course attendance, submission of mandatory components of the RMC and Interim Examination requirements.

Research Methods Course: On Wednesday 01 October 2008, students are invited to attend an induction meeting for the Research Methods Course. At this meeting students will meet the Director of Research and the Research Office staff and receive the Research Methods Course timetable.

pdp: personal development plan Since 2005 it has been a national requirement for all research degree students studying in the UK to complete a Personal Development Plan (PDP). PDP is defined by the Higher Education Quality Assurance Agency (QAA) as “a structured and supported process undertaken by an individual to reflect upon their own learning, performance and/or achievement and to plan for their personal, educational and career development” with the objectives of developing reflective, independent, self-directed learners. The emphasis is upon self-evaluation and decision-making, and the ability to review, plan and take responsibility for one’s own work.

• The RCA Supervision Tutorial Log (PDP 1) provides a template for the assessment of achievements since the last supervision tutorial and for the agreement of objectives relating to academic progress and skills development to be completed prior to the next review.

• It is mandatory that a PDP 1 form is completed in full and signed by all participants within a week after each supervisory session. The original form is retained by the department and a copy of the form is retained by the student.

• In order for the Academic Board for Concessions and Discipline to ratify each student’s pass at Interim Examination, and subsequent transfer into their next academic year, the Research Office must have received from the department signed copies of at least six PDP Supervision Logs per year for full-time students and three per year for part-time students.

In addition to the Supervision Tutorial Log, students are also required to complete an annual Training Needs Analysis (TNA) at their first supervision of each academic year. This information is recorded on the Supervision Tutorial Log (PDP 2) and reviewed annually at the Interim Examination.


interim examination All research students are required to pass an Interim Examination before passing into their next year of study. The purpose of the Interim is to assess progress, and this Examination may be seen as a point of consolidation following the student’s preceding year’s work. The criteria applied, broadly speaking, are that the stage of progress and standard of work presented are consistent with reasonable expectations relative to the amount of time expended. The role of the Examination Board is to determine whether or not the student should be permitted to move on to the next phase of study.

Preparation for Interim Examination• As part of the departmental induction process,

students should discuss the precise departmental requirement for work to be submitted for Interim Examination with their supervisors. In general, all students are required to submit an interim report which constitutes a critical assessment of his or her project to date (i.e. it should neither be merely a diary of activities nor a catalogue of complaints), and is accompanied by evidence of the written component of the research in the form of a draft chapter or chapters and a timetable for completion. In most departments the Interim Report is expected to be about 5,000 words; in the department of Conservation and in the School of Fine Art it is about 10,000 words. For research ‘by project’ the student will be asked to explain the relationship between the written and studio components.

• Supervisory tutorial logs (PDP 1) and skills audits (PDP 2) must be submitted to the Interim Board in advance.

• For first-year students, the Research Methods Course must have been completed; all students are expected to demonstrate the development and understanding of an appropriate research methodology.

• Before the Interim Examination, students should confirm with their supervisors and Head of Department the date, location and timetable of the examination.

During the Interim Examination• The exact format for Interim Examination varies

across departments in order to accommodate the diverse range of mediums under assessment. However, each Interim Board will consider the student progress to date and determine what future action might be required. This future action will be agreed between the student and the Examination Board.

• The Interim Board will review the progress of research training requirements and any specific resource requirements.

• At their last Interim Examination before the Final Examination, the student should agree with their supervisor(s), a timetable for completion. This should include the student’s projected submission and the Final Examination dates. A copy of this timetable should be sent to the Research Office.

After the Interim Examination• The Examination Board must decide whether

the student should: • proceed to the next year of their MPhil/PhD • not be permitted to proceed to the next year

of their MPhil/PhD and should therefore have their registration terminated

• be set a specific programme of work to be submitted not later than 26th June 2009 (an alternative date can be set, with approval by ABCD)

• The Examination Board must complete an Interim Examination Form (PG 5) and submit this to the Research Office for ratification by the Academic Board for Concessions and Discipline.

Schedule for Interim ExaminationThe precise timing of the examination varies but will usually be planned for the beginning of the summer term. Interim Examination results should be submitted to the Research Office on the Interim Examination Form (PG 5), in time for confirmation at the Academic Board for Concessions and Discipline meeting on 3 June 2009. In exceptional cases e.g., where there are difficulties in bringing together part-time or travelling students and external supervisors, the examination may be delayed. In any case, the student will not be permitted to register for the subsequent year of study until the examination result has been confirmed by the

Academic Board for Concessions and Discipline. The last meeting of the Academic Board for Concessions and Discipline in the 2008–09 academic year is on 15 July 2009.

All Interim Examination reports must be sent to the Research Office for ratification by the Academic Board for Concessions and Discipline.

Composition of the Interim Examination Board

• Head of Department or Deputy Head of Department of the examining department (Chair)

• One Tutor/Senior Tutor from the department• The student’s supervisor(s)

Please note that where the Head of Department is, or has been, the supervisor of the student being examined, the Examination Board should be chaired by another Head of Department or a Senior Tutor (from another department) who is an experienced research supervisor. It is the responsibility of the Chair of the Examination Board to ensure that correct procedure and standards are adhered to, both during and after the examination, and that the Research Office is informed of the result of the examination.

Within one week of the examination, the primary supervisor should provide the student with written feedback from the examination.

transfer from mphil to phd Some students may have planned to transfer from MPhil to PhD at the outset of their research degree at the College, others may have found, during the process of researching for their MPhil that the work they have been doing leads to a PhD.

Preparation for Transfer Examination• In order to be eligible to transfer to PhD, a

student should be able to demonstrate a high level of competence in the development and implementation of their research methodology;

• Present a case that the research has progressed to a greater focus and depth and have formulated an hypothesis for further research which would, in the opinion of staff and external experts, be likely to produce an original contribution to knowledge.

• Students must also have completed a substantial body of written and (in the case of research by project) studio work.

• Prior to the Transfer Examination, students are required to complete Part One of the Transfer of Status from MPhil to PhD Form (PG 6). It is recommended that students use their research proposal as the basis for completing the transfer form, along with any other preparation requested by the department.

During the Transfer Examination• The Examination Board will consider whether

the student’s work has the potential to meet the Assessment Standards and Criteria for RCA PhD’s in the College Regulations and on page 26 of this Handbook.

• It may be that transferring to a PhD means that the student will be researching in areas not origi-nally planned and the transfer to PhD will provide an opportunity to review the composition of the supervisory team and consider the possibility of adding supervisors with appropriate expertise.

• Part Two of the Transfer of Status from MPhil to PhD Form (PG 6) is a checklist with criteria for

transfer that has been drawn up to help the Examination Board to assess whether or not a student is ready for the transfer.

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After the Transfer Examination• The Examination Board must decide whether

the student should: •transfer to PhD •continue as MPhil (with an extension to

registration, if required) •not proceed with his/her studies• The fully completed Transfer of Status from MPhil

to PhD Form (PG 6) should be submitted to the Research Office for submission to the Academic Board for Concessions and Discipline for ratification.

Schedule for Transfer ExaminationTransfer from MPhil to PhD takes place between March and May as part of the Interim Examination convened by the department. Therefore, Transfer Examinations follow the same deadlines as for Interim Examinations (see above).

Composition of the Transfer Examination Board

• Head of Department or Deputy Head of Department of the examining department (Chair)

• One Tutor/Senior Tutor from the department• The student’s supervisor(s)• An additional member of the academic staff

with experience of research supervision from another department

Please note that where the Head of Department is, or has been, the supervisor of the student being examined, the Examination Board should be chaired by another Head of Department or a Senior Tutor (from another department) who is an experienced research supervisor. In this instance the additional member of academic staff is not required. It is the responsibility of the Chair of the Examination Board to ensure that correct procedure and standards are adhered to, both during and after the examination, and that the Research Office is informed of the result of the examination.

changes in student statusDuring the course of research, circumstances may change (the student’s or their supervisor’s) and these will have implications for the progress and status of the student’s registration. As such, these must be registered with the Research Office and approved by the Academic Board for Concessions and Discipline. Details of how to do this are available from the Research Office. If the student wishes to change mode of study from full-time to part-time (or vice versa), they must submit a request (supported by their Head of Department) to the Research Office who will submit it to the Academic Board for Concessions and Discipline. The same process is to be followed if the student is to change from ‘by project’ to ‘by thesis’ or vice versa. However, it is important to note that it is not possible to conduct a research degree by project in the School of Humanities.

leave of absenceIt is also possible to have leave of absence for an extended period, or seek an extension to the registration period. Although the College is keen to encourage all research degree students to com-plete their research degrees within the appropriate time, the Academic Board of Concessions and Discipline, in response to requests submitted via the Research Office, will consider applications for extension of registration which are based on the following grounds:• ill-health• maternity leave• child care responsibilities• serious ill-health of a partner or a close relative• the exceptional opportunity to undertake

an external project related to the student’s academic work

• financial hardship• specific extenuating circumstances as agreed

with the student’s department

The Head of Department will decide upon the merits of the application and make a recommendation to the Academic Board for Concessions and Discipline.

Leave of Absence is restricted to a maximum of one year for a full-time student or five terms for a part-time student. Please note: if leave of absence is granted, the student will be required to be re-examined before their re-registration at the College (PG4b). If the reason for leave of absence was the ill-health of the student, return is subject to the agreement of the Occupational Health Department. A student on leave of absence does not have the status of a student at the College.

programme and title of work While the Academic Board for Concessions and Discipline approved each student’s initial programme of work when they were given a place to undertake a research degree at the College, it may be that this original plan will change. As the student’s work progresses, they may find that the focus changes and the subject of study can shift quite substantially. Should this occur, students must inform the Research Office in order that any changes to their supervision can be considered. This is only necessary for major alterations to the student’s project, it is not required for changes of title as it is understood that, until the nomination of examiners for the student’s Final Examination, the title of the project is a working title. When supervisors nominate examiners, the title that appears on the form should be final. Students are therefore advised to give some thought to the title at this stage: it should not be too long and it is preferable to avoid phrases such as ‘an investigation into’ or ‘a study of’. As a research degree, the work is by definition ‘an investigation’ or ‘a study’ and it is not necessary to reiterate this fact in the title of the work. Students are advised that the title of their thesis will be used by other researchers in the field to source their work and overly metaphorical titles are unhelpful.

complaints procedureWhile the College makes every effort to ensure that all students are provided with the support and advice required, a student may feel that they are not receiving the guidance they need, or that the College has failed them in some way. It is anticipated that such matters can be resolved through discussion with the student’s supervisor or personal tutor. If however, no resolution is reached, the student should then contact their Head of Department. If still not satisfied they should contact their Head of School, who will make every effort to investigate the complaint and either remedy the situation or provide a full explanation of the case.

If a student still does not feel satisfied that their complaint has been dealt with appropriately, they should contact the Director of Research and make a formal complaint, following the complaints procedure as set out in the College Regulations:

“...formal complaints should be put in writing to the Director of Research who will acknowledge the receipt of the complaint, advise any member of staff involved that a complaint has been lodged and consider the complaint based on the evidence provided and discussions deemed appropriate. After that, the Director of Research will decide whether or not there is justification for the complaint or if the complaint does not fall within the complaints procedure and requires to be dealt with in another way. If there is justification for the complaint, the Director of Research shall arrange for its redress. Any decision will be communicated to the student in writing within 21 days.”

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student appeal procedureA student may, on specified grounds, appeal against a decision of an Interim or Final Examination Board. According to the College Regulations, the only grounds on which an appeal will be considered are:• That his or her performance in the Examination

was affected by illness or other factors which he or she was unable, or for valid reasons unwilling, to divulge before the Examination Board reached its decision. The student’s appeal must be supported by medical certificates or other documentary evidence.

• That there was an internal administrative error, or that the Examination Board was not conducted in accordance with the regulations, or that some other material irregularity relevant to the examination occurred.

Please note that disagreement with the academic judgement of a Board in assessing the merits of an individual piece of work or in reaching any assessment decision relating to a student’s performance does not constitute grounds for an appeal.

Students considering whether to appeal should consult the Assistant Registrar and the Students’ Union for advice. A student will not be disadvantaged because he or she made an appeal.

An appeal must be made in writing to the Registrar within 28 days of the notification of the results. The Registrar will review the grounds of appeal and inform the appellant, within 28 days of his decision. If the appeal is accepted as falling within the specified grounds for appeal, a meeting of the Academic Board for Concessions and Discipline will be held within 28 days to hear the appeal. The student will be given at least seven days notice of the date of the hearing.

The Academic Board for Concessions and Discipline will decide whether or not the appeal is well founded and, as a result, will• require the Examination Board to reconsider

a decision• exceptionally annul a decision of the

Examination Board• reject the appeal.

The decision will normally be made at the conclusion of the hearing and will be communicated in writing to the student within three days. The decision of the Academic Board for Concessions and Discipline is final.

plagiarismPlagiarism is defined as stealing another person’s words and ideas and using them as though they were your own. It is plagiarism if you do not acknowledge the cooperation of another person who works with you or who gives you permission to use their work. Failure to acknowledge the use of another person’s ideas may be considered to be a breach of the Academic Regulations.

Plagiarism which appears to be unintentional and/or is readily admitted will be dealt with within the department. Where a student denies plagiarism or repeats the offence, the matter will be referred to an Inquiry Panel whose members will be the Head of Department in which the alleged offence has occurred and the Registrar. Following an investigation the Inquiry Panel will make a recommendation to the Academic Board for Concessions and Discipline.

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The College’s interdisciplinary structure has facilitated its rapidly expanding research profile, as has its commitment to individual research practice, enquiry and output of international excellence. In the 2001 Research Assessment Exercise (RAE) carried out by the Higher Education Funding Council for England, the Royal College of Art received a ‘5’ for Art and Design.

final examination

42 // final examination // research rca handbook 08·09

As they prepare for Final Examination each student should agree a timetable for completion with their supervisory team. In preparing the schedule for the final year the student and supervisory team should bear in mind the time needed to check the body of work for accuracy, consistency and coherence (paying particular attention to the relationship between the written and studio element, where relevant). It is important that, in the time leading up to the viva voce, students are aware both of the criteria for the award of the degree for which they are studying and of the College’s general regulations for the conduct of research degree examinations. When considering the preparations for their examinations, therefore, students may find it helpful to consult the relevant section of the College’s Regulations. The RCA strongly advises its students to follow the guidelines for the presentation of the thesis as outlined in the chapter ‘Dissemination of research.’ The schedule for completion should be agreed at the Interim Examination, prior to registration in the final year and the Interim Form should state clearly the proposed date for submission.

The Twelve-Step Programme for Final Examination:

Step oneThe external examiners are nominated Form PG8Step two Approval is granted for the submission of the thesis Form PG7Step three The thesis is submitted for examination Step four The external examiners are appointed By letterStep fiveThe date of the viva voce is scheduled Step six Preparation for the viva voce Step seven The external examiners submit their pre-viva reports Pre-viva reportStep eight The viva voceStep nine The result Form PG9/10Step ten The follow-up Examiner’s Final ReportStep eleven Thesis deposit and binding Step twelve Convocation

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Step one

nomination of external examinersIt is the responsibility of the Research Coordinator to complete the ‘Application for approval of the External Examiners: Research students’ (PG8) forms and submit them to the Research Office at least three months prior to the intended examination date. The Research Office submits the form to the Academic Standards Committee (ASC) and Senate for approval. Once approval has been granted, the Research Office will write to the nominees formally inviting them to act as external examiners. The Research Office will contact the departmental Research Coordinator when each examiner has confirmed (or refused) their appointment.

NB: Please note that the title of the thesis as it appears on form PG8 is the one which the student will be examined on.

Step two

notification of submission of thesisNo Final Examination is to be taken without the student first presenting to the Examination Board a form, signed by the Assistant Registrar, the Library Manager and the student’s Head of Department, indicating that all outstanding debts to the College have been paid and that all learning resources and items of equipment have been returned. Please note that for PhD candidates, an examination fee of £200 is due. This ‘Notification of submission of thesis’ form (PG7) must be submitted to the Research Office for approval by the Director of Research, before the submission of the studio and/or written work will be accepted for examination.

Step three

submission of thesisFor MPhil candidates three soft-bound copies of the thesis must be submitted for examination to the Research Office.

For PhD candidates four soft-bound copies of the thesis must be submitted for examination to the Research Office.

Soft-bound copies can be either ‘perfect bound’ or bound with a comb binder.

Step four

appointment of external examinersOn completion of the programme of research the student’s submission will be examined by a Final Examination Board. It is essential that the composition of the Final Examination Board accords with the College Regulations. Final approval for the Board must be signed off by Heads of Departments and the Director of Research. It is the responsibility of the Chair of the Examination Board to ensure that correct procedure and standards are adhered to, both during and after the examination, and that the Research Office is informed of the result of the examination.


Composition of the Final Examination Board

MPhil• the Chair, who should be a Head of Department

or an experienced Research Coordinator or Supervisor, who is not from the student’s department (and who has been approved by the Director of Research)

• the External Examiner• the student’s supervisor shall attend only as an

observer*. The Head of Department may attend in place of the supervisor, if the student so wishes.

PhD by thesis• the Chair, who should be a Head of Department

or an experienced Research Coordinator or Supervisor, who is not from the student’s department (and who has been approved by the Director of Research).

• two External Examiners• the student’s internal supervisor shall attend only

as an observer*• the external supervisor may also attend as an

observer at the request of the student. The Head of Department may attend in place of the supervisor, if the student so wishes.

PhD by project The composition of a Final Examination Board for a submission for PhD by project is the same for a submission for PhD by thesis, except that, of the two External Examiners appointed by the Senate, one shall be a recognised authority in the studio discipline and the other shall be a recognised authority in the theoretical implications of the programme.

*The purpose of the supervisor’s presence as a silent observer is to hear the discussion related to the research degree and to ensure that the student understands any requirements for additional work. The supervisor does not participate in the Final Examination.

Upon receipt of the prerequisite number of copies of the thesis, the Research Office will send each examiner the thesis, accompanied by the College’s procedures for external examiners and guidelines on the reporting process. This correspondence will also indicate that the Research Coordinator will contact the External Examiners directly to arrange the date for the viva voce. Each examiner will also be sent payment forms and instructions to return these to the Research Office for recompense, following the submission of the Final Examination reports, after the viva voce.

Step five

date of the final examination – viva voceOnce the Research Coordinator has received approval from the Research Office that the external examiners have each been sent the thesis, they can schedule the date of the viva voce. It is important to remember that the external examiners must have at least six weeks to read the thesis. In the case of Final Examination of research degrees by project, Research Coordinators must ensure that External Examiners have sufficient opportunity to consider the studio work in full in advance of their receiving the written component. If the External Examiners are visiting the student’s work off-site, the student must not be present. One other member of the Examination Board should be present, but they must not engage in any discussion about the work with the External Examiner. As the student cannot be present, they must think about how they wish to present their studio work. For example, the student might wish to arrange their studio as a route map for stages of their research, providing an intellectual organisation of pieces to complement the thesis. In this context he or she should include half-finished canvases on tables, maquettes etc.

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Step six

preparation for viva voce‘Mock’ vivas are offered to all RCA research stu-dents, but are not mandatory. This departmental ‘mock’ examination should take place sometime between the submission of the work for examina-tion and the Final Examination itself. As in the Final Examination itself, the ‘mock’ Examination Board should comprise a Chair and two other examiners. If possible the Chair would be the Head of Depart-ment (or a Senior Tutor in the Department) and the examiners should be the student’s supervisors. During the ‘mock’ examination, the student will be asked to give a presentation on his/her work fol-lowed by questions from the ‘mock’ examiners. However, it is important to note that the ‘mock’ viva has no status with respect to the outcome of the Final Examination.

As part of the preparations for the MPhil/PhD Final Examination, the Research Methods Course on Wednesday 22 April 2009 offers a module on presentation skills for viva examinations which all research students are encouraged to attend.

Step seven

submission of pre-viva report by external examinersFollowing receipt of the thesis, but prior to the examination, the External Examiners should submit written comments to the Director of Research who will forward them to the Chair of the Examination Board, outlining in brief their initial response to the work and suggesting areas to be discussed at the Examination. These notes do not constitute a formal report and they are strictly confidential to the Examination Board.

Step eight

final examination – viva voceThe viva voce is the opportunity for the examiners to question the student on their work and for the student to defend their position. The student’s knowledge and performance may be tested on any aspect of the research that the Examiners think relevant.

Prior to the viva voce:• External Examiners view the studio work (for a

degree by project) and read the thesis at least six weeks in advance

• External Examiners submit their pre-viva reports to the Director of Research

On the day of the viva voce: • External Examiners and Chair discuss their initial

reports and views of the work and establish some issues for discussion at the viva.

The conduct of the viva voce is as follows:• The student meets with the Examination Board

and the viva begins. The student may choose to make a presentation of their work lasting approximately 15 minutes.

• For ‘by project’ students the External Examiners may wish to have another opportunity to see the studio work during the viva (this should be established in advance).

• All members of the Examination Board will question the candidate and the viva should not last longer than two hours.

• The Chair concludes the viva when all the issues have been covered and the student (and any supervisors) is asked to leave the room.


Following the viva voce:• The Examination Board discusses the work and

agrees an outcome. This is recorded on the relevant ‘Final Examination Result’ form (PG9 for MPhil; PG10 for PhD). The Chair of the Examination Board is responsible for submitting this form to the Research Office for formal confirmation by the next meeting of the Academic Board for Concessions and Discipline.

• The student will be asked to return to the room, and will be informed of the decision.

Step nine

outcome of the final examinationFollowing the viva voce, the Examination Board will make one of the following recommendations:1. the student passes the Final Examination

2. the student passes the Final Examination, subject to minor revisions being made to the satisfaction of the Chair of the Examination Board. Such amendments should be completed within one month

3. the student is referred for resubmission within twelve months and be re-examined as follows:3.1 the project/thesis must be revised substantially and if deemed satisfactory by the Examination Board, the candidate will be exempt from further oral examination3.2 the project/thesis must be revised substantially and the candidate must undergo a further oral examination

4. the student fails the Final Examination and is not permitted to be re-examined.

5. (For PhD Examinations only) the student fails the Final Examination for PhD but is awarded the degree of MPhil subject to the presentation of the thesis amended to the satisfaction of the Examination Board.

If the Examination Board feels that amendments should be made, the following options are available:• Minor Revisions* (e.g. revisions to the text,

typos, spelling, some points of clarification) to be undertaken within one month.

• Major Revisions: (e.g. more substantial revisions to the content of the text or structure of the work) which may take longer (six months to a year) and which may involve full resubmission of the work for re-examination by the same Examination Board.

Please note: any revisions must be approved by the last Academic Board for Concessions and Discipline on 24 June 2009, in order for the student to Convocate on 3 July 2009.

Step ten

final examination reports After the viva, the External Examiners are required to write a formal report on the performance of the student and the conduct of the examination. This report is strictly confidential and should be sent directly to the Rector within one week of the date of the Examination and will be structured according to the standards and assessment criteria set out in the RCA Regulations and on pages 25 and 26 of this Handbook.

In the case of Minor Revisions the Chair of the Examination Board will write to the student outlining the nature of the work to be completed and a final resubmission date. The student should submit their revised thesis to the Research Office who will forward it to the Chair. The student must complete these revisions to the satisfaction of the Chair of the Examination Board, who will confirm this in writing to the Director of Research for formal approval by the Academic Board for Concessions and Discipline.

In the case of Major Revisions, the Chair of the Examination Board will write to the student outlining the nature of the work to be completed and a resubmission date. The student resubmits their thesis to the Research Office who sends it out to the same External Examiners as before. If the

student has to sit another viva, the date of the viva is arranged by the Research Coordinator, six weeks after the examiners have received the revised thesis. Both External Examiners are required to submit a formal report recommending the final examination result. Please note that a student cannot be referred for Major Revisions a second time.

With both Minor and Major Revisions, the Chair will extract for the candidate the section of the Final Examination report that relates specifically to their work, in order to provide the student with full and clear instructions as to the revisions necessary for resubmission. The report itself is strictly confidential and must not be circulated.

Each year, the Research Office prepares a review of all External Examiners’ reports for discussion at the Research Committee and Academic Standards Committee in the interests of maintaining comparative academic standards. Issues for cross-College discussion are reported to the Senate.

Step eleven

thesis binding and deposit It is mandatory that all graduating students should present an unbound but fully revised copy of the written work, along with any illustrations, slides or additional work, to the Research Office for lodging in the College Library. The Research Office will deposit the thesis with the ILS Secretary who will organise binding.

Students can request additional bound copies for their own requirement when they hand in their unbound copy. However, payment for these extra copies must be made in advance to the Research Office who will send the payments to the ILS Secretary. The cost for a standard thesis is £25 per copy. It is the student’s responsibility to collect these extra copies after the Summer vacation.

When you submit your final unbound thesis to the Research Office, you must complete a British Library access agreement form. Also required are personal details, a brief abstract, keywords and subject categories derived from the thesis. Representations in the form of 5 x 5 cm slides, electronic media or sound and vision recordings, as appropriate, of all other work submitted must also be presented.

Step twelve

convocationStudents are eligible to Convocate when the Academic Board for Concessions and Discipline has approved written confirmation from the Chair of the Examination Board that all revisions have been completed satisfactorily and an unbound copy of their final thesis has been received by the Research Office. The Research Office will inform the Assistant Registrar of the names of those students who have submitted and are therefore eligible to Convocate. This must be done prior to the last meeting of the Academic Board for Concessions and Discipline on 24 June 2009, if the student would like to graduate on 03 July 2009.

All forms listed above are available from the Research Office and downloadable from the RCA website.

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“The combination of research training and external course training has been extremely effective in improving my initial research skills.”Leon Williams, PhD student, Goldsmithing, Silversmithing, Metalwork & Jewellery

research methods course

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general course information The Research Methods Course (RMC), convened by Professor Sandra Kemp and coordinated by Martina Margetts, was developed specifically to prepare MPhil and PhD students for research at a higher level, and to address central concerns of research in art and design. The course is taught by staff college-wide and by visiting speakers and lecturers. Recently cited as a national example of good practice by the Quality Assurance Agency (QAA), the RMC aims to enhance and develop the transferable and career skills of postgraduate and postdoctoral researchers at the RCA. As the RCA is a small, specialist institution, the RMC has been structured through the creation of innovative networks with neighbouring HEI’s, business and industry, museums and galleries and the London Hub of UKGRAD (now part of Vitae). Discipline development and subject-specific research skills training in practice-based research has been extended through successful collaborative training funding from the AHRC.

The RMC timetable for the 2008–09 academic year comprises 24 weeks of core components running on Wednesdays throughout the academic year, covering transferable research skills, techniques and management, information and communication technology, and careers and professional skills. It is structured around individual and group skills training sessions, research presentations, writing workshops, and a specialist panel debate. There is also an RMC party at the end of each term, which provides students with the ideal opportunity to get to know their peers and network.

The course is organised into three terms: • the autumn term is made up of core research

skills training sessions • the spring term is made up of a series of

subject-specific seminars and research student presentations

• the summer term is made up of a session on exam preparation and a series of writing workshops.

mandatory componentsCourse Attendance Commitments and Other Requirements:1. The core research skills training sessions in the autumn term, the research student presentations in the spring term, and the exam preparation session in the summer term are mandatory, and all first year MPhil/PhD students must attend at least 80% of these sessions, whether enrolled as a full-time or part-time student. A course register of attendance is taken each week.

2. The subject-specific seminars in the spring term, and the writing workshops in the summer term, are optional. All first year MPhil/PhD students must attend at least one of the sessions in both the spring and the summer terms.

3. As part of the mandatory component of the RMC, all first year MPhil/PhD students are expected to:• submit an Abstract to the Research Office by

5pm on Friday 28 November 2008• submit a Research Proposal to the Research

Office by 5pm on Friday 13 March 2009• make a Research Presentation within their dis-

ciplines during one of the three presentation days on 14, 21 and 28 January 2009 in the spring term.

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Research Abstracts

All new research students are required to email an abstract to the Research Office at [email protected] by 5pm on Friday 28 November 2008. This will be published on the RCA website along with a brief CV and (if you choose) an image of your research. The abstract should be between 300 and 500 words and should comprise a clearly articulated research question/issue/problem, with an outline of the research context and methodologies in, and by which, this will be addressed. Examples of current RCA abstracts are published on the RCA website under each departmental research section. An archive of exemplar research student abstracts is available on the VRC.

For continuing research students, abstracts should be updated annually for the Interim Examination to reflect the development of the student’s research, and should be submitted to the Research Office at [email protected] by 5pm on Friday 01 May 2009.

Research Proposal

All new research students are also required to email a research proposal to the Research Office at [email protected] by 5pm on Friday 13 March 2009. This should represent a development of the student’s proposed research project and schedule as outlined on their application form.

The Research Proposal should:• provide a self-explanatory title• contextualise the research through references

to relevant literature and other references to existing studio and project work in the field of study and provide a bibliography as an appendix to the proposal. It is essential that each student demonstrates that they have determined either that the work being undertaken has not been done before or that prior work has omissions, deficiencies etc.

• value and timeliness of work: briefly explain the research contribution to the body of knowledge: what makes it worth doing? Why at the RCA?

Why now?• define the question/s to be answered and/or the goal/s of the research

• outline possible methodologies which might be used in the research• describe the resources which will be required

(e.g. computing software, materials, travel, conferences, access to archives etc.) with an estimate of costs

• include a programme and timetable of work for the whole period of study, including the milestones to be reached.

Each individual department determines the word length of the research proposal; students are therefore advised to consult their supervisors about the nature of the submission required in their department.

Research Presentation

The third mandatory component of the Research Methods Course is the student research presentation. This presentation must take place during one of the three presentation days on 14, 21 and 28 January 2009, and is organised at a departmental level in conjunction with the Research Office. Each presentation is expected to be around 30 minutes long, followed by 20 minutes of discussion in which the following questions should be addressed:• what is the nature of the research? • how does the research contribute to its

field or area?• has the content of the research project

been successfully communicated?• has the presentation used the most

appropriate means?

Please note: all first-year students, whether full-time or part-time, must fulfil all the commitments and requirements set out above in order to pass their Interim Examination and transfer to the second year.

core course components Transferable research skills, techniques and managment:

Key national and international speakers are invited to present seminars in subject-specific research methodologies throughout the year, with particular emphasis on the development of practice-based research and the need to understand the transferable nature of research skills to other environments and the range of career opportunities within and outside academia. These speakers are selected to address the individual needs of each year’s cohort of research students at the College. The small size of the College, almost uniquely enables us to deliver a needs-based approach to the provision of research training with an emphasis on student-led learning.

See the fold-out RMC 2008–09 Programme or visit the VRC for a full course outline.

Information and communication technology:

The RMC has created networks through its business and industry affiliations and through the London Development Agency, SRIF and Research Council funding to provide the research students with hands-on access to the latest Information and Communication Technology (ICT). The College’s Director of Research is Associate Director of the AHRC ICT Methods Network developing transferable research methodologies using state of the art technology. Students may select the most appropriate placement within the cultural sector (Victoria & Albert Museum; National Portrait Gallery; Science Museum, London) or in partnership with industry. Ensuring that RCA students keep pace with the exponential speed of technological development is a key component of the Research Methods Course. Specialist library resources at the College (including a world-class colour library) are enhanced by full access to neighbouring specialist libraries at the V&A and Imperial College London, and through participation in the M25 Consortium of Academic Libraries http://www.m25lib.ac.uk.

Careers and professional skills:

The diverse needs of our research students are addressed through: • FuelRCA which provides both current students and

graduates (through AlumniRCA) with individually tailored expert professional advice, guidance and support, with open access to the Careers Service and Library at Imperial College

• InnovationRCA which offers modules on the commercial exploitation of research results, with access to our Alumni networks and subject course-affiliated programmes with business and industry; an annual lecture is provided by the UK Patents Office.

• Online QCA certified CIEH Foundation Certification in Health & Safety in the workplace, set up to promote good research practice and aligned with Research Ethics training.

• Imperial College Graduate School three-day residential career skills course.


optional componentsThere are several additional optional components running throughout the RMC calendar which research students will have the opportunity to sign up to early in the autumn term. These include a number of bespoke one-day courses providing training on the use of online electronic resources, databases and blogs, and an introduction to the extensive range of research resources and specialist assistance available to research students though the RCA Library. Research students will also have the opportunity to sign up for the Drawing Research Territory, and all Fine Art research students are invited to attend the Fine Art Research Programme, which meets every Thursday afternoon.

The drawing research territory

The Drawing Studio is in the process of developing a Research Group. Open to students and staff, its aim is to bring researchers from across departments to present and explore individual practice. A number of projects are currently planned with an aim to investigate specific strands of research, with emphasis on modes of production and dissemination and on the construction of temporary autonomous zones. A particular area and the first of the strands we are currently exploring is the space of fiction: the relationship between visual production and literature, the creation of narrative structures. This investigation runs concurrently with the Fine Art research into fiction. For further information contact Margarita Gluzberg ([email protected]) or Anne Howeson ([email protected]).

Research skills development course 2008–09

This is a three day/three night residential course. The primary purpose of the course is to enhance both the personal and research effectiveness of participants. The focus is very much on experiential learning achieved by a series of challenging group exercises. It is also a chance to get away from your normal working environment and meet people from other disciplines.

Participants will join small teams of eight or fewer people for the duration of the course. The exercises will be carried out either indoors or outdoors (weather permitting). The course represents an excellent opportunity for development of awareness and skills directly applicable to life as a PhD student.

Topics include planning, project management, creativity in research, communication skills, group dynamics, networking, developing self-awareness and stress management. As much as possible, links are made to the research environment and participants are encouraged to apply their new insights to their work.

Attendance on the course is strongly recommended and is free for RCA students. Travel and accommo-dation expenses for the course will be met by the RCA Research Office, upon submission of receipts. All meals are also provided free of charge at the venue. The venue for courses in 2008–09 will be Easthampstead Park. This is a Victorian country mansion located within 60 acres of beautiful park-land, but conveniently located not far from Bracknell or Woking station.

Dates of the 2008–09 courses:• 25–28 November 2008• 10–13 February 2009• 21–24 April 2009

Ideal for: First year MPhil/PhD students, although continuing students are welcome.

Special instructions: Although it is possible to attend this course on a non-residential basis, participants are strongly encouraged to attend on a residential basis as there will be important activities as well as social events in the evenings.

If interested in attending one of these courses, please request an application form from the Research Office by email at [email protected], or by phone on 020 7590 4135.

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virtual research community (vrc)The RCA Research Office is pioneering online initiatives that provide platforms for researchers to access course information, supervision support, personal research development tools and collaboration opportunities throughout their research degree. Our VRC is an online web-based resource for the Research Methods Course and continuing research and collaboration. It can be accessed at any time from a computer connected to the Internet. An introduction to the VRC and blogging is given as part of the Research Methods Course.

Each researcher is provided with a unique login and password and personal space for their research profile, abstract, gallery of images and supervisory contact. Research students and their supervisors are able to login and upload text and images and edit the information in their per-sonal space. The VRC contains the RMC 2008–09 timetable and updates on additional training sessions, student and supervisor news, upcoming events, and opportunities for local and international collaboration in practice and theory based research in art and design. The Research Office is establishing research connections with research community partners at Monash University and the College of Fine Arts, University of New South Wales in Australia and universities in the USA and Asia.

Personal websites and blogs can be accessed by links directly from and to the VRC supporting additional online research opportunities. Please note that the Royal College of Art takes no responsibility whatsoever for the content of opinions stated in personal websites and blogs.

Ongoing tutorial and technical support is provided through the Research Office. For further details please contact the RMC VRC coordinator, Richard Doust at [email protected] or go to: http://vrc.rca.ac.uk.

vitaeVitae is a new initiative launched in June 2008 to champion the professional and career development of researchers. Funded by Research Councils UK (RCUK) and managed by CRAC: The Career Development Organisation, Vitae builds on previous work by the UK GRAD Programme and UKHERD to build capacity in the HE sector to support researchers. Further details are available at: http://www.vitae.ac.uk/


uk grad programmeOn behalf of research students and staff, the Director of Research is a member of the London Hub of the UKGRAD Programme. This programme aims for all postgraduate students to be fully equipped and encouraged to complete their MPhil or PhD successfully, and then to make a successful transition from their studies to their future careers. The aim of the London Hub of the UK GRAD Programme is to build local networks to support universities and supervisors in the delivery of needs-based quality skills training for young researchers, acting as a centre for the dissemination of good practice, advice, resources and materials. The London Hub co-ordinates activities in and around London by:• supporting PhD students, supervisors and

institutions in the London area• promoting, encouraging and sharing good

practice in postgraduate skills training • raising the profile of postgraduate skills

training within institutions and with relevant regional bodies

• supporting the activities of the UK GRAD Pro-gramme’s Centre of Excellence and encouraging uptake of GRAD schools or equivalent courses.

The UK GRAD Programme exists to support the UK academic sector to provide excellent personal and professional skills development as an integral part of research degrees. UK GRAD works with policy makers, Institutions, graduate schools, trainers, careers advisors and more, as well as with researchers themselves.

The UK GRAD website has a wealth of information collected specifically for doctoral researchers, from background information to practical tips. Go to http://www.grad.ac.uk and click on ‘Researchers’ to see what’s on offer. You might want to start with:• http://www.grad.ac.uk/jfp – extensive section

containing advice and articles about managing your research, personal development and managing your career

•http://www.grad.ac.uk/links – lists of useful resources from books to websites and from research policy information to job sites and support networks

• http://www.grad.ac.uk/wdpd – Analysis of first destinations for UK PhDs

• Want to meet peers from around the UK? Need to develop further skills? Want to find out about more about particular careers? We offer courses and events designed for doctoral candidates. Visit http://www.grad.ac.uk/courses or http://www.grad.ac.uk/cif

• Like to be kept in touch? Sign up at http://www.grad.ac.uk/pgrtips for the monthly tips bulletin

• Got a specific question? Use our online fora (http://www.grad.ac.uk/bulletinboard) or ask an

expert (http://www.grad.ac.uk/asktheexperts)

National GRADschools are open to all doctoral students, irrespective of funding. AHRC and EPSRC funded students receive a free place on a national GRADschool and are actively encouraged to attend.

GRADschools currently scheduled for 2008–09 include:• 28 October–1 November 2008 Bournemouth 2 National GRADschool – The Carrington House Hotel, Bournemouth• 18–22 November 2008 Windermere 3 National GRADschool – Brathay Hall

For further information about GRADschools or other UKGRAD activities go to: http://www.grad.ac.uk/ or contact the Research Office by email at [email protected], or by phone on 020 7590 4135.

UK GRAD also runs a ‘Careers in Focus’ programme, which consists of one-day events that focus on careers for postgraduates, usually followed by an online chat. These events are free to all postgraduate researchers:

• Careers in Focus: Academia – 6th October 2008, Manchester

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The College has a large international and part-time student body and seeks to accommodate and develop individual needs and skills. Royal College of Art research students are part of a cohesive staff and student body – sharing studios and workshops with MA students and participating in work-in progress seminars and other departmental activities with both staff and students.

student support services

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ils: information and learning services The Information and Learning Services Department is responsible for providing the College’s central Computing, Audio Visual, Library, Learning Support and Alumni services. Together they provide a range of facilities and services to support students while at the College and when they leave. An introduction to these services is held at 11am on Wednesday 01 October 2008, as part of the induction schedule. A more detailed introduction to various services can be arranged at any point while at the College.

As part of the Research Methods Course, the Virtual Research Community (VRC) contains detailed information on bibliographies and referencing tools for research. http://vrc.rca.ac.uk

computing services Location: Ground Floor, Stevens Building

Computing Services provide all central network IT services for staff and students across the College, including: Internet access, e-Learning services, wireless connectivity, printer maintenance, IT procurement, IT security, file backup, email, soft-ware licenses, bulk file transfer, and Website and database hosting services.

Computing Services manage desktop support for all staff and researchers, and for students in Applied Arts and Humanities, with technical support for open access computer clusters.

Computing Services also provide online tutorials and portals for the full range of graphics applications, allowing students to explore and develop their IT skills from inside and outside the College in order to meet postgraduate and professional requirements.

RCA Network AccountPersonal accounts are issued at registration. They provide students with secure access to email, VLE, file storage and various extranet resources. Details can be obtained at any time from the Computing Services Office and on the College Intranet at:http://intranet.rca.ac.uk/computing

library Location: First Floor, Common Room Block

Opening hours: Term time: Monday to Friday 9.00am to 9.00pmSaturdays: 12.00am to 5.00pm Vacation periods: Monday to Friday 10:00am to 5.00pmEnquiries/Issues desk: extension 4224

On the first and mezzanine floors the Library has collections of approximately 70,000 books on the practical, theoretical and historical aspects of art and design. Material on subject areas such as philosophy, sociology, literature and cinema is also held.

Resources• Books – The Library has collections of

approximately 70,000 books on the practical, theoretical and historical aspects of art and design. Material on subject areas such as philosophy, sociology, literature and cinema is also held.

• Periodicals – 120 current periodicals and four years of back copies are held in the Periodicals Room (previous years are available on request from storage).

• Online access to bibliographic databases (including journals indexes) is available through the Athens website, http://www.athens.ac.uk. Students can request their own Athens account, which enables access to these resources outside of the College.

• Photocopying facilities – colour and black and white copiers.

• Microfilm reader.

• Video/DVD Collection – including recordings from television and of College-wide lectures and a collection of feature films on video and DVD. Viewing facilities are available in the Library.

• Dissertations and theses – Critical and Historical Studies MA distinction dissertations, History of Design MA dissertations and all MPhil and PhD theses.

• Interlibrary loan service – for items not available in the Library. Please ask at the Issue Desk.

• Computer Cluster – 6 workstations, providing access to the Internet, file services, online resources, productivity software, online training, print and scanning.

• RCADE – The Library has information and resources on the College’s online e-Learning environment. For more information login at: http://rcade.rca.ac.uk/course/view.php?id=224

• Exhibition area – themed exhibition and displays of rare, special and interesting items taken from both the main library and Special Collections.

Image Resources• Slide Collection – over 120,000 slides on all

aspects of art and design, together with examples of contextual material such as social history, popular culture and technology. The collection also includes a visual record of degree show work by College students from the 1950s onwards.

• Since 2003 The Show has been comprehensively photographed in digital format and the images are available to view on the College intranet’s Show Gallery: http://www.rca.ac.uk/showgallery

• 35mm photographic and digital imaging services are available in the Slide Collection and staff can also advise on digitisation and copyright issues.

Special Collections• Colour Reference Library – one of the world’s

largest collections of books, swatches and other resources entirely devoted to the subject of colour, covering all aspects from colour theorists to colour healing.

• College Archive – a collection of documentary information produced by, or about, the College, including annual reports, prospectuses, RCA exhibition and degree show catalogues, student magazines, and a complete set of the publications of the College’s Lion and Unicorn Press.

• Rare books – the Library’s collection of rare books includes botanical and antiquarian works

on all aspects of art and design.• Artists’ books – the Library has a collection

of several hundred artists’ books, from classics of the form to work produced by current and recent graduates.

User EducationAs part of its user education programme the Library runs a series of Information Skills workshops during the academic year. These introduce new students to the RCA Library collections, services and online resources as well as providing advice about accessing other libraries in London. For more information see the Library Intranet pages or contact Cathy Johns (Assistant Librarian) on extension 4111.

Access to Other LibrariesIn close proximity to the College are a number of other libraries you may wish to make use of. The following are some of the options open to you:

Join and borrow:• Imperial College Library• Kensington and Chelsea Public Library

Reference access:• British Film Institute• Royal Geographical Society• National Art Library (Victoria and Albert Museum)

SCONUL Access:• All students and staff can obtain a SCONUL

Access card, which enables students and staff to use and borrow materials from other participating academic libraries throughout the UK (ask for details at the Library desk).

For more information contact Darlene Maxwell, the Library Manager, on extension 4225, or see the Library Intranet pages: http://intranet.rca.ac.uk/pages/support/welcome_to_the_Library_1541.html

Audio Visual ServicesAudio Visual Services provides support for the teaching and lecture programme within the two lecture theatres. It also provides a range of support for activities taking place in the Main Galleries

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and centrally managed spaces of the College. The Audio Visual Services team can provide you with help and advice in the use of central facilities and equipment, as well as in presentation techniques. A stock of equipment for loan is available for use within Schools and for student shows.

For more information email [email protected] or contact Simon Taylor on extension 4218, or see the AVS Intranet pages: http://intranet/pages/support/audiovisual_services_826.html

learning support English for Academic PurposesThe English for Academic Purposes Coordinator, Harriet Edwards, together with tutor Simon King, run a programme of workshops and tutorials throughout the year. These are mainly for international students but also for research students and those interested in writing development. For more information see the EAP section on RCADE, look on the Intranet at: http://intranet.rca.ac.uk/pages/support/english_for_academic_ purposes_820.html or contact Harriet Edwards/Simon King on extension 4543.

Evening courses at Imperial CollegeAt the start of each year Imperial College offers a range of evening courses open to RCA students. These include languages, music technology, creative writing and film appreciation. The language classes are pitched at various levels of competence. Details of classes available will be distributed during the first week of term. The College makes a substantial contribution towards the course fees but there is a charge to students, to be paid at the time of enrolment. RCA students also have access to the Imperial College language laboratory, without formal tuition. Access should be arranged through Imperial College. tel: 020 7594 8756.

Student Support OfficeLocation: Second Floor, Common Room Block, between the RCAfé and Students’ UnionStaff: Student Support Officer and Administrator, extension: 4140 email: [email protected] Opening hours: Monday to Friday, 10.00am–5.00pm

AccommodationAs well as giving extensive information and guidance on finding accommodation in London including online accommodation offered and wanted notice-boards, the Student Support Office offers help in dealing with difficult landlords or agencies and contractual problems, and can act as a mediator between tenants or tenants and landlords on request.

DisabilitiesThe Student Support Office acts as a central liaison point for all students with disabilities. Should you have difficulties or develop difficulties whilst here please contact the office and staff will try to ensure that the right services are put in place and maintained for you.

DyslexiaThe College recognises that many students in Art and Design are dyslexic and/or dyspraxic. The Dyslexia Coordinator organises programmes of both individually tailored and group workshops. These include screening and assessments, study skills workshops and tutorials. For more information login to RCADE at: http://rcade.rca.ac.uk/course/view.php?id=216 see the Dyslexia Intranet pages at:http://intranet.rca.ac.uk/pages/support/dyslexia_homepage_1229.html or contact Qona Rankin, Dyslexia Coordinator, on extension 4544 or the Student Support Officer on extension 4140.

Funding for Disabilities and Dyslexia/DyspraxiaPostgraduate students from the UK (and possibly from the EU depending on previous residency in the UK) are eligible to apply for the Government-funded Disabled Student Allowance (DSA). Application forms are available from the Student Support Office and staff can help you to fill them out. They can also advise on eligibility in the case of EU students. International students may apply to the RCA’s own ‘International Student Disability Fund’ via the Student Support Officer. All students with temporary or permanent disabilities who cannot access funding for various reasons may apply for the general ‘Disability Fund’ which is also administered by the Student Support Officer.

Immigration, Visas and International StudentsIf you need to extend your student visa or have any other queries about immigration, you should contact the Student Support Office. They can assist with visa extension applications and send them to the Home Office via the Student Batch scheme, and also advise on post study immigration options. They can also help with other aspects of life in the UK as an international student, such as accessing healthcare.

Money MattersThe Student Support Office offers debt and money management advice, welfare benefit advice, information on different sources of funding and help with other money issues.

Other IssuesInformation about childcare, benefits available for UK students, referral for counselling and other general information is available on request.

equal opportunitiesThe College confirms its commitment to a comprehensive policy of equal opportunities in employment and for students in which individuals are selected and treated on the basis of their relevant merits and abilities and are given equal opportunities within the College. The aim of the policy is to ensure that no employee or prospective employee, student or prospective student receives less favourable treatment on the grounds of race, colour, nationality, ethnic or national origins, gender, marital or parental status, sexual orientation, disability, religion, political belief, socio-economic background, age (subject to normal retirement conventions) or trades union membership.

Please let us know, either through your Student Rep-resentative, in the Student Feedback Questionnaire or your Departmental meetings, if you feel that we are not following these commitments or if you wish to make any other comments about these issues.

The Race Equality Policy, and the College’s Disability Equality Scheme, can be found on the College Intranet under Personnel. In addition, a summary can be found in the College Regulations.

alumni servicesWhen you graduate from the College you will be able to maintain a relationship with the College by joining AlumniRCA (membership is free).

As a member of AlumniRCA you will have access to a range of services:• AlumniRCA email account• RCA Library without appointment (reference only)

– now includes WiFi access• File Transfer Service (AlumniFTS)• FuelRCA professional development events and

web advice• RapidformRCA (rapid prototyping service)

at a 40% discounted rate• InnovationRCA’s Selected Works Programme• Imperial College Evening classes at special rates• AlumniRCA Email Directory (Personal websites

and biographical information also listed)• AlumniRCA Personal Profile (for updating your

contact details)• AlumniRCA Mailing List to post and receive

news of exhibitions, job opportunities and more• Termly e-newsletter ‘AlumniRCA News’ and

annual magazine• RCA Senior Common Room membership

(at a discounted rate)• School-specific alumni activities updates• AlumniRCA Events• AlumniRCA Classes and Training• RCA exhibitions, events and lectures Calendar

Additional services will be added while you are at the College. These will be listed at:http://www.rca.ac.uk/alumni and on the intranet at http://intranet.rca.ac.uk/alumnirca

For more information please contact: [email protected]

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“Research students are able to participate in lectures, seminars and reading groups in any department, and to generate their own debating forums...Research can be and often is an isolating experience, (but) these interactions and the discussions and ideas they have provoked have been immensely stimulating and...I am aware of just how valuable my time at the College is.” Jocelyn Cammack, PhD student,Communication, Art and Design

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printing services Location: Second Floor, Stevens Building,Communication Art and Design Department

Digital Colour PrintingColour output facilities available to Communication Art and Design (CA&D) students are situated in the department’s Computer cluster. To enquire about use and availability of these facilities to other parts of the College, please call Barry McGowan (Senior Technical Instructor) on extension 4309, or the Department Administrator on extension 4304.

Digital Media Studio

Location: Room 205, Second Floor, Stevens Building, Communication Art and Design Department

Intranet website: http://intranet.rca.ac.uk/pages/departments/digital_media_studio_2111.html

Within the CA&D Department there is a purpose built Digital Media Studio. This studio consists of dual-screen editing workstations using Final Cut Pro/Adobe Premier Pro/AfterEffects from DV (DVCAM and MiniDV) and DVD production facilities. Also available: video transfer to DV PAL from analogue formats. A range of time-based software is supported. The DMS is available to all RCA students and is open from Monday to Friday during College opening hours. Technical support is available Monday to Wednesday 10am to 5.30pm and Thursday and Friday in conjunction with CA&D (please check with the Department Administrator on extension 4304).

Scanning facilities

The studio also contains a high quality A3 Microtek Scanmaker 9800XL flat-bed scanner with built-in transparency hood as well as a Nikon 35mm slide/strip scanner, both of which are available to all RCA students (except when required for use during a training course).

training studioLocation: Room 207, Second Floor, Stevens Building, Communication Art and Design Department

Intranet website: http://intranet.rca.ac.uk/pages/departments/dms_training_room_2554.html

Training Room with seven Macintosh computers hosting a wide range of software applications. Short courses can be booked, subject to availability, by telephone extension 4232 (Monday to Friday 9am–5pm) or in person via Michelle Richards, Computing Services Office, Ground floor, Stevens Building. A short-course timetable is displayed outside the Computing Services Office during the autumn, spring and summer terms. Some purpose designed workshops and specialised tutorial support are offered to all students during the summer term period. The Training Room is also available for booking by departments for course-specific software training.

Laser Colour Photocopier facility

Location: First Floor lift area, Stevens Building, Communication Art and Design Department

As well as standard A4 and A3 size copies there is also a facility for printing from 35mm slides; all instructions are posted on the wall. It should be noted that this machine is maintained by the leasing company, and not the department, and therefore no technical assistance is available for its use.

ChargesThese machines are card operated only; photocopy charge-cards can be purchased from the Library for use with this photocopier, these cards can also be used with the Library’s colour photocopier.

Letterpress Workshop

Location: First Floor, Stevens Building, Communication Art and Design Department

Intranet website: http://intranet.rca.ac.uk/pages/departments/letterpress_workshop_3409.html

Letterpress workshops are run during the first term of each academic year in order to introduce students to the methods and technology used in letterpress printing. The courses are open to students from any department within the College and are run by CA&D. The workshop is primarily an area for students to explore techniques relevant to their course work; it is not a production facility. The letterpress facility can only be used by those students who have completed a workshop induction course. For workshop availability and to book a place, please call Ian Gabb (Letterpress Technician) on 4308, or the Department Administrator on extension 4304.

Printmaking

Location: Sixth Floor, Darwin Building

The Printmaking Department offers advice and help to carry out work in print processes including: lithography (four-colour separation, duo tone, stone and plate printing) etching; photo etching; relief printing; screen printing and monoprinting. There is a well-equipped digital inkjet printing studio.

Students can make use of the Printmaking facilities at any time during the College year, by arrangement with the relevant Technical Instructors. Materials costs will be charged to the student or to their department.

In addition, the Printmaking Department runs a series of evening introductory workshops in lithography, intaglio and screen printing each term. Attendance at these workshops is not a prerequisite to working in the department. For further information email [email protected]

photographic services Location: Basement, Fourth and Fifth Floors, Stevens Building , Photography Department

Short CoursesA range of photography short courses is offered each term to individual departments. Topics include photographing 2D and 3D artwork, lighting skills and printing techniques. There is a fee of £15 per short course to help cover the cost of materials and processing. Details are available from Departmental Administrators soon after the beginning of each term. Contact tutor Mary Robert, via the Department Administrator on extension 4414, if you have further enquiries.

Use of FacilitiesAlthough priority will be given to Photography students, all students have the opportunity to use some photographic darkroom and studio facilities with appropriate assistance from the Photography technicians. Access is normally restricted to one day per week.

Access to the following facilities is available: black and white film processing; colour negative and transparency processing; black and white printing; duplicate slides; and DVD- and CD- writing. For further information including details of charges, contact George Duck, Senior Technician (extension 4419) or the Department Administrator (extension 4414).

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drawing studio Location: Seventh Floor, Darwin BuildingResearch Tutor: Margarita GluzbergTutor: Len MasseyDepartment Administrator: Lieve Vanmeert (extension 4562)

The College does not offer an MA or an MPhil/PhD in Drawing, but the importance of drawing is recognised within every discipline and department of the College. We aim to support students who want to experiment with new approaches to drawing as part of their personal development as artists and designers and those who simply want to improve their drawing skills in a more traditional manner.

The Drawing Studio provides opportunities throughout the year to engage in a wide spectrum of drawing activities. There are evening classes: life drawing, with a range of tutors and models including, musicians and dancers. In parallel, there is ‘LAB’, a very popular programme of classes for those who wish to experiment or re-engage with drawing. ‘Drawing London’ is a class where students are taken to various sites across London, some with astonishing views. There are also the Esemplastic Tuesdays, Free Music and Free Drawing, sessions where free-improvising musicians and poets come to ‘play’ with the drawing class. Edited sonic highlights of the Esemplastic Tuesday’s sessions are broadcast on Resonance FM on Ben Watson’s ‘Late Lunch With Out to Lunch’ the next day.

As well as these core activities, the Studio runs a series of exploratory workshops and regularly invites visiting poets, artists and designers for one-off drawing classes, seminars and lectures. Information on these, and the various prizes organised through the Studio, appears regularly on notice-boards and the Intranet.

One of the most popular of the Drawing Studio initiatives is the Anatomy Course. This course will take you off-site during the day, so it is important to check with your tutors that you are free to attend. There is also the ‘Facial Reconstruction’ workshop run by one of the top forensic reconstruction experts in the world, this is a two day workshop and runs twice a year.

During the second half of the summer term, as the pressure of exams and the College Show builds up, organised activity in the Drawing Studio tails off. However, the staff are always willing to provide individual help and tutorials and also run some classes and workshops for relaxation and pleasure. Drawing is not a mandatory activity, but the Drawing Studio is there to meet your needs, stimulate your interest and promote drawing as a medium in its own right.

Individual and groups of students are able to book the Drawing Studio and there are also Open Studio sessions when students are able to use the space.

See page 53 for details of the Drawing Research Territory.

helen hamlyn centreLocation: Stevens Building, Ground FloorDirector: Professor Jeremy MyersonAdministrator: Mark Byrne (extension 4242)

The Helen Hamlyn Centre provides a focus for people-centred design and innovation within the Royal College of Art, giving students and graduates the opportunity to undertake practical research and projects with industry.

Its programmes look at how a socially inclusive approach to design can support independent living and working for ageing and diverse populations, improved standards of healthcare and patient safety, and a flow of innovative ideas for business.At MA level, the Centre runs an annual award scheme to help design students focus on social challenges and test their ideas with people. The Design for our Future Selves Awards offers second-year RCA students project bursaries and access to user groups and other resources to stimulate their interest in inclusive design.

At post-MA level, every year the Centre selects around 10 new design graduates of the Royal College of Art to join the Helen Hamlyn Research Associates Programme. This innovative scheme teams young designers with external research partners in industry and the voluntary sector to develop innovation projects rooted in user research.

The Helen Hamlyn Centre is more than just about generating inclusive new ideas in design. It works closely with InnovationRCA, the College’s innovation network for business, to develop and commercialise new concepts in order to effect change in the real world. The Centre is endowed by the Helen Hamlyn Trust.

innovation rcaDirector: Professor Jeremy MyersonAdministrator: Pauline Watkins (extension 4249)Head of Innovation Development: John Bound (extension 4243)Intellectual Property Manager: Dr Nadia Danhash (extension 4149)

InnovationRCA is the Royal College of Art’s innovation network for business. It builds links between the multi-disciplinary community of designers, artists and researchers at the College and external business organisations of all kinds.

InnovationRCA manages the College’s growing portfolio of Intellectual Property, and provides enhanced levels of professional support for RCA graduates and alumni. It also leads for the College on strategic projects related to innovation and entrepreneurship in a range of areas.

RCA students can apply to InnovationRCA for Innovation Fellowship posts directly upon graduation, and for business support and patent protection of their projects through our Selected Works programme. There are also opportunities to work with materials scientists through MADE (Materials and Design Exchange) and with companies in Japan through the Invited Overseas Designers Programme.

professional practiceDepartments provide professional practice support to match the career paths and culture of every discipline taught at the College. This is complemented by FuelRCA, a College-wide resource co-ordinated by InnovationRCA. FuelRCA offers online information and articles by RCA alumni, business mentoring, free access to the Imperial College careers service plus College-wide seminars and workshops for current students and recent graduates. Topics range from taxation to confidence and international working. http://intranet.rca.ac.uk/fuelrca.

Further details of the FuelRCA programme for 2008–09 will be provided at the beginning of the autumn term. 7

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“The work of the students is only made possible by generous funding from research councils, charities and trusts. All such funding is awarded competitively and it is a mark of the quality of staff and students that we are so successful in gaining funding.”Professor Sandra Kemp, Director of Research

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Occasional funding for particular aspects of MPhil and PhD research, such as trips abroad or industrial scholarships or sponsorship for attendance at a specific conference or symposium, may be available from the student’s department. The potential for funding does vary between disciplines and students’ supervisors and other staff associated with their department are the best people to advise on sources of funding relevant to their discipline (particularly with regard to corporate and industrial sponsors of work in individual departments). Students should therefore approach staff in their department in the first instance.

rca bursaryThe Royal College of Art offers financial help to students through its own bursary scheme. Students from within the UK or the EU are eligible, and the scheme can help a substantial number of RCA students every year with fees and/or maintenance. The College annually allocates £2.5 million to provide bursaries for students from England and Wales. In 2007/08 this enabled 80% of eligible first year MA and MPhil students to receive £3,240 towards their fees. In their second year 90% of eligible students received £3,240 for fees and 30% of eligible students received a further £3,000 as a maintenance grant. Unfortunately, the RCA cannot open this scheme to international students and the College is obliged to charge a fee which represents the full cost of what it provides.

Please note that PhD students are not eligible for the RCA bursary scheme. If you were in receipt of an RCA MPhil bursary, you forfeit this upon transfer to PhD. PhD students may be offered part-time teaching, demonstration or research work, for which payment may be made according to College guidelines.

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research councilsThe main sources of funding for UK research degree students (and in some circumstances students from other EU countries) are the Research Councils. These are funded directly by the government, and each Council is concerned with a specific area of research, which it supports by offering research studentships as well as research grants and fellowships to established researchers. The Councils have different procedures for application and criteria for eligibility and it is not possible to give such detailed information here, however the Research Office will be able to provide more information upon request.

The Arts and Humanities Research Council (AHRC) runs an annual competition for postgraduate research funding. The grants cover tuition and/or maintenance. Students who are resident in the UK or EU are eligible to apply. Eight subject panels cover the Council’s remit, but the Council emphasises that it is liberal in its interpretation of its domain. The eight subject panels are Classics, Ancient History and Archaeology; Visual Arts and Media; English Language and Literature; Medieval and Modern History; Modern Languages and Linguistics; Librarianship, Information and Museum Studies; Music and Performing Arts; Philosophy, Law and Religious Studies. Full details of the subject domain for each panel are available on the AHRC website. In 2008, the Royal College of Art was permitted to apply for a maximum of six Postdoctoral Awards. As a result of this quota, all eligible research students were invited to submit draft applications to the Research Committee for consideration. In February 2008, the Research Committee then chose which of the strongest six applications should be submitted to the AHRC. Applications were then redrafted, with assistance from the departments and the Research Office, in preparation for the formal submission date of 01 May 2008. It is anticipated that the process for assessing 2009 applications will be similar. However, we do encourage students to regularly review the AHRC website. http://www.ahrc.ac.uk.

There are six other Research Councils; the ones which support work such as that currently being undertaken in the College are:

The Economic and Social Research Council (ESRC), which supports work in economics, politics, human geography, psychology, anthropology, social history, education and housing management. Those working in architecture and design may be doing work which falls within the ESRC’s remit. http://www.esrc.ac.uk

The Engineering and Physical Sciences Research Council (EPSRC), which supports work in the physical sciences and engineering, including chemistry, computer science and IT; mathematics; manufacturing technology; materials; and engineering (chemical, civil, electrical and mechanical). Those working in Animation, Architecture, Design Interactions, Industrial Design Engineering, and possibly also those working with materials such as ceramics, glass and textiles may be doing research that falls within the EPSRC’s remit. http://www.epsrc.ac.uk

funding for travelShould the MPhil or PhD research require that the student spend some time doing research for fieldwork overseas, the Leverhulme Trust provides Study Abroad Studentships of one or two years for students educated in the UK for study or research at a university in any part of the world other than the UK or USA. (For more information: http://www.leverhulme.ac.uk/grants_awards/grants/study_abroad_studentships/) The closing date for these studentships is usually March each year. Further details will be available on the website from September 2008.

If the research requires trips to Germany or North America, the German Academic Exchange Service (DAAD) organizes scholarships and travel grants for study and research in Germany. DAAD offers German Studies Research Grants to highly-qualified undergraduate and graduate students who are nominated by their department/program Chairs. The grant may be used for short-term research in either North America or Germany. PhD students in the humanities and social science disciplines in the process of preparing their dissertation proposals on modern German topics may be nominated for the grant by their department and/or principal advisor. For further details go to: http://www.daad.org.

The Fulbright Commission offers Fulbright UK awards to UK citizens (regardless of where they reside) only. Non-UK citizens are required to apply in their country of citizenship, even if they are resident in the UK. Fulbright (Traditional) Postgraduate Awards: Awards to study, lecture or pursue research in the United States are offered for Masters or PhD study in any discipline and at any accredited US university. The award covers up to $40,000 for the first year of study only, health insurance and university application and test fees. Successful candidates will work with the Fulbright Commission and the Institute of International Education (IIE) in New York to identify and apply to the university departments which offer the best academic fit for their purpose. International Fulbright Science and Technology Awards: Up to two awards (covering tuition, activities fees, book and equipment allowance, research and professional conference

allowance, and a stipend for up to 36 months) are offered to outstanding British students for PhD study at a U.S. institution in science, technology, or engineering. For further details go to: http://www.fulbright.co.uk/awards/uk/index.html

The Japan Foundation supports Japanese studies overseas and promotes intellectual exchange between Japan and other countries. The Foundation offers a range of funding programmes, including funding for visits to Japan by UK staff or students. For further details go to: http://www.jpf.go.jp/e/intel/index.html

The Japan Foundation Endowment Committee offers a Research Grant scheme for staff in UK HE institutions. This includes partial support for the work of doctoral research students. The Committee does not fund coursework, Master’s dissertations, or course development. All applications must be made by a member of staff: direct applications from students are not considered. Grants are made formally to the institutions concerned, which are required to administer the grants on behalf of the grant holder. The Committee will consider requests for grants only towards research projects essentially related to Japan; covering research on any aspect of Japan within the humanities or social sciences (including comparative studies). The Committee will not normally support applicants who have not approached the Foundation beforehand. The deadline for 2008 is 15 November 2008. For further details go to: http://www.bajs.org.uk

The Daiwa Foundation offers Small Grants of between £1,000–£5,000 to individuals, societies, associations or other bodies in the UK or Japan to promote and support interaction between the two countries. They can cover all fields of activity, including educational and grassroots exchanges, research travel, the organisation of conferences, exhibitions, and other projects and events that fulfil this broad objective. There are two application deadlines each year, 31 March (for a decision by 31 May) and 30 September (for a decision by 30 November). For further details go to:http://www.dajf.org.uk

international studentsIf an international student runs into difficulties once they are registered at the RCA (either because of problems relaying money from their home country or because the funding has unexpectedly ceased), they should inform their supervisors, Head of Department or Head of School immediately. Advice can also be obtained from the Student Support Office and the Students’ Union. International students should be aware that most of the funding schemes and awards advertised in this country are open to UK and EU applicants only. The best sources of information regarding funding are therefore likely to be the education section within their own embassy or consulate in London, or from the British Council Office in their home country.

Overseas Research Students Awards Scheme (ORSAS)A funding scheme available for international students is the Overseas Research Students Awards Scheme (ORSAS) which was set up by the Secretary of State for Education and Science in 1979 to attract high-quality international students to the United Kingdom to undertake research. Since 1980, over 24,000 awards have been made to students from around the world (excluding EU countries). The Scheme offers international students the opportunity to carry out a broad range of research at well-established UK academic institutions of worldwide recognition. ORSAS funding is paid directly to institutions and not to individual students. To be eligible to apply for an ORSAS award:• students must be liable for the overseas fee • students must be of outstanding merit and

research potential• students must not have previously completed at

PhD or equivalent level• students must not have held an ORS award before; • students must be registered as full-time

postgraduate research students.Further details are available from the Research Office and at: http://www.orsas.ac.uk/

Commonwealth ScholarshipsThe Commonwealth Scholarship Commission in the United Kingdom (CSC) offers opportunities to Commonwealth citizens to study in the UK, and identifies UK citizens to study overseas, as part of the UK’s contribution to the international Commonwealth Scholarship and Fellowship Plan. For further details go to: http://www.cscuk.org.uk/

Another useful source of advice and information for international students is the British Council http://www.britishcouncil.org.

In addition to providing general information on studying in the UK, they also operate a Scholarships Database:http://www.educationuk.org/scholarships/

Conselho Nacional de Desenvolvimento Cientifico e Tecnologico (CNPq) – BrazilAvailable only to Brazilian students or foreigners with permanent residency in Brazil. CNPq is run in conjunction with the Brazilian Ministry of Science and Technology to promote and stimulate the scientific and technological development of Brazil. The deadline for application is usually in March, with selection in April. Applicants are informed in June whether they have been successful and scholarships start in August. The scholarship cannot be used concurrently with any other scholarship from a Brazilian agency. Further information can be found on the CNPq website: http://www.cnpq.br/index.htm

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) – BrazilAvailable to Brazilian students only. CAPES provides funding for university training across the sectors in Brazil and, where training is not available, internationally. Further information can be found at: http://www.capes.gov.br/

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Fundação para a Ciência e a Tecnologia (FCT) – PortugalAvailable to Portuguese students. Portugal’s main funding agency for research with the status of a public organisation with administrative and financial autonomy under the aegis of the Ministry of Science, Innovation and Higher Education. Further information can be found at: http://www.fct.mctes.pt/

Calouste Gulbenkian Foundation (Portugal)

See entry below in: Additional Sources of Funding

funding for students with disabilitiesIn addition to the support for students with disabilities outlined on pages 60, a number of other organisations make funding available to assist students with disabilities. The Snowdon Award Scheme helps students with physical disabilities in the UK aged between 17–25 in further and higher education. Mature candidates are considered, subject to the availability of funds. Bursaries are made for 1 or 2 years and do not normally exceed £2,500. Awards are made for disability-related study costs such as sign language interpreters, note takers, computer and specialist equipment, travel and other costs. Students of all nationalities may apply. The deadline for applications for 2009–10 is 31 May 2009. Further details of the awards may be found at:http://www.snowdonawardscheme.org.uk/.

subject-specific scholarships & fundingThe Pasold Research Fund was established in 1964 to fund high quality research relating to textile his-tory. The Fund’s field of interest covers the study of the history of textiles in all their aspects – embrac-ing the economic and social history of textiles, their technological development, design and conserva-tion, as well as the history of dress, and other uses of textiles. The activities of the Fund fall into three main categories: sponsoring publications, organiz-ing conferences, and awarding grants for research. The Fund also offers bursaries of up to £2,500 for PhD students in their second or subsequent year of study. Priority is given to those applications where it is demonstrated that the bursary will enable the student to complete their PhD. The deadline for applications for PhD bursaries is 30 June each year. Applications for grants under £300 may be made at any time. There are two deadlines for applications between £301 and £999 – 01 October and 15 Febru-ary. For applications between £1,000 and £3,000 there will be a single application date of 30 April. The deadline for themed workshops is 15 January and 15 July. Applications in aid of publication (di-rected at the publication of high quality illustrative material in research output, particularly monographs and normally under £1,000) can be submitted at any time. For further details go to: http://www.pasold.co.uk.

The Worshipful Company of Weavers Textile Education Fund Scholarships offers grants of £1,000–£4,000 to students of weaving technology or design. Applicants must show a special interest in weaving or woven textiles, and must be British subjects. The closing date for applications is in July each year. Application forms may be downloaded from:http://www.weavers.org.uk.

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Royal Horticultural Society – Dawn Jolliffe Botanical Art Bursary: Established in June 2005, this bursary is to be awarded annually by the RHS Bursaries Committee in association with the RHS Picture Committee to assist a botanical artist to exhibit at one of the RHS shows, or to travel in order to paint and/or draw plants in their natural habitats. Preference will be given to artists who are not yet established. The value of the award will be up to a maximum of £1,000. The RHS Bursaries Committee considers applications four times a year and closing dates are 31 March, 30 June, 30 September and 24 December. For further details and an application form contact: The Secretary, The RHS Bursaries Committee, RHS Garden Wisley, Woking, Surrey GU23 6QB; tel: 0845 260 9000; email: [email protected]

The Royal Commission for the Exhibition of 1851 offers up to six studentships annually in the field of industrial design. The studentships are intended to fund graduates with a good grounding in engineering or science who wish to develop their capabilities in industrial design. The studentships cover tuition fees up to the normal UK course level for UK students; an annual stipend of £9,450; an allowance of £850 per annum to cover the cost of materials; some travel expenses. The duration of the studentship is normally one year, but a second year may be similarly supported if the first year has been satisfactorily completed. The studentships are open to British nationals, resident in UK, who intend making a career in British Industry. They should also have a good first degree in engineering or science, and must have obtained admission to a suitable postgraduate course. The closing date for 2008–09 is April 2009. For further details go to: http://www.royalcommission1851.org.uk/

In order to support scholarship in the field of British art and architectural history and to disseminate knowledge through publications, exhibitions and education, the Paul Mellon Centre for Studies in British Art offers a variety of grants and fellowships. Research support grants for travel, subsistence, and other research costs such as photography, are offered to scholars already engaged in research involving the study of British art or architecture. Grants may be used to visit collections, libraries, archives or historic sites within the United Kingdom or abroad. They are not awarded to assist with conference attendance. Awards do not normally exceed £2,000. The closing date for applications is 15 September 2008. Application forms may be obtained from http://www.paul-mellon-centre.ac.uk or from the Grants Administrator, The Paul Mellon Centre for Studies in British Art, 16 Bedford Square, London WC1B 3JA, tel. 02075800311; email: [email protected]


additional sources of fundingKnowledge Transfer Partnerships (KTPs), are Government and company-funded schemes which involve graduate student placements in companies for between one and three years, provided that the student’s project is central to the needs of the company and brings with it additional knowledge and expertise from the host university (in this case the RCA). Research student projects are eligible for this scheme. For further details go to: http://www.ktponline.org.uk.

Career Development Loans, which provide low interest loans for British students from commercial banks to fund vocational training for up to two years. For further details go to:http://www.direct.gov.uk/en/EducationAndLearning /AdultLearning/CareerDevelopmentLoans/index.htm

The Wellcome Trust believes the arts are an effective way of stimulating debate and engaging people with biomedical science. Visual art, music, moving image, creative writing and performance can reach new audiences which may not traditionally be interested in science and provide new ways of thinking about the social, cultural and ethical issues around contemporary science. Collaborative and interdisciplinary practice across the arts and sciences can help to provide new perspectives on both fields. The arts can also provide imaginative ways of engaging and educating young people in the field of science. The Arts Awards support projects that engage the public with biomedical science through the arts. The scheme aims to: stimulate interest, excitement and debate about biomedical science through the arts; examine the social, cultural, and ethical impact of biomedical science; support formal and informal learning; encourage new ways of thinking; encourage high quality interdisciplinary practice and collaborative partnerships in arts, science and/or education practice.

Projects should have some biomedical scientific input either through a scientist taking on an advisory role or through direct collaboration. Applicants are encouraged to investigate new methods of interdisciplinary working as well as new models of engagement in biomedical science. For small to medium sized projects (up to and including £30,000) deadlines are: 15 October, 9 January, 3 April and 31 July. Decisions will be made approximately three months after the deadline. For large projects (over £30,000) the deadline is 23 January 2009. Decisions will be made approximately five months after the deadline. For further details go to: http://www.wellcome.ac.uk

The Harold Hyam Wingate Foundation, which offers Wingate Scholarships to individuals of great potential or proven excellence who need financial support to undertake pioneering or original work of intellectual, scientific, artistic, social or environmental value, and to outstandingly talented musicians for advanced training. They are designed to help with the costs of a specific project which may last up to 3 years. The average total award is about £6,500 and the maximum in any one year is £10,000. There is no upper age limit and the Scholarship Committee welcomes applications from mature candidates and those from non-traditional backgrounds. Wingate Scholarships attempt to provide funding for cross-disciplinary projects that might not fall comfortably into any of the conventional funding categories. The deadline for applying for 2009–10 will be 18:00 on Friday January 30th 2009. Application Materials for 2009–10 will be available from September 15th 2008 on: http://www.wingatescholarships.org.uk

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The British Foundation of Women Graduates (BFWG) offers grants to assist women graduates registered for study or research at an approved institution of higher education in Great Britain, regardless of nationality. Scholarships are awarded to research students who will be entering into their final year of formal study towards a PhD degree. Scholarships are normally within the range of £2,500–£6,000. For further details go to: http://www.bfwg.org.uk.

The Queen Elizabeth Scholarship Trust funds further study, training and practical experience for craftsmen and women who want to improve their craft and trade skills. Each scholarship is worth between £2,000 and £15,000. The size of each award depends on how much funding is needed for a project. Although the Trust emphasises practical work, several awards to fund post-graduate research have been made in the past. Previous winners have included textile designers, jewellers, ceramicists, and photographers. Scholarships are awarded twice a year. Completed forms must be received not later than 09 January 2009. For further details go to: http://www.qest.org.uk/links.html

Calouste Gulbenkian FoundationThe foundation awards grants for programmes in the arts, education, social welfare and Anglo-Portuguese cultural relations. As a guide, grants made by the Foundation rarely exceed £15,000. Scholarships for Portuguese students are also available through the Portuguese office of the Foundation. Further information can be found at: http://www.gulbenkian.org.uk/

There are several excellent directories with listings of many of the smaller trusts and charities involved in funding education and research. They are available for reference in the College and local libraries, and the most comprehensive of these is The Directory of Grant Making Trusts, published by the Charities Aid Foundation and available for reference in the Research Office.

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“...the College provides an excellent base for experimentation, and the creative environment often provokes stimulating discussion and critical feedback. Research can be an isolating, obsessive process, but through the RCA I have benefited enormously from interaction with other artists.” Jo Longhurst, PhD student, Photography

dissemination of research

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layout of the thesisThese guidelines have been developed in response to a growing need for clarification on the College requirements for the presentation of theses and should be used when presenting the final version of the work following examination. To assist with this process, each departmental Research Coordinator has been asked to build up a collection of recent MPhil and PhD theses from their discipline which represent examples of best practice. Research students should contact their departmental Research Coordinator for further details. Completed MPhil and PhD theses are also accessible in the RCA library.

The order in which the text prior to the main text of the thesis should come is:• Title page• Copyright statement• Abstract • Contents • List of tables/illustrations • List of accompanying material • Preface • Acknowledgements • Author’s declaration • Definitions

An abstract is essential. It should be bound into the thesis, but also submitted as a loose page with the thesis itself.

The order in which the pages following the main text of the thesis should come is:• Appendices• Glossary• List of references• Bibliography• Index

Specimen of title page• to be printed in at least 24 point type• the title of the work in full• author’s name and initials• the award for which the degree is submitted

(in partial fulfilment of its requirements)• that the degree is awarded by the Royal

College of Art• the collaborating establishment (if any)• the month and year of submission

Copyright StatementThe following copyright statement should be included in each thesis:

“This text represents the submission for the degree of Master of Philosophy/Doctor of Philosophy* at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement”.

* delete ‘Master of Philosophy/Doctor of Philosophy’ where appropriate.

On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured

Races in the Struggle for Life

CHARLES DARWIN

A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy

November 1859

The Royal College of Art

Author’s Declaration• Be sure to include in the thesis a formal

statement confirming that you have not been registered for any other academic award during the period of study.

• It is important to state accurately whether any of the work included in your thesis has been previously submitted for examination (i.e. the inclusion of material in a PhD which previously had been part of an MPhil study.)

Example of Author’s Declaration

Author’s Declaration

1. During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification.

2. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than

that for which it is now submitted.

C. DarwinNovember 1859

Format of the text

The format of the text must be consistent throughout the thesis.

TypographyCharacter size should not be less than 10 point. Care should be taken when using smaller character size for notes as legibility may be lost when copies are made.• One-and-a-half line spacing (or double if

necessary) must be used in typescript except for indented quotations or footnotes, where single spacing may be used.

• Paragraphs should be: either (i) flush left with additional space between paragraphs or (ii) indented 5–10mm with no additional spaces between paragraphs; opening paragraphs and those that follow headings are not indented.

Method ii) should be used if paragraphs are numbered.

HeadingsHeadings should not normally be centred.• Consistency is essential throughout the text• If used, a header should appear on the top line

of the page, in smaller size than the main text, but only in the main text. Information included should cover name, year of submission, page number, etc.

TablesLocate any tables used as close as possible to the first reference in the text. If there are numerous references or tables, locate them at the end of the text.• Allocate one table per page as far as possible.

If the table extends to more than one page, headings should appear on both

• Number and title should appear below each table, in that order

• Each row and column should be clearly labelled or headed

• Character size should be as in Typography, above.

PaginationNumbers should normally be Arabic (1, 2, 3, 4, 5 and so on).• Illustrations and tables should be numbered

in a separate sequence from the pagination• Pages should be numbered consecutively

throughout the main text, including photographs and/or diagrams which are included as whole pages and numbers should be at the top outer corner of each page. Please note that the title page should be counted but not numbered

• Avoid blank pages, but if necessary, ensure that they carry the word ‘Blank’ and a page number.

NotesFootnotes appear at the bottom of the page and should be separated from the main text and be preceded by an asterisk, symbol or number which should also appear above the relevant part of the text. Footnotes are used to explain terms or to put something into context and are essential for understanding the text. They can be in smaller character size.

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Endnotes appear at the end of a section or a chapter, and should contain additional information which relates in general to the foregoing text and/or references or attributions which are not shown in the footnotes. They should be listed in numerical or alphabetical order.

If numbers are used to indicate a note, make sure that they are clear, consecutive and not likely to be confused with others (such as those for tables or illustrations).

ImagesIt is important to bear in mind that the integration and relatedness of text and images is something that examiners will consider when examining a thesis. Images must be more than illustrative and the choice of caption is fundamental to their inclusion as it provides continuity between text and imagery. If many images are included they must be integral to the text. An alternative method is to consider producing a portfolio of images on DVD, which would be available to the examiners alongside the thesis and at the viva voce. This DVD would act as a companion to the thesis.

guidelines for printingThe thesis should be printed on white A4 paper between 70g/m2 and 100g/m2. If A4 paper is not to be used, permission must be sought from the Academic Board for Concessions and Discipline.• Pages which are larger than A4 will be reduced

when microfilmed. Writing may therefore become illegible

• Large illustrations should be folded to fit A4 size and should not extend across both pages of the thesis

• If the thesis contains photographs good photocopies may be substituted

• If colour is used, the quality must be of a good standard for reproduction purposes

• The thesis may be printed on one or both sides of the paper. Where both sides of the paper

are used, the paper must be sufficiently opaque to avoid show-through

• Each chapter should begin on a new page• The left margin should not be less than 40mm,

to allow for binding, and others should not be less than 15mm

• It is recommended that a laser writer printer is used. Where copies are produced by any photocopying processes, these must be of a permanent nature.

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guidelines for bindingSoft-binding (for examination)• For MPhil candidates three soft-bound copies of

the thesis must be submitted to the Research Office for examination – one each for the Chair, the examiner and the supervisor (if present)

• For PhD candidates four soft-bound copies of the thesis must be submitted to the Research Office for examination – one each for the Chair, the two examiners and the supervisor (if present).

Soft-bound copies can be either ‘perfect bound’ or bound with a comb binder.

Other materialOther materials, such as DVDs, must also be included with the submission, but should be kept separate from the main thesis copy. These materials should be marked clearly to avoid being lost. Slides can be made and kept in the Slide Library by Information Services.

Hard-binding (after examination)The College does arrange for one copy of your final thesis to be hard-bound following examination. If you desire additional copies, bound by the College, please submit those copies to the Research Office at the same time as the College copy. The fee for each additional copy is £25. However, if you wish to have additional copies bound yourself, we recommend the following format:• the binding should be of a fixed type so that

leaves cannot be removed or replaced• the front and rear boards should be sufficiently

rigid to support the weight of the work when standing upright

• each volume should not be more than 70mm thick• the colour of the binding should be black• the outside front board should bear the title of

the work in at least 24 point type• the name and initials of the candidate, the

qualification and the year of final submission should also be shown on the front board

• the same information (excluding the title of the work) should be shown on the spine of the work.

BookbindersThe following may be of help for having your thesis soft-bound or if you wish to have additional hard copies bound for your own purposes. Inclusion on the list offers no guarantee that the work will be carried out to the Royal College of Art specification. It is the responsibility of the student to ensure that the work is carried out to the standards laid out in this Research Handbook.

F J Blissett & Co Ltd Roslin RoadLondonW3 8DHTel: 020 8992 3965Fax: 020 8993 [email protected]://www.blissetts.com/

Collis-Bird & Withey1 Drayton ParkLondon N5 1NUTel: 020 7607 1116http://www.thesisbookbinding.co.uk/company.html

Homerton Bookbinders166a Glyn RoadLondon E5 0JETel: 020 8986 [email protected]://www.homertonbookbinders.com


guidelines for exhibiting at the rca summer showIt was recently agreed by Senate that the RCA Graduation Show should become a Summer Show which would enable students who were not yet eligible to graduate to exhibit their work. Since then, departments have been free to decide whether their students should exhibit in the summer prior to examination, or the summer after examination (or, indeed, exhibit at all). However, this freedom has led to some confusion. In order to clarify this for future years, the following recommendations have been approved:• Wherever possible, research students should

exhibit after the submission of their thesis for examination

• When the Show is professionally curated, the departmental Research Coordinator should ensure that the curator is fully aware of the nature of each of their exhibiting research student exhibits, in order that their individual requirements can be accommodated

• All Show publicity material should list the student as MPhil/PhD by Project/Thesis student: simply listing as ‘MPhil’ or ‘PhD’ is misleading.

• The Research Coordinator is responsible for ensuring that the Research Office has an up to date list of all exhibiting students and their publicity details (images, text etc.)

• The Show Catalogue should be clear about the status of the research students.

guidance for stu-dent participation in conferences and publication of workOriginalityIt is common in science-based subjects for work to be published during the period of research, and this is the model often seen in art and design. Publication may generate critical peer appraisal and may offer opportunities, such as access to facilities. However, it is important to note that work published during the period of study can only be work in progress, and this should be stated clearly within the publication. The primary submission of research is as a thesis or other form required for examination for the award of the degree and nothing published before this should compromise the need for this final submission to be original. Students should be aware that others may benefit from their work before they can deliver their thesis; this places even more responsibility on researchers to be familiar with publications in their field of study. Consult with and receive approval from supervisors and Heads of Department before embarking on the public presentation of work. If there are conflicting views on the suitability of a particular forum or publication, it may also be necessary to consult with the Director of Research.

Co-authorshipThere is a tradition in some institutions and cultures for research supervisors to be included, automatically, as co-authors. In some cases this may be to the student’s advantage and that is generally how it is seen by supervisors. Where research students are being invited to contribute to supervisor’s or another collaborator’s work, rather than the work being solely their own, there are usually benefits in the association.

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It is the policy of the RCA that co-authors should have contributed significantly to the work to be published, and researchers should be able to determine what the level of significance is. Since your research presented for the award of your degree must be your own, this clearly circumscribes the contribution that supervisors or other can make.

However, where supervisors are not contributing as co-authors, they should certainly be acknowledged. Since the published work arises from your research degree studies, they will have influenced the work in some way through direct or indirect support and advice, critical appraisal, or more specific teaching and guidance, and they may provide editorial input to the publication. It is essential that the role of supervisors is acknowledged, since this helps to reinforce the status of the work as part of on-going research for an academic degree and encourages a wider sphere of influence for each publication.

PublicationStudents who are interested in having their thesis published should firstly identify a publisher who publishers within their field. They should then send the publisher a one page outline summarising the content of the proposed book. This should be adapted from the thesis and include a paragraph summarising each chapter and a profile of the intended audience for the book. This proposal should be accompanied by a sample chapter, rewritten in book not thesis form, demonstrating to the publisher the author’s writing style.

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“I found at the RCA a sense of community with helpful staff, generous technicians and other research students who continually questioned everything. It is small enough to know everybody and large enough to allow individualism. It was an intense experience but one that changed me and my work.”Rachel Garfield, Alumni

guidelines on bibliographical references

The aim of this section is to introduce the concepts, with examples, of citing references and compiling a bibliography, an important element in the completion of a thesis.

Why references and bibliographies are important:• To acknowledge and give credit to all sources

or materials summarised or paraphrased• To show that other people’s ideas and words

have been used, i.e. to prove that there has been no plagiarism

• To offer additional information to readers who may wish to pursue the topic further

• To give readers an opportunity to check the sources for accuracy.

referencing systemsThe Harvard Style (or Author-Date system) has a common international system, and is recommended by the Royal College of Art. It is flexible, clear and easy to use without the need for footnotes and chapter references as used in other systems. Its procedures are outlined in detail below. On pages 94 and 95, there are summary notes on three other referencing systems. Students may use any of the standard referencing systems, provided their use is entirely consistent with their chosen system throughout their thesis.

88 // guidelines on bibliographical references // research rca handbook 08·09

the harvard systemThis system uses the author’s name and date of publication in the body of the text, and the bibliography is given alphabetically by author.

Citing references in the text

This is a way of referring to material you are quoting, paraphrasing, or summarising within your text. In the Harvard system, giving the author’s surname and the year of publication indicates this and the reference will eventually appear in the bibliography (at the end of the written work).

Authors: The person or organisation shown most prominently in the source as responsible for the content in its published form should be given. For anonymous works use Anon instead of a name. For certain kinds of work, such as dictionaries and encyclopaedias, the title may be used instead of an author.

Dates: if an exact year or date is not known, an approximate date preceded by [c.] may be used in square brackets. If no date can be ascertained, use [no date].Example:[c. 1750] or [no date]

If the author’s name fits naturally into the text, refer to it like this:Example:How to write a research project is clearly outlined in Berry (2000)

Or if the author’s name does not fit naturally in the text use brackets, like this:Example:All scholars are dependent on the generosity of librarians (Sandweiss, 2004)

If a work has two authors, list both surnamesExample:Schwartz and Przyblyski (2004)

If a work has more than two, use the first listed author on the title page followed by ‘et al.’ (which stands for ‘and others’)Example:Harrison et al. (1998)

If you refer to more than one document by the same author published in the same year, use lower-case letters after the dateExample:Harrison (2000a) or (Harrison, 2000a)

If the work is anonymous then “Anon” should be usedExample: In a recent article (Anon, 1998)

Citing Quotations, Diagrams, Illustrations and Parts of DocumentsTo cite quotations, diagrams or illustrations page numbers need to be identified. These appear after the date, and within the brackets.Example: At the time of writing it is hard not to respond to the widespread proclamation of a “postmodern condition” (Harrison et al., 1998, p.2)

Brief quotations – if less than a line long can be included in the text in quotation marksExample: growing market interest instructed us to “value pictures” (Acton, 2004, p.4)

Longer quotation – if it is more than three lines, it is indented and single-spaced, without quotation marksExample: In France, Britain and America, interests characteristic of Romanticism and of Naturalism asserted themselves with increasing emphasis during the second and third decades of the century (Harrison et al., 1998, p.7)

Compiling a Bibliography

A bibliography is a list of sources you have used. The bibliography appears at the end of the work and is arranged alphabetically by author or occasionally title. As well as listing the references referred to in the text, it may also include other material consulted but not referred to directly in the text.

Information for the bibliography should come from the title page of the publication. If more than one item by a specific author is used, they should be listed chronologically (earliest first), and by a letter (2005a, 2005b) if more than one item has been published in the same year.

A bibliography must include:

BooksIt is good practice to use the title page (if there is one) rather than the cover for the information needed.• Author(s) or editor(s) or organisation – the

abbreviation “ed” denotes editor• Date of publication – in brackets• Title – including subtitle (if any), separated by a

colon. The title may be underlined or emboldened or in italics, but whichever is chosen remember to be consistent throughout the bibliography

• Series and individual volume no. (if any)• Edition (if not the first) e.g. rev. edn. or new edn.

or 2nd edn.• Place of publication• Publisher.Examples: Acton, M. (2004) Looking at Modern Art, London: Routledge.

Perry, G and Wood, P. (eds) (2004) Themes in Contemporary Art, Art of the 20th Century, 4, London: Yale University Press

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Chapter in a book• Author of the chapter• Date of publication• Title of Chapter• “In” followed by a colon• Author/Editor of the book• Title of the book • Place of publication• Publisher• Page numbers.Example:Baudelaire, C. (2004) ‘The painter of modern life’, in: V.R. Schwartz and J.M. Przyblyski, (eds), The Nineteenth Century Visual Culture Reader, New York: Routledge, 37–42.

Articles in an encyclopaediaExample:Romanelli, P. (1958) ‘The Phoenicians and the Greeks’, in: Encyclopaedia of World Art, vol.1, New York: McGraw-Hill, 66–70

Journal articles• Author(s) or editor(s) of the article• Year of publication in brackets• Title of the article• Title of the journal or newspaper in italics• Volume and part number, month or season for a

journal and a date of publication for a newspaper• Page numbers.Example: Nisbet, N. (2004) ‘Resisting surveillance: identity and implantable microchips’, Leonardo: Journal of the International Society of the Arts, Sciences and Technology, 37 (3), 211–214

Newspaper articles• Author or newspaper title• Year of publication• Title of article• Title of newspaper • Day and month• Page numbersExample: Demetriou, D. (2004) Marilyn Monroe was Right After All. Diamonds Really are a Girl’s Best Friend, The Independent, 13 August, 3

If no author is identified, use newspaper titleExample:The Independent (2004) Italians Say no to De Niro “the Gangster”, The Independent, 13 August, 22.

Conference proceedings• Conference title• Number of conference• Conference location• Date of conference• Date of publication• Place of publication• PublisherExample:Doctoral Education in Design: Foundations of the Future, La Clusaz, 8–12 July 2000, (2000) Stoke-on-Trent: Staffordshire University Press

Conference paper• Author• Year of publication• Title of contribution• In: followed by colon• Author/editor of conference papers or

proceedings• Title of conference in italics, including date

and place of conference• Place of publication• Publisher• Page numbersExample: Stewart, S. (2000) ‘On reason and habit: an Aristotelian approach to design theory’, in: D. Durling and K. Friedman, (eds), Doctoral Education in Design: Foundations of the Future, 8–12 July 2000, La Clusaz, Stoke-on-Trent: Staffordshire University Press, 127–132

Theses• Author• Year of publication• Title of thesis in italics• Designation and type• Name of institution to which submittedExample:Shanahan, P. (2001) Esperantis: Theorising the Post Landscape, Thesis (PhD), Royal College of Art

Exhibition CataloguesWhere there is no author/editor, use the gallery or museumExample:Tate Gallery (1969), Ben Nicholson, London: Tate Gallery.

It is common practice to use capital letters in the names of art movementsExample:Rubin, W. (1968), Dada, Surrealism, and their Heritage, New York: MOMA

Visual Information: Photographs and IllustrationsSimply follow the rules for referencing a book.

If, however, you wish to specify that you have only used an image, follow the normal rules for referencing a book and then add an abbreviation for illustration.Example:Clark, J. (2004), Jewellery of Tibet and the Himalayas, London: V&A Publications, 42, Illus.

British StandardsExample:British Standards Institution (2000), BS 5454:2000, Recommendations for the Storage and Exhibition of Archival Documents, London: BSI

Patents• Originator• Year of publication• Title of patent• Series designationExample:Philip Morris Inc. (1981), Optical Perforating Apparatus & System, European patent application 0021165 A1

Research reportsThe range of reports can be very diverse. However, it is important to include subtitle and series information if appropriate.Example:Myerscough, J. and Bruce, A. (1988), The Economic Importance of the Arts in Britain, Research Report 672, London: Policy Studies Institute

Audio-visual Resources

For film/video/DVD and off-air recordings it is important to give as much information as possible to allow any researchers to trace the information quoted. If you can you should quote the format e.g. VHS Video, 35mm Film, Compact Disc, etc., to allow researchers to view/listen to the material.

Films• Title • Year – for films the preferred date is the year

of release in the country of production• Subsidiary originator – optional, but director

is preferred• Place of production• Organisation• Medium: format [in square brackets].Example:Adaptation (2002), Directed by Spike Jonze, USA: Columbia Pictures [film: DVD]

Commercial videoCommercial videos follow the same format as films. The main difference is that the [medium: format] part is usually [video: VHS].Example:The Eye (2002), Rachel Whiteread, London: Illuminations [video: VHS]

Television and off-air recordingsTelevision programmes are usually identified as video recordings. It is important to include the transmission details, especially for a series transmitted throughout the year.• Series title• Series number• Year of production• Programme title• Place of publication• Transmitting organization• Date of transmission• Medium: format [in square brackets]Example:South Bank Show (2001), Tracey Emin, London, ITV, 19 August, [video: VHS]

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Example:Holland, M. (2004) Guide to citing Internet sources [online], Poole: Bournemouth University, available from: http://www.bournemouth.ac.uk/library/using/guide_to_citing_internet_source.html [Accessed 27 August 2008]

If there is no named author, or the author is an institution or company, do this:Example:Birmingham City Council: Leisure and Community Services, (1999) The history of Birmingham’s museum and art gallery [online], Birmingham: Birmingham Museum & Art Gallery, available from: http://www.birmingham.gov.uk[Accessed 27 August 2008]

Sometimes the whole web site reference is necessary:Example:Turner Society, Turner Society [online], available from: http://www.turnersociety.org.uk[Accessed 26 August 2008]

E-journals• Author/editor• Year• Title of article• Title of journal [online]• Type of medium [in square brackets]• Date of publication• Volume (issue)• Page numbers• Available from (location)• Accessed dateExample:Mortimer, K. (1995) Enterprise in higher education: reflections from the chair, Education and Training [online], 37(9), 20–24, available from: http://fernando.emeraldinsight.com[Accessed 28 August 2001].

Email discussion lists• Author/editor• Date• Title of message• Discussion list [online]• Available from (location)• Accessed date

Sound recordings• Composer• Year of production• Title of work• Performers• Recording companyExample: Mozart, W. A. (1990), Symphony No.38 in D major, Vienna Philharmonic, Polydor, [sound recording: compact disc]

Recordings of drama, poetry, prose, lectures, etc. often include the name and location of publisher and the date of publication.Examples:Children, Language and Literature (1982), Milton Keynes: Open University Press, [sound recording: audiocassette].

Thomas, D. (1980), Under Milk Wood, performed by Dylan Thomas et al. Caedmon, [sound recording: audiocassette].

Electronic Resources

Internet• Be consistent and keep in line with the

Harvard style• Cite enough information to allow any researcher

to trace and locate the reference• Sometimes the address for an e-journal can be

very long, in which case it is acceptable to include enough of the address to identify the site the journal came from

• Give the date that the information was accessed

Internet references will include:• Author/editor• Year• Title [online]• Edition• Place of publicationa) Publisherb) Available from: URLc) Accessed date.

Example:Fletcher, K. (22 April 2004) Slide query, Arlis-link [online], available from: [email protected] [Accessed 27 August 2005]

Personal emails• Sender• Sender’s email address• Date• Subject• Recipient• Recipient’s addressExample:Maxwell, D. ([email protected]), (1 Sept 2005) RE: Book renewal, email to C. Johns ([email protected]).

CD-ROMS and DVDs• Author• Year• Title• Medium• Edition• Place of publication• Publisher• Available from (supplier/database)• Date (optional)Example:Hawking, S.W. (1994), A Brief History of Time: an Interactive Adventure, [CD-ROM], Crunch Media

Online Images• Title of image or description• Year• [Online image]• Available from: URL• Accessed dateExample:Susan Collis: Untitled (Trompe L’Oeil), (2003) [Online image], available from: http://www.thecentreofattention.org/exhibitions/susan.html [accessed 1 Sep 2004].

Interviews• Name of interviewee• Year• Title of the interview or details of interview• Location of interview• Date of interviewExample:Maxwell, D. (2004), Interview with Sebastian Faulks, London, 4 Nov 2004

Useful hintsWhen referring to number, dates, titles in the text the following should be adopted:

Number up to nine in the text should be given in words, 10 and above in figures. However you should never start a sentence with figures. Example:Eight yards further on 967 houses were built last year.

Dates in the text should be written as follows: 21 October 2005.Example:He left Iceland on 3 February 1884.

Decades should be written in figures, with no apostropheExample:In the 1990s we left London.

Other conventions

When doing your own research you may come across other referencing conventions that are NOT part of the Harvard system. These include:

Ibid. (Latin) – used to refer to the same piece of work in notes.Example:1. Duchting, H. (2004), Paul Klee: Painting

Music, Munich: Prestel, p.58–59 2. Ibid p.77 3. Ibid p.90

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op.cit. (Latin) – used to refer to a work already mentioned elsewhere.Example:1. Opie, J. (2004), Contemporary International

Glass: 60 Artists in the V&A, London: V&A Publications, p.11

2. Morris, R. (2004), Robert Lee Morris: the Power of Jewelry, New York: Harry N. Abrams, p.20

3. Opie (2004), op.cit. p.84

Useful web sites

Holland, M. (2006), Citing references [online], Bournemouth University, available from: http://www.bournemouth.ac.uk/library/citing_references/docs/Citing_Refs.pdf

Dee, M. (2004), Quote, unquote: the Harvard style of referencing published material, available from: http://www.lmu.ac.uk/lskills/open/sfl/content/harvard/downloads/harvard_2004.pdf

the mla (modern language association) system Similar to the Harvard style, the MLA system makes use of parentheses within the text.

An author’s work is referenced by parentheses containing their surname, followed by a space, and the relevant page numbers:Example: (Ranger 253)

Multiple sources can be indicated in the same parenthetical reference by separating the citations with a semicolon:Example: (Brown 149; Wolpert 29)

In the ‘Works Cited’ section, entries are listed by author with the surname first; middle names or middle initials follow the first name. For further details, see Joseph Gibaldi, The MLA Style Manual and Guide to Scholarly Publishing, Modern Language Association of America, 1998.

the oxford system Instead of parentheses within the text, the Oxford system makes use of footnotes and is characterised by the following: • footnote references using a superscript (raised)

number, generally at the end of a sentence • a list of footnotes at the bottom of each page. • a bibliography at the end of the thesis giving the

full details of each source referred to.

The first time a source is cited, the footnote must provide full bibliographic details. Example:T Ranger, Voices from the Rocks: Nature, Culture and History in the Matopos Hills of Zimbabwe, James Curry Publishers, Oxford, 1999, p. 23

For journal articles, the publisher and place of publication are not given, but the volume numbers and dates should be included.

Example:P Henshaw, “The ‘Key to South Africa’ in the 1890s: Delagoa Bay and the Origins of the South African War” Journal of Southern African Studies, Vol. 24, No.3, September 1998, p. 527

The footnotes for subsequent references to the same source do not repeat all the details again, but use a shortened form. Examples:Ranger, Voices from the Rocks, pp. 150–155.

Henshaw, “The ‘Key to South Africa’”, p. 528.

If you use two or more different publications by the same author, you also need to include part of the title to distinguish publications by the same author. Example:Ranger, Aspects of Central African History, p. 29

Sometimes you may want to refer to an author who has been cited by another author. Because you have not read the original source, you must list both sources.Example:J Brown, Gandhi’s Rise to Power, Cambridge University Press, Cambridge, 1974, cited in S. Wolpert, A New History of India, Oxford University Press, New York, 2003, p. 203.

In your bibliography, only Wolpert, the source you read, would be listed.

In compiling entries for a bibliography according to the Oxford system, the punctuation and capitalisation are the same as for footnotes with one exception – the surname of the author comes before initials in a bibliography entry (or the surname of the first-listed author, if there is more than one). Example:Henshaw, P, “The ‘Key to South Africa’ in the 1890s: Delagoa Bay and the Origins of the South African War,” Journal of Southern African Studies, Vol. 24, No.3, September 1998, pp. 527–544.

For further details, see: Robert M. Ritter, The Oxford Style Manual, Oxford University Press, Oxford, 2003.

the chicago manual of styleAnother internationally-recognised system for referencing is the Chicago Manual of Style.

The Chicago Manual of Style, University of Chicago Press, University of Chicago Press, 2003.

Contacts for advice and help on referencing:

Darlene Maxwell, Special Collections and Services Managerextension: 4234. email: [email protected]

Cathy Johns, Assistant Librarianextension: 4219. email: [email protected]

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“I have now reached a stage where I both write from and through the practice and practice from and through writing. I do not seek to validate my work through theory, but rather to create a feedback loop between the two that hopefully enriches both.” Marilène Oliver-Poulsen, MPhil student, Printmaking

core bibliograpy

98 // core bibliography // research rca handbook 08·09

Holridge, L. and Macleod, K. (2003), The Doctorate in Fine Art: The Importance of Exemplars to Research Culture, The International Journal of Art & Design Education 23 (2)

Macleod K. and Holdridge L. (2006) Thinking Through Art: Reflections on Art as Research, London and New York: Routledge

Newbury, D. (1996), Knowledge and Research in Art and Design, Design Studies, 17 (2), 215–9

Newbury, D. (1996), Research Perspectives in Art and Design Birmingham: The Research Training Initiative, University of Central England

Strandman, P. (ed). (1998), No Guru, No Method? Discussions on Art and Design Research, Helsinki: University of Art and Design Helsinki

Weisberg, R. (1999), Creativity and Knowledge: a Challenge to Theories, Stemberg, R. (ed)., Handbook of Creativity, Cambridge: CUP, 226–50.

Research Skills/Techniques

Bauer, M.W. and Gaskell, G. (eds) (2000), Qualitative Researching with Text, Image and Sound: A Practical Handbook, Sage

Bizell, P. (1992), Academic Discourse and Critical Consciousness. Pittsburgh, PA and London: University of Pittsburgh Press

Booth, W., Colomb, G. and Williams, J. (1995), The Craft of Research, Chicago: University of Chicago Press

Campbell, A. (2007), An Ethical Approach to Practitioner Research, London: Routledge

Cryer, P. (2000), The Research Student’s Guide to Success, Buckingham: Open University Press

Denzin, N.K. and Lincoln, Y.S. (2003), The Landscape of Qualitative Research: Theories and Issues (2nd edition), Sage (Chapters 1, 6 and Part III)

recommended reading 2008–09General

Research in Art and Design

Allthorpe-Guyton, M. and Payne, A. (eds) (2000), Research and the Artist: Considering the Role of the Art School, Oxford: OUP

Barrett, E and Bolt, B (2007) Practice as Research: Approaches to Creative Arts Enquiry, London: IB Taurus

Brew, A. (2001), The Nature of Research. Inquiry in Academic Contexts: Routledge Falmer Research

Brockbank, A. and McGill, I. (2007), Reflection and Reflective Practice, Facilitating Reflective Learning in Higher Education, London: McGraw-Hill

De Ville, N. and Foster, S. (eds) (1994), The Artist and the Academy: Issues in Fine Art Education and the Wider Cultural Context, Southampton: John Hansard Gallery

Frayling, C. (1993), Research in Art and Design, Royal College of Art Research Papers [1]. London: Royal College of Art

Graves, D. (2002), Art as a Rational Activity, Journal of Aesthetic Education, 36 (4), 1–14

Gray, C. and Malins, J. (1999), The Digital Thesis: Recent Developments in Practice-based PhD Research in Art and Design, Digital Creativity, 10 (1), 18–28

Harrild, A. Frayling, C. Painter, C. and Woodham, J. (1998), Transcript of Research Seminar on Practice-based Doctorates in Creative and Performing Arts and Design, Surrey Institute of Art and Design

Hill, P. (1995), Is there a Doctor in the Art School? Arts Monthly, Australia

Fairbairn, G.J. and Winch, C. (1991) Reading, Writing and Reasoning: A Guide for Students. Buckingham and Philadelphia: Open University Press

Gray, C. (1995), Developing a Research Procedures Programme for Artists and Designers. Aberdeen: Centre for Research into Art and Design, Robert Gordon University

Gray, C. and Malins, J. (2004), Visualising Research, Ashgate.

Gray, C. and Pirie, I. (1995), Artistic research procedure: research at the edge of chaos? in Design Interfaces Conference, Vol.3. Salford: The European Academy of Design, University of Salford

Kaplan, D. (2004), The Sage Handbook of Quantitative Methodology for the Social Sciences, Thousand Oaks, CA: Sage

Mason, J. (2001), Researching Your Own Practice: The Discipline of Noticing, Routledge Falmer

Newbury, D. (1996), Designing and Managing a Research Project, in Birmingham: The Research Training Initiative, University of Central England

Petre, M. & Rugg, G. (2004), The Unwritten Rules of PhD Research, Buckingham: Open University Press.

Robson, C. (2003), Real World Research: A Resource for Social Scientists and Practitioner Researchers, Blackwell

Schön, D. (1991), The Reflective Practitioner: How Professionals Think in Action. Aldershot: Arena

Seago, A. (1995). Research Methods for MPhil and PhD Students in Art and Design: Contrasts and Conflicts in Royal College of Art Research Papers 1 (3), London: Royal College of Art

Seago, A. and Dunne, A. (1999), New Methodologies in Art and Design Research: The Object as Discourse Design Studies, 15 (2).

Walliman, N. (2005) Your Research Project: A Step-by-Step Guide for the First-time Researcher, Sage Publications

Wisker, G. (2001), The Postgraduate Research Handbook, Palgrave

Writing/Completing an MPhil/PhD

Jackson, C. and Tinkler, P. (2004), The Doctoral Examination Process: A Handbook for Students, Examiners and Supervisors: Open University Press.

Macleod, K. (2000), The Function of the Written Text in Practice-based PhD Submissions http://www.herts.ac.uk/artdes1/research/papers/wpades/vol1/macleod2.html

Macleod, K. and Holdridge, L. (2004), “The Doctorate in Fine Art: The Importance of Exemplars to the Research Culture”, International Journal of Art and Design Education 23 (2), 156–68

Marshall, S. (2006), Your PhD Companion: How to Books

Murray, R. (2003), How to Survive Your Viva: Defending a Thesis in an Oral Examination: Open University Press

Phillips, E. (2005), How to Get a PhD: A Handbook for Students and Their Supervisors: Study Skills

Winter, R., Griffiths, M. and Green, K. (2000), “The ‘academic’ Qualities of Practice: What are the Criteria for a Practice-based PhD?”, Studies in Higher Education, 25 (1), 25–37

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subject-specific textsApplied Arts

Barnett, P. et al (1985), Craft Matters: 3 Attitudes to Contemporary Craft, London: John Hansard Gallery

Dormer, P., Harrod, T., Hill, R., Roscoe, B. (1992), Arts & Craft to Avant-Garde, London: South Bank Centre

Dormer, P. (1994), The Art of the Maker, London: Thames and Hudson

Dormer, P. and Turner, R. (1985), The New Jewelry: Trends and Traditions, London: Thames and Hudson

Drutt English, H. and Dormer, P. (1995), Jewelry of Our Time, London: Thames and Hudson.

Frank, I. (2000), The Theory of Decorative Art – An Anthology of European and American Writings, New York, NY: Yale University Press

Game, A. and Goring E. (1998), Jewellery Moves, Scotland: NMS Publishing

Gaspar, M. and Jönsson, L. (eds), Think Tank: A European Initiative for the Applied Arts – Annual Publication, Austria: Salzkammergut Media

Grant, C. (2005), New Directions in Jewellery, London: Black Dog

Greenhaugh, P. (2002), The Persistence of Craft, London: A&C Black.

Harrod, T. and Clifford, H. (eds) (1997), Obscure Objects of Desire: Reviewing the Crafts in the Twentieth Century, London: Crafts Council

Harrod, T. (1999), The Crafts in Britain in the Twentieth Century, London: Yale University Press.

Johnson, P. (ed) (1998), Ideas in the Making: Practice in theory, London: Crafts Council.

Jönsson, L. (2005), Craft in Dialogue: Six Views on a Practice in Change, Sweden: IASPIS

Lees-Maffei, G. and Sandino, L. (eds) (2004), Journal of Design History Special Issue. Dangerous Liaisons: Relationships between Design, Craft and Art, 17 (3)

Mischler, E. (1999), Storylines: Craft artists’ Narratives of Identity, Cambridge, MA, and London: Harvard University Press

New Craft – Future Voices International Conference (2007), collected papers and submissions are available online at: http://www.newcraftfuturevoices.com/module/ view-submissions/listfullpapers/

Stair, J. (ed) (2000), The Body Politic: The Role of the Body and Contemporary Craft, London: Crafts Council

Veiteberg, J. (2005), Craft in Transition, Bergen, Norway: Bergen National Academy of the Arts

Zellweger, C. (2007), Foreign Bodies, Spain: Actar


Design

Braun, T. (2004), The Philosophy of Branding: Great Philosophers Think Brands, Kogan Page

Buchanan, R., Doordan, D., Justice, L. and Margolin, V. (eds) (1999), Doctoral Education in Design. Pittsburgh, PA: Carnegie Mellon University

Clark, K. (2004), Brandscendence: Three Essential Elements of Enduring Brands, Chicago: Dearborn Trade Publishing

Conekin, B. Cox, C. and Breward, C. (2002), The Englishness of English Dress, Oxford and New York: Berg

Cross, N. (ed) (1984), Developments in Design Methodology, Chichester and New York: John Wiley & Sons

Cross, N. (2001), “Designerly Ways of Knowing: Design Discipline Versus Design Science”, Design Issues, 17, (3)

Cross, N., Christiaans, H. and Dorst, K. (eds) (1996) Analysing Design Activity, Chichester, UK: John Wiley & Sons

De Luca, J. and Lopiano-Misdom, J. (1998), Street Trends, New York: Harper Business

Dorst, K. and Cross, N. (2001) “Creativity in the Design Process: Co-evolution of Problem-Solution”, Design Studies 22 (5), 425–437

Durling, D. (2002). “Discourses on Research and the PhD in Design”, Quality Assurance in Education, 10 (2), 79–85

Durling, D. and Friedman, K. (2000), Doctoral Education in Design: Foundations for the Future, Staffordshire University Press

Evamy, M. (2003), World Without Words, Watson Guptill

Evans, C. (2007), Fashion at the Edge: Spectacle, Modernity, and Deathliness, New Haven, CT: Yale University Press

Forty, A. (1986), Objects of desire: Design and Society since 1750, London: Thames and Hudson

Gartman, D. (1994), Auto Opium: A Social History of American Automobile Design. London: Routledge

Hill, D. (2003), Body of Truth, John Wiley & Sons

Hill, J. (2007), Immaterial Architecture, Routledge

Hill, J. (2003) Actions of Architecture: Architects and Creative Users, Routledge

Ingraham, C. (1998), Architecture and the Burdens of Linearity, New Haven, CT: Yale University Press.

Jeamsinkul, C. and Sawasdichai, N. (2002), “Perspectives on Building a Foundation for Design Research: Annotated Principles and Methods of Design Research List”, Visible Language, 2 (36), Helmer Poggenpohl

Jones, J.C. (1992), Design Methods: Seeds of Human Futures, John Wiley & Sons

Julier, G. (2000), The Culture of Design, London: Sage

Kazmierczak, E.T. (2003), “Design as Meaning Making: From Making Things to the Design of Thinking”, Design Issues, 19 (2)

Kiley, D. (2004), Driven: Inside BMW, John Wiley & Sons

Kroes, P. (2002), “Design Methodology and the Nature of Technical Artefacts’, Design Studies, 23

Kress, G.R. and Van Leeuwen, T. (2006), Reading Images: The Grammar of Visual Design, London and New York: Routledge

Laurel, B. (ed) (2003), Design Research: Methods and Perspectives, Cambridge, MA, and London: MIT Press

Lawson, B. (1997), How Designers Think: The Design Process Demystified, London: Architectural Press, 3rd edition

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McDonough, W. (2002), Cradle to Cradle: Remaking the Way We Make Things, New York: North Point Press

Olins, W. (2003), On Brand, Thames and Hudson

Orna, E, and Stevens, G (1995), Managing Information for Research, Buckingham: Open University Press

Oxman, R. (2004), “Think-Maps: Teaching Design Thinking in Design Education”, Design Studies, 25

Riezebos, R. (2003), Brand Management: A Theoretical and Practical Approach, FT Prentice Hall

Roth, S. (1999), “The State of Design Research”, Design Issues, 2 (2)

Schön, D. (1983), The Reflective Practitioner, New York: Basic Books

Scott, P., (1993), The Book of Silk, London: Thames and Hudson

Sparke, P., (1995), As Long As It’s Pink: The Sexual Politics of Taste, London: Harper Collins

Whiteley, N. (1985) “Pop, Consumerism, and the Design Shift.” Design Issues, II (2), 31–45

Zeisel, J. (1984), Inquiry by Design, Cambridge: CUP

Communication Arts

Carpenter, E. and McLuhan, M. (eds) (1970), Explorations in Communication, London: Jonathan Cape

Coles, A. (ed) (2007), Design and Art, Cambridge, MA: MIT Press

Curtis, D. (2007), A History of British Artists’ Film and Video, London: BFI

Gerber, A. (2004), All Messed Up: Unpredictable Graphics, London: Laurence King

Hamlyn, N. (2003), Film Art Phenomena, London: BFI

Kress, G. (2003), Literacy in the New Media Age, London and New York: Routledge

Le Grice, M. (2001), Experimental Film in the Digital Age, London: BFI

Manovich, L. (2001), The Language of New Media, Cambridge, MA: MIT Press

Massumi, B. (2002), Parables for the Virtual: Movement, Affect, Sensation, Durham, NC and London: Duke University Press

Rieser, M. and Zapp, A. (eds) (2002), New Screen Media, London: BFI

Weibel, P. and Shaw, J. (eds) (2003), Future Cinema: The Cinematic Imaginary After Film, Cambridge, MA: MIT Press


Fine Art, Critical and Curatorial Practice

Arnheim, R. (1969), Visual Thinking, Berkeley, CA, and London: University of California Press

Arnold, D. and Iverson M. (eds) (2003), Art and Thought, Oxford: Blackwell

Bryson, N. (1983), Vision and Painting: The Logic of the Gaze, London: Macmillan

Cazeaux, C. (ed.) (2000), The Continental Aesthetics Reader, London: Routledge

Davies, D. (2004), ART as Performance, Oxford: Blackwell

Deleuze, G. and Guattari, F. (1994), What is Philosophy?, trans. G. Burchell and H. Tomlinson, London: Verso

Duvenage, P. (2003), Habermas and Aesthetics: The Limits of Communicative Reason, Cambridge: Polity Press

Elkins, J. (1998), On Pictures and the Words that Fail Them, Cambridge: CUP

Elkins, J. (2000), Our Beautiful, Dry, and Distant Texts, New York and London: Routledge

Emmer, M. (ed) (1993), The Visual Mind, Cambridge, MA, and London: MIT Press

Gell, A. (1998), Art and Agency: An Anthropological Theory, Oxford: Clarendon Press

Harrison, C. and Wood, P. (eds) (2002), Art in Theory 1900–1990: An Anthology of Changing Ideas, Oxford: Blackwell

Heusser, M. (ed) (1999), Text and Visuality: Word and Image Interactions III, Amsterdam: Rodopi.

Heywood, I. and Sandywell, B. (eds) (1999), Interpreting Visual Culture: Explorations in the Hermeneutics of the Visual, London: Routledge

Lomax, Y. (2000), Writing the Image: An Adventure with Art and Theory, London: I. B. Taurus

Maclagan, D. (2001), Psychological Aesthetics: Painting, Feeling and Making Sense, London and Philadelphia, PA: Jessica Kingsley

Martin, F.D. (1981), Sculpture and Enlivened Space: Aesthetics and History, Lexington, KY: University Press of Kentucky

Melville, S. and Readings, B. (eds) (1995), Vision and Textuality, Durham, NC: Duke University Press

Mey, K. (ed) (2005), Art in the Making: Aesthetics, Historicity and Practice, London: Peter Lang

Robbin, T. (1992), Fourfield: Computers, Art and the Fourth Dimension, Boston, MA: Little Brown

Young, J. (2001), Art and Knowledge, Routledge.

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useful websites for researchersPartially recommended by Darren Newbury (ed) in The Research Training Initiative, Birmingham Institute of Art and Design HEROhttp://www.hero.ac.ukHERO is the official gateway to universities, colleges and research organisations in the UK. It includes information on higher education institutions, universities and colleges and the latest university news.

Department for Innovation, Universities and Skillshttp://www.dius.gov.uk/The government department responsible for Higher Education in the UK.

The UK Grad Programmehttp://www.grad.ac.uk/This site has a wealth of material on research skills, the development of research careers and so on. It is of use to research students and supervisors. CRAC Careers Research and Advisory Centrehttp://www.crac.org.uk/CRAC is the independent, national organisation dedicated to supporting career development and active, career related learning.

Graduate ProspectsThe UK’s official graduate careers websitehttp://www.prospects.ac.uk/

JISCmailhttp://www.jiscmail.ac.uk/The United Kingdom National Academic Mailing List Service, JISCmail is the hosting service for electronic discussion lists across all subject areas. The website contains information the many subject-based lists and how to join them.

Kovacs Directory of Scholarly and Professional E-Conferenceshttp://www.kovacs.com/directory/An international database of professional and academic electronic discussion lists which can be searched by keyword. National Postgraduate Committeehttp://www.npc.org.uk/The website for the United Kingdom organisation for postgraduate students. The site contains useful information for students and discussions on postgraduate issues, as well as links to further resources and equivalent organisations in other countries. Intutehttp://intute.ac.uk/Free online service providing you with access to the very best web resources for education and research. Created by a network of UK universities and partners. Includes online training modules on using the web as a research resource. BUBL Information Service http://www.bubl.ac.uk/This is very useful general information resource covering all academic subject areas. British Libraryhttp://www.bl.uk/Includes a link to the online British Library Public Catalogue. ZETOChttp://zetoc.mimas.ac.uk/alertguide.htmlOnly available to students based in UK institutions, this site allows you to set up an email alerting service for particular journals or user-defined keywords. Working Papers in Art and DesignLink to an online journal produced by the University of Hertfordshire dealing with developments within art and design research.http://www.herts.ac.uk/artdes1/research/papers/wpades/index.html


UK Council for Graduate Education Produces reports and conducts conferences about graduate education in the UK. The site includes links to reports and information about the latest advances in graduate education.http://www.ukcge.ac.uk/

Internet Public LibraryRun by a consortium of colleges and universities with courses in information science. It has links to websites, organisations, online journals and books in all subject fields.http://www.ipl.org/

The Internet is now so large and changes so rapidly that it is simply impossible to catalogue its contents across the art, design and media subject range. Some library sites do a good job of listing subject-based resources (see, for example, the ‘i page’ at the London Institute http://www.linst.ac.uk/library/), but even these will only cover a proportion of what is available. It is important for researchers themselves to learn to search the Internet effectively, and begin building up their own sets of useful websites based on their specific research interests.

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“The Research Methods Course has been a fantastic tool to enable me to understand how to put together and plan my research, but also the nuts and bolts of things such as using the library effectively and how to go about finding the various elements I need. It has even given me a helpful insight into the dread subject of health and safety.” Steve Brown, PhD student, Ceramics & Glass

guide to libraries 12

Architectural Association Library

Address: 36 Bedford Square, London WC1B 3ESUnderground: Tottenham Court RoadTerm-time opening: 10am–8pm Mon–Fri, 1am–3pm SatVacation opening:10am–6pm Mon–Fri (see website for exceptions)tel: 020 7887 4032email: [email protected] (Hinda Sklar)http://www.aaschool.ac.uk (includes online catalogue)

Specialist area: Literature on architecture, mainly in English but including many foreign publications. History of architecture, current practice, theory, interior design and landscape design.

Admission procedure: AA members only. Student membership costs £40 per year, plus a £10 enrolment fee.

Type of library: Open stacks.

Laptops: Welcome.

Photocopying: Self-service, 10p per page.

Photography: AA members can take books downstairs to the photography studio.

Internet terminals: Yes, but no email access.

Bibliographies and CD ROMs: Art Index, Avery Index and API are available online. There are also special architecture CD ROMs, including Pevsner’s Buildings of England, The Ultimate Frank Lloyd Wright, Fosters & Partners and Josep Lluis Mateo.

Website: The website has 40 ready-to-print bibliographies of artists and architects, including David Chipperfield, Peter Smithson, Gordon Matta-Clark and Tadashi Kawamata.

Archive: Has a strong Modern movement collection with original Bauhausbucher, books by Le Corbusier, Berlage, etc. and 19th-Century material, since the library was established in 1863.

Birkbeck College, University of London

Address: Malet Street, London WC1E 7HXUnderground: Goodge Street, Tottenham Court RoadTerm-time opening: 10am–10:30pm Mon–Fri. Access restricted during term-time for non-University of London students. Phone for detailsVacation opening: Opening times vary – check website. During the summer vacation you may have access on a daily basis by showing your home institution IDtel: 020 7631 6063email: [email protected]://www.bbk.ac.uk/lib/

Admission procedure: Non-Birkbeck students may be eligible join the Library as an Affiliate Member. Some form of photo ID (e.g. current ID from the RCA, your passport or driving licence) is needed and you will need to provide a recent passport-sized photo of yourself. Affiliate members have access to (for reference only):• all material on open shelves • the study spaces • the Library catalogue • the photocopiers

Access to library services: No visitors are allowed access to PCs, electronic resources or printing facilities.

Type of Library: Open stacks.

Laptops: Welcome.

Photocopying: Rechargeable card system. Copies cost 5p for A4 (50p for colour) and 10p for A3 (£1 for colour).

108 // guide to libraries // research rca handbook 08·09

British Architectural Library

Address: Royal Institute of British Architects,66 Portland Place, London WC1N 4ADUnderground: Oxford Circus, Regent’s Park, Great Portland StreetOpening times: Closed Mon & Sun, 10am–8pm Tues,10am–5pm Wed–Fri, 10am–1.30pm Sat Closed to non-members during August.tel: 020 7307 3600 (members’ information line)0960 302 0400 (public information line – calls charged at 50p per minute)email: [email protected]://www.architecture.comhttp://www.riba-library.com http://site.yahoo.net/riba-library/oncat.html(online catalogue for publications after 1984)

Specialist area: This is the largest architectural library in the UK, and covers all aspects of architecture: theory, practice, history, landscape architecture, interior design and urban planning. The scope is international, but with particular emphasis on the UK.

Admission procedure: RIBA members only. Buy a day ticket (reference only) from the bookshop on the ground floor – the student rate is £6. Tuesday evenings after 5pm and Saturdays are half price, i.e. £3. To become a member it’s best to consult the elaborate instructions on the website.

Type of library: Most books published after 1955 are on open stacks, as well as magazines. The rest of the material is closed stacks.

Requisition time: Five minutes. Advance orders can be made by email or phone.

Laptops: Welcome.

Photocopying: Self-service with a copy card (£5, of which £1 is for the card). A4 is 15p (14p with a card), A3 is 30p (28p with a card). There is also a colour copier: A4 is £1 (90p with a card), A3 is £1.40 (£1.20 with a card).

Photography: No cameras permitted in the library, but reproductions of anything in the library are available for a fee (020 7307 3627, or email: [email protected]) Internet terminals: Internet use is restricted to architectural resources only. No print facilities are available.

Bibliographies and CD ROMs: Two terminals are dedicated to RIBA API, DAAI and Avery Index. There are also a number of architectural CD ROMs: Construction Building Abstracts (CBA), Le Corbusier, Pevsner’s Buildings of England, Glasgow on Disk, Scotland Listed Buildings, etc.

Strengths: Periodicals. The library also has the most comprehensive collection of architectural material in the UK and arguably in Europe; original editions of Bauhaus and Constructivist publications, together with the journal De Stijl.

Archives: The drawings, papers, correspondence and Grand Tour notebooks of many British architects, plus the letters of Lawrence of Arabia to Herbert Baker.

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British Council Visual Arts Library

Address: British Council,10 Spring Gardens, London SW1A 2BNUnderground: Charing CrossOpening times: None – by appointment onlytel: 020 7389 3050fax: 020 7389 3101email: [email protected]://www.britishcouncil.org/arts-art- architecture-design-library.htm

Admissions procedure: The library is mainly for use by British Council staff and affiliates. However, access is granted to external researchers by appointment – contact Stella Harpley at the above email to arrange this.

Collection information: The library mainly contains information on artists born or living in Britain. While it contains a large selection of books and pamphlets, its greatest asset is its collection of exhibition catalogues and biographical information on both well-known and emerging artists. The website has an online catalogue.

British Film Institute Library

Address: 21 Stephen Street, London W1P 2LNUnderground: Tottenham Court RoadOpening times: 10.30am–5.30pm Mon & Fri,10.30am–8pm Tues & Thurs, 1pm–8pm Wedtel: 020 77255 1444 x 2120fax: 020 7436 2338email: [email protected]://www.bfi.org.uk/nationallibrary/http://www.lib.bfi.org.uk/cgi-bin/w207.sh (online catalogue)

Specialist area: British and international film and television: theory, monographs, catalogues and magazines.

Admission procedure: A day pass is £6, a weekly pass is £15 (valid for five consecutive days), and an annual pass is £20 (£33 for non-students). It is recommended to ring in advance and reserve a place, as the library does not sell day passes when the reading rooms are full.

Type of library: Mainly closed stacks, reference only. A large number of periodicals are on open stacks. Three books may be requested at any one time.

Requisition time: Between five minutes and an hour. Advance orders can be made by phone.

Laptops: Welcome.

Photocopying: Self-service with a copy card: £1 for 8 copies, £4 for 40 copies. Colour copies are done by staff (A4 is £1, A3 is £2).

Photography: Permitted on Wednesday mornings following the signing of a declaration that the images are not for commercial use.

Internet terminals: One.

Bibliographies and CD ROMs: There are several terminals on which to consult Art Index, BHI, FII, FIAF and SIFT. There are also many film CD ROMs: American Film Institute Catalogue, Cinemagic2, Italian Film and Video, TuttoFellini (see online catalogue for full list).

Website: Has downloadable bibliographies on many subjects, including Black Representation in Cinema, Horror, David Lynch, Mexican Cinema, Hitchcock (for full list, see http://www.bfi.org.uk/nationallibrary/collections/bibliographies/index.html). They also have a number of downloadable thematic study guides: 60s British Cinema, War Films, Censorship, Strong Women, etc.

Strengths: The BFI’s own SIFT database, which is very comprehensive. The press cuttings collection (on micro film) which goes back to the 1920s. The free information service by email and phone.

Archives: The BFI’s special collection holds lots of bizarre material, from NFT audio tapes to BECTU trade union interviews with cameramen, technicians, etc. They also hold the papers of Derek Jarman, Peter Greenaway and Joseph Losey.


Stills Department:tel: 020 7957 4797email: [email protected] appointment only.

Seven million stills from films and TV programmes worldwide, along with (off-site) a vast collection of posters and costume design. Photocopies of images and reproductions are available for a fee. NB. The collection lags about one year behind a film’s release date, as the stills are all images used by the press.

The British Library

Address: 96 Euston Road, London NW1 2DBUnderground: King’s Cross, EustonOpening times: 10am–8pm Mon, 9.30am–8pm Tues–Thurs, 9.30am–5pm Fri–Sattel: 020 7412 7677 (Admissions)020 7412 7676 (Humanities Reading Room enquiries)020 7412 7288 (Science, Technology)020 7412 7353 (Newspaper Library)http://www.bl.ukhttp://www.bl.uk/catalogues (online catalogue)

Specialist area: All material published in the UK from 19th-Century to the Present. Humanities Reading Room: national reference collection of printed material in all languages except Oriental, on all subjects except science and technology. Newspaper Library: as well as newspapers, British weekly and fortnightly periodicals.

Admission procedure: Reader’s card (free). Bring an NUS ID card

Type of library: Reference only, closed stacks. However, reference material and bibliographies are on open shelves: hard volumes of ABM and Art Index are at HUR 701.6 (Humanities 2). Art reference books (HLR 703-709) and architecture books (HLR 720-28) are in Humanities 1.

Requisition time: Most books come within an hour. However, a lot of art books are in the Document Supply Centre and take at least 24 hours to be delivered.

Advance orders: These can be made by email ([email protected]). Include the reader’s card number and the call number of the book – which can be checked on the BL public catalogue (http://blpc.bl.uk).

Laptops: Welcome.

Photocopying: Self-service in Humanities with a£1 copy card. All copies (A3 and A4) are 20p – photocopy each page singly. An expensive option is to order photocopies remotely by writing to the Reproductions Department ([email protected]), giving full details of the work, page numbers, type of photocopy required and the call number (but this is circa £15 for 1–10 pages).

Photography: This is complicated and expensive. To take a photograph from a book, written permission from the author and/or publisher is required. The charge is over £25 a print (£15 per slide).

Internet terminals: Each Humanities reading room has an electronic resources room containing two Internet terminals and four CD Rom terminals. The Internet terminals need to be booked in advance at the Information Desk. Printouts require a photocopy card. No email access.

Bibliographies and CD ROMs: The British Library’s exhaustive array of bibliographic CD ROMs is located next to the internet terminals, along with online databases accessible via the intranet. There are two ways to access these: (i) via Netscape (the home page lists them by title and by subject), and (ii) by clicking on Start/Programs/Periodical Indexes. This latter route links to Art Index, Philosopher’s Index and more. Printouts can be with a photocopy card.

Newspapers: The British Library’s newspaper holdings are held in Colindale Avenue, London NW9 5HE. A Reader’s card is required for access.

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The Conway Library

Address: Courtauld Institute of Art,Somerset House, The Strand, London WC2R 0RNUnderground: Temple, Holborn, Charing Cross Opening times: 10am–6pm Mon–Fritel: 020 7848 2782email: [email protected]://www.courtauld.ac.uk/research/photographic/conway/index.shtml(no online catalogue)

Specialist area: Over a million photographs and reproductions of architecture and architectural drawings and sculpture from Ancient Greece to the present day, illuminated manuscripts, stained glass and applied art. The Western tradition is covered from Antique/Classical period to the present. Everything is filed on cards, like the Witt, but this time the box files are red.

Admission procedure: Free. No appointment necessary.

Lockers: Located just outside the Courtauld Library.

Photocopying: No copiers in the library, but access to the Witt’s copier is permitted.

Photography: Not permitted. Reproductions have to be ordered via the library.

Internet terminals: None. The library isn’t digitally catalogued, but they do have the Bildarchiv FotoMarburg (The Marburg Index, a German picture archive) on microfiche.

Strengths: Many of the photographs are taken by Courtauld staff for teaching so the quality is high and negatives, mostly black and white, are held in the building.

Courtauld Institute of Art

Address: Somerset House,The Strand, London WC2R 0RNUnderground: Temple, Holborn, Charing Cross Term time opening: 9.30am–9pm Mon–FriVacation opening: 10.30am–5pm Mon–Fritel: 020 7848 2701 (enquiries)email: [email protected]://www.courtauld.ac.ukhttp://library.kcl.ac.uk/ALEPH/start/cia (online catalogue)

Specialist area: History of Fine Art in Europe and the European tradition, from the classical period to today.

Admission procedure: RCA students can obtain a short-term external readers ticket. Take a student i-d card and proof of address. During the term it is recommended to phone ahead. A bar-coded card will be issued.

Type of library: Mainly open stacks. Some special collections are closed access, and are retrieved only three times a day – in which case, send an email request to save time.

Laptops: Welcome. Some tables in the gallery area are devoted to laptop users.

Photocopying: 5p for A4, 10p for A3, coins only. No colour copies. The Librarian’s approval is required for everything that is copied.

Photography: Cameras are permitted in the library.

Internet: There are five terminals. No email access.

Bibliographies and CD ROMs: RAA, RILA, BHA, ABM, API and Art Index. There is no printer, but downloads to disk are permitted.

Strengths: Exhibition catalogues are in open-access rolling stacks for easy browsing. The periodical holdings on open stacks are excellent.


Crafts Council Library and Resources Centre

Address: Crafts Council, 44a Pentonville Road, London, N1 9BYUnderground: Angel, King’s CrossOpening times: Visits can be arranged for 10am–1pm or 2pm–5pm on Wed and Thurs. Contact the Research & Information Team in advance. tel: 020 7806 2502fax: 020 7833 4479email: [email protected]://www.craftscouncil.org.uk/ref/index.html

Collection information: National Register of MakersA unique database of UK based designer-makers working in contemporary craft.

Photostore: An online index of craft makers selected by the Council’s panel of contemporary craft experts. You can also search images from the Crafts Council’s archive, and objects in the Crafts Council collection.

Resources Directory : A database of over 700 craft organisations, including listings of workshop spaces, short courses, craft fair organisers, funding bodies and craft guilds.

Geffrye Museum: Domestic Interiors Study Centre

Address: Kingsland Road, Shoreditch, London E2 8EAtel: 020 7739 9893email: [email protected]://www.geffrye-museum.org.uk/domesticinteriors/

Collection information and admission procedure: The museum has a comprehensive library and furniture trade archive in addition to a specialist enquiry service. Should you wish to speak with the Curatorial department, contact by phone or email. Admission to the library is by appointment only.

Hyman Kreitman Research Centre Tate Britian

Address: Millbank, London SW1P 4RGUnderground: PimlicoOpening times: 10am–5pm Mon–Fritel: 020 7887 8838email: [email protected]://www.tate.org.uk/researchservices/researchcentre

Specialist area: British art from the Renaissance to the present and international modern art – i.e. literature that backs up the Tate’s collection – plus museum management, curatorship and conservation.

Admission procedure: Book in advance for limited reader spaces. An NUS ID card and two photographs are required for a reader’s card and a letter of reference from the RCA in order to register fully.

Type of library: Reference only, closed stacks. Bibliographic volumes and current art magazines are kept on open shelves in the reading room.

Requisition time: Books are collected every half-hour.

Laptops: Welcome, but limited spaces.

Photocopying: Self-service, and expensive: A4 is 20p, A3 is 40p.

Photography: Permitted for personal research purposes only, following the completion of a form.

Internet terminals: Four. Printouts are free, although an A4 colour print costs £1.

Bibliographies and CD ROMs: Art Index, ABM and Wilson Art Abstracts are on each internet terminal. CD ROMs are kept behind the librarian’s desk: Edward Hopper, Musée d’Orsay, National Gallery, New York MOMA, etc. The open shelves have many bibliographical finds – such as the Index Expressionismus (1972), Encyclopaedia of Aesthetics (OUP, 1998), and a Futurism bibliography (1976).

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Strengths: International art magazines. Press cuttings on British art and files on every British artist are kept in closed stacks and need to be requested: the most comprehensive and user-friendly contemporary art resource in London.

Imperial College Library

Address: Central Library, Imperial College London,South Kensington Campus, London SW7 2AZUnderground: South KensingtonOpening times: 9.30am–7pm Mon–Fri, 9.30am–5.30pm Sat, CLOSED Suntel: 020 7594 8820fax: 020 7594 8876email: [email protected]://www3.imperial.ac.uk/library

Admission procedure: Students and staff of the Royal College of Art and Royal College of Music may join the Central Library on the South Kensington campus as local borrowers. Please apply for a card at the Registration Desk on level 1.You will need to complete a registration form and show some identification and proof of your current status. You will be required to provide your date of birth on the registration form.

Electronic resources: Imperial College PCs and access to the internet are not available to external users. Some electronic database and journal titles can be made available when our licences permit. If there is a particular resource you wish to access, contact the Central Library Help Desk.

Photocopying and printing: Guest cards may be borrowed from the issue desk. Cost for an A4 sheet is 4p.

Strengths: Science & Technology, Engineering.

Special collections: The library holds a large number of special collections on a wide range of subjects. See their website for details.

inIVA Library

Address: 6–8 Standard Place, Rivington StreetLondon EC2A 3BEUnderground: Old StreetOpening times: 10am–1pm & 2pm–5pm Mon–Wed, 10am–7pm Thurstel: 020 7729 9616email: [email protected]://www.iniva.org/library (includes online catalogue)

Specialist area: Contemporary art from Africa, Asia, Latin America and the work of British artists from different cultural backgrounds.

Admission procedure: Book in advance – spaces are limited, especially during term time. There is a charge: £1 per day for students (on production of a valid ID card), or £6 per year.

Type of library: Reference only, open stacks.

Laptops: Welcome.

Photocopying: Self-service, 10p A4, 20p A3.

Photography: Permitted for personal use.

Internet: Two terminals, which are also the online catalogue. Print-outs are 10p per page. No email access.

Bibliographies and CD ROMs: 170 approx CD ROMs and DVDs, but there are a number of bibliographies as hard-copy volumes: Latin American Women Art-ists, The Arts of Africa, Nigerian Artists (look under keyword ‘bibliography’ in the online catalogue).

Strengths: Non-Western art magazines. Substantial collection of post-colonial and feminist critical theory. The catalogue is simple but very detailed, and throws up references from periodicals and collections of essays.


Kensington and Chelsea Public Library

Address: Phillimore Walk, London W8 2RXUnderground: High Street KensingtonOpening times: 9:30am–8pm Mon (Children’s 6:30pm), 9:30am–8pm Tues (Children’s 6:30pm),9:30am–5pm Wed, 9:30am–8pm Thurs (Children’s 6:30pm), 9:30am–5pm Fri, 9:30am–5pm Sat:tel: 020 7361 3010020 7361 3610 (24-Hour Renewals)fax: 020 7361 2976email: [email protected]://www.rbkc.gov.uk/libraries/

Admissions policy: Services available to anybody who lives, works or studies full-time in the Borough.

Facilities: Computers offering Internet, scanning and word-processing are available throughout the library.

Laptops: Use only in designated areas.

Museum of Domestic Design and Architecture (MODA) Study Room

Address: Middlesex University, Cat Hill, Barnet, Herts, EN4 8HTOpening times: 10am–5pm Tues–Sat., 2pm–5pm Suntel: 020 8411 5445email: [email protected]://www.moda.mdx.ac.uk

Admissions procedure: The Study Room is a free facility, open to everyone interested in finding out more about MoDA’s collections. MoDA is able to display only a limited number of items from its collections, and the rest are held in the Collections Store. Contact Maggie Wood on the above number if you are interested in particular items not normally displayed in the museum.

National Archives (Public Record Office)

Address: Ruskin Avenue, Kew, Richmond, Surrey TW9 4DUUnderground: Kew GardensOpening times: 9am–5pm Mon, Wed, Fri10am–7pm Tues, 9am–7pm Thurs, 9.30am–5pm Sattel: 020 8876 3444http://nationalarchives.gov.uk/default.htm

Admission procedure: You must obtain a reader ticket to visit the archives. Proof of identity is required to get your reader ticket. You can pre-register online. Reader tickets are valid for 3 years after the date of issue.

Collection information: The National Archives holds the government or ‘public’ records of the United Kingdom, England and Wales. Some private papers such as those of Prime Minister, Ramsay MacDonald are also held. The National Register of Archives, which has information on British historical resources that are held elsewhere, is also at Kew. Please be aware that some public records are held locally. Catalogues are available online. Low-usage items are kept off-site and need to be requested. It is recommended that you begin your search online before making a trip to the actual archives.

Requisition time: 40 minutes

Ordering documents in advance: Up to three documents can be ordered in advance of your visit by telephone or email. Documents kept off-site will be available at the Kew site within three working days.

Copying Services: Copies of documents can be ordered through the website or at the site. See website for details.

Photography: Digital cameras can be used to take photographs of some documents.

Laptops: Welcome in selected areas. The on-site café has wireless internet access.

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Prohibited Items: You cannot use pens, coloured pencils or scanners, in the reading rooms. No more than one spiral-bound, stapled or sewn (not glued) notepad – up to A4 size. Loose sheets of paper may be taken into the reading rooms only after they have been stapled together at the security desk.

National Art Library

Address: Victoria and Albert Museum,Cromwell Road, London SW7 2RLUnderground: South KensingtonOpening times: 10am–5pm Tues–Sattel: 020 7942 2400email: [email protected] http://www.nal.vam.ac.uk (includes online catalogue)

Specialist area: The UK’s biggest collection of documents about art, craft and design.

Admission procedure: Present student ID and proof of home address. The options are either a Temporary Ticket (three months, renewable) or a Reader’s Ticket (three years, renewable, take 2 passport-sized photos). Both are free.

Type of library: Closed stacks, reference only – but key reference materials (bibliographies, dictionaries, encyclopaedias etc) are on open stacks near the issue desk.

Requisition time: 25–45 minutes.

Advance orders: Up to six books (not periodicals) can be ordered in advance by phone.

Laptops: Welcome.

Photocopying: 30p per sheet plus VAT, with a minimum charge of £1.20 plus VAT on all orders). Requests must be made by 4.30pm (otherwise they will be sent by post). Ordering by phone is expensive: the usual rate plus £5.

Photography: Pictures without flash are permitted for personal research – following the completion of a clearance form. A camera stand is also available. tel: 020 7942 2484

Internet terminals: There are several terminals for consulting CD ROMs. Printouts are 15p per page.

Bibliographies and CD ROMs: Online databases include BHA, IAP, British Humanities Index, ABM, Art Index & Retrospective, DAAI and Art Market Report. There are many of CD ROMs too: type in ‘CD Rom’ under ‘Document Type/Physical Description’ on the catalogue for a full list. Includes Edward Hopper, Mayer International Auction Records, British Art Collection, etc.

Website: The online catalogue contains all acquisitions.

Strengths: Periodicals, exhibition catalogues and sales catalogues. Design and decorative art is particularly strong because of the V&A’s collection. They also have a surprising amount of contemporary theory.

Newspaper Library (part of the British Library)

Address: Colindale Avenue, London NW9 5HEUnderground: ColindaleOpening times: 10am–5pm Mon–Sattel: 020 7412 7353fax: 020 7412 7379email: [email protected]://www.bl.uk/collections/newspapers.html

Admissions policy: Admission to the Newspaper Reading Rooms is by Reader Pass; either a Newspaper Reader Pass or a British Library photographic Reader Pass, as issued by Reader Registration at the British Library, St Pancras. A Newspaper Reader Pass is available to anybody over the age of 18 who needs to use the Newspaper collections for research purposes, to consult material not readily available in other libraries. Newspaper Reader Passes are issued to applicants in person in the Newspaper Reading Room. You will need to show two forms of identification, one proof of your identity (e.g. Passport, driving licence, bank cheque card etc) and one proof of your address (e.g. utility bill, bank statement, driving licence with address etc.).


About the collection: The collection includes British and Overseas newspapers, popular magazines and periodicals. They are available in hard copy, in microform and on CD-Rom for viewing. The website has an online catalogue and archive of some newspapers (pilot scheme).

Copy services: photocopies, digital and microfilm copies of originals can be ordered from the Enquiry Desk in the Reading Room. There is a minimum charge of £15.

Facilities and use of the Reading Room: Ppencils, not pens, must be used in the Reading Room. You may buy pencils at the Enquiries and Admissions desk. The Newspaper Reading Room has 147 reader places. These include:• 77 general seats for consulting hardcopy

newspapers• 54 seats for readers viewing newspapers

on microfilm• two seats for readers viewing newspapers

on microfiche• eight microfilm reader-printers• six electronic resource workstations.

There are also seven newspaper catalogue terminals and one British Library Integrated Catalogue terminal.

Readers may use their own portable micro-computers in the Reading Rooms and there are special facilities for readers who wish to use their own typewriters or tape-recorders.

Royal College of Art

Address: Kensington Gore, London SW7 2PUUnderground: Knightsbridge, South Kensington, High Street Kensington, Lancaster Gate Term-time opening: 9am–9pm Mon–Fri, 12–5pm Sat Vacation opening: 10am–5pm Mon–Fritel: 020 7590 4224email: [email protected]://www.rca.ac.uk/library

Specialist area: General art and design and related subjects, including architecture, photography, film and cinema. Also humanities related and some technical and scientific material.

Admission procedure: Free for RCA students.

Type of library: Open stacks. Back issues of periodicals are kept on closed stacks, which are ordered over the counter on special slips.

Requisition time: For periodical and thesis material, two or three collections are made per day.

Laptops: Welcome.

Photocopying: Self-service, with a £1 card (this gives 50p worth of copies). A4 is 6p, A3 is 12p. There is also a colour copier: A4 for 60p, A3 for £1.

Photography: Permitted. Ask the library staff for a cameral stand, if required.

Internet terminals: One, with web access to databases. Print outs from all terminals are free.

Bibliographies and CD ROMs: None – the library subscribes to web-based databases only: Art Index, ABM, DAAI, amongst others.

Strengths: The video and DVD collection is great – both films (to borrow) and TV programmes (to watch in the library).

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Royal Geographical Society – Foyles Reading Room

(The RGS is on the opposite side of the Albert Hall to the RCA)Address: 1 Kensington Gore, London SW7 2ARUnderground: South KensingtonOpening times: 10am–5pmtel: 020 7591 3000fax: 020 7591 3001http://www.rgs.org/SpecialInterests/students/Foyle+Reading+Room.htm

Admission procedure: Access to the Reading Room is open to anyone who wishes to view the Society’s collections. To register as a reader bring ID (i.e. driving license, RCA photo card, passport and a recent utility bill). All readers are photographed on registration. Access is free to those in formal education (proof of educational status is required).

Collection information: The Society holds one of the world’s pre-eminent geographical collections at around 2 million items. Items include artefacts, books and pamphlets, expedition journals, maps and atlases, and manuscripts. There is also an online photographic archive available.

Security and restrictions: Lockers are provided for items which cannot be brought into the Reading Room (£1 coin required as returnable deposit). Cameras and other forms of copying equipment are not allowed.

Science Museum Library

This is part of the Imperial College Central Library. See the above entry on the ICL Library for details on opening times etc.

St Bride Printing Library

Address: St Bride Institute, Bride Lane, Fleet Street, London EC4Y 8EQUnderground: BlackfriarsOpening times: 9.30am–5.30pm Mon–Fritel: 020 7533 4660email: [email protected]://www.stbride.org/stbride.htm The library’s catalogue is online as part of the

Corporation of London’s library catalogue. http://www.bookhad.ac.ukBookhad is a printing reference resource that has catalogued part of the library’s collection, along with that of the London College of Printing and Manchester Metropolitan University.

Specialist area: Printing, papermaking and bookbinding, publishing and bookselling, newspapers and periodicals, illustration, graphic design, calligraphy and type.

Admission procedure: Free, no booking or card required.

Type of library: Reference only, closed stacks. The most popular books (contemporary not historical) are in cabinets in the Reading Room, while the other 93% of the collection is in closed stacks.

Requisition time: 5 minutes.

Photocopying: the staff will make copies upon request and post them if necessary. A4 is 25p, A3 is 50p.

Photography: By appointment only; the library has a camera stand. NB: There is also a slide loan collection.

Internet terminals: None.

Bibliographies and CD ROMS: Ask at the desk to consult the CD ROMS of PIRA (Printing Industries Research Association) Abstracts, the English Short-Title Catalogue, and The Dictionary of National Biography. For all other bibliographical enquiries, consult the staff.

Periodicals: Current periodicals are in the Reading Room, and vary from academic obscurities (Paper Conservation News) and design magazines (Eye) to trade journals (Labels and Labelling). Over 2000 titles are in stock.

Strengths: Printing, typography and graphic design. The head librarian Nigel Roche and his staff are completely abreast of printing scholarship.


University College London

Address: Main Library, Gower Street, London WC1E 6BTUnderground: Euston SquareTerm time opening: 8.45am–10.30pm Mon–Thurs, 8.45am–7pm Fri, 8.45am–4.30pm SatSummer Vacation opening: 9.30am–7pm Mon–Fritel: 020 7679 7793email: [email protected]://www.ucl.ac.uk/library (includes online catalogue)

Specialist area: This is a multi-faculty library equiv-alent to other leading UK universities. The main library holds humanities, economics and law.

Admission procedure: The RCA is a participant in the SCONUL Research Extra (SRX) borrowing scheme. Therefore academic staff and research students can obtain a borrowing ticket (5 books at a time). The RCA library will issue an SRX card in advance which needs to be shown along with a passport photo.

Type of library: Open stacks.

Laptops: Welcome.

Photocopying: Self-service, with a rechargeable opy card. Cards cost £5 each: 50p is copy credit, £4.50 being the cost of the card.) A4 is 5p, A3 is 10p. Copy onto acetate (A4 is 25p) and from a laser printer (colour: A4 is 70p, A3 is £1; black and white: A4 is 20p, A3 is 40p).

Internet terminals: There are several but these are only accessible with a UCL login name.

Bibliographies and CD Roms: The UCL’s biblio-graphical databases are on the web, but a UCL Athens password is required to access them.

University of London Library

Address: Fourth floor, Senate House, Malet Street, London WC1E 7HUUnderground: Russell SquareTerm time opening: 9am–9pm Mon–Thurs, 9am–6.30pm Fri, 9am–5.30pm SatVacation opening: Consult website for detailstel: 020 7862 8500 (general)020 7862 8461/2 (information centre)email: [email protected]://www.ull.ac.uk

Specialist area: All subjects taught at the University of London: humanities, social sciences, philosophy, history, literature, and media.

Admission procedure: Visitors registered for a PhD or MPhil have free access (reference only) – but require a letter from the RCA confirming status. Otherwise it’s expensive: student rates are as follows (reference only) – one day £5, one week £25, one month £45, six months £60, one year £115. Fees for borrowing books are: £70 for six months or £117 for one year.

Type of library: Open stacks on several different floors. Special collections and periodicals are on closed stacks.

Requisition time: Minimum 30 minutes waiting time for periodicals.

Laptops: Welcome, but not in the Goldsmiths’ Reading Room.

Photocopying: Self-service with a card (£2–£20) from the Photographic Office or from the issue desk on the fourth floor. Pages vary from 9p to 13p a copy depending on the size of the copy card purchased.

Photography: For details consult the photography department on 020 7862 8459.

Internet terminals: Four terminals in the Middlesex South Reading Room. Downloading is free after purchase of a formatted disc for £2. Printouts are 10p each. It is advised to book these in advance by telephoning 020 7862 8461/2.

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Bibliographies and CD Roms: The library’s comprehensive database resources are listed on the internet at http://www.shl.lon.ac.uk/resources/. This site tells whether the resources take the form of hard volumes, a CD Rom or online subscription, and if a password is needed to access them.

Strengths: Philosophy and psychoanalysis (the latter collection is on loan from the British Psychological Society), and an excellent selection of interdisciplinary periodicals, including many not held by the British Library.

Warburg Institute Library

Address: University of London, Woburn Square, London WC1H 0ABUnderground: Russell Square, Goodge StreetTerm time opening: 10am–6pm Mon–Fri, 10am–8pm Tues–Thurs, 10am–4pm SatVacation opening: 10am–6pm Mon–Fri (Saturdays are closed during August and September)tel: 020 7862 8935/6email: [email protected] http://www.sas.ac.uk/warburg(online catalogue covers 80% of the collection)

Specialist area: An interdisciplinary library specialising in cultural and intellectual history, with particular reference to the classical tradition. The collection was started by the German art historian Aby Warburg and is organised according to his personal classification system, in which art is connected to other disciplines, particularly religion, mythology, politics, social science, literature and history.

This is reflected in the library’s organisation over four floors, each of which has its own theme: Image, Word, Orientation and Action. Image is art history; Word is works of literature; Orientation covers religion and philosophy; Action deals with social and political history, magic and science.

Admission procedure: Free – but PhD students will need to provide evidence of enrolment and valid ID.

Type of library: Open stacks, reference only. Ten books can be reserved at a time.

Laptops: Welcome.

Photocopying: Material to be photocopied must be approved by library staff. A copy card: £3 (30 units), £10 (125 units). A4 copies use one unit, A3 copies take one.

Photography: Permission is required; there is an in-house photographer.

Internet terminals: On the ground floor there are four terminals connected to the internet, available for consulting CD Roms, and one terminal on each floor. The only one that permits email is in the basement.

Bibliographies and CD Roms: The Warburg has a massive number of bibliographies, both on CD Rom, hard copy and as online subscription. See the full list online: http://www.sas.ac.uk/warburg/intranet/sources.htm

Periodicals: Online: http://www.sas.ac.uk/ warburg/mnemosyne/periodicals.htmThere is also an amazing array of obscure international academic journals in the pigeon holes on the ground floor – from the Journal of Neoplatonic Studies to the Bulletin of British Byzantine Studies.

Strengths: Classical, Medieval and Byzantine art, manuscript illumination, iconography, aesthetics, German and Italian art.


Warburg Photographic Library

Address: University of London, Woburn Square, London WC1H 0ABUnderground: Russell Square, Goodge StreetTerm time opening: 10am–6pm Mon–Fri,10am–8pm Tues–Thurs, 10am–4pm SatVacation opening: 10am–6pm Mon–Fri (closed Sat during August and September)tel: 020 7862 8928email: [email protected]://www.sas.ac.uk/warburg/photos/photos_index.htm

Located on the first floor of the Warburg Library, the photographic collection holds around 300,000 images from Ancient Greece to the late 17th century (but going beyond this if iconographically significant).

The images are filed, folder within folder, according to Warburg’s classification: for example, Magic and Science leads to Elements, then Effects of the Elements, then Rainbows.

Unlike the Conway and the Witt Libraries – which are photographic libraries organised alphabetically by artist – the Warburg is entirely thematic.

Wellcome Library

Address: 210 Euston Road, London NW1 2BEUnderground: Euston SquareOpening times: 10am–6pm Mon, Wed, Fri, 10am–8pm Tues and Thurs, 10am–4pm Sattel: 020 7611 8722Fax: 020 7611 8369email: [email protected]://library.wellcome.ac.uk/index.html

Admissions procedure: The library is open to anyone with a research or study interest in the history and progress of medicine. Register either as a day user or full member of the library (three years). Bring some personal ID and proof of address (i.e. utility bill) when you register. To save time, complete the application form before you visit (available on the website).

Security and restrictions: Bags will be searched. Larger bags, including laptop bags, are not allowed in the library. Clear plastic bags are provided to carry essentials into the library.

Collection information: The library holds an extensive collection of materials relating to the history of medicine and medical research. Far-reaching rare books collection (60,000 pre-1851 texts). Also, the library holds two large image collections (both moving and static) and an extensive sound archive.

Electronic resources: Databases on the collections, digitised texts and electronic journals are all available through the library. Some of these resources can be accessed remotely.

Laptops: Welcome. Wireless internet available to registered members.

Computers: Computers with word-processing facilities are available for members. All computers have access to the library’s online databases and collections.

Photocopying: Available only on certain texts: 5p per A4 sheet.

Printing: Available (B&W 5p, colour 50p)

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Westminster Reference Library

Address: Art and Design Department, St Martin’s Street, London WC2H 7HPUnderground: Leicester Square, Charing CrossOpening times: 10am–8pm Mon–Fri, 10am–5pm Sattel: 020 7641 4636 (general)020 7641 4606 (art and design department)email: [email protected]://www.westminster.gov.uk/libraries/special/artdesign.cfm (includes online catalogue)

Specialist area: This is the largest public library collection of books on art, architecture and design. In the same building are also found music, theatre and film. As it is aimed at the general public the collection isn’t very academic, but there are contemporary art exhibition catalogues (mainly from UK public venues) and some theory.

Admission procedure: Free.

Type of library: Reference only, closed stacks. Periodicals are all on open shelves around the reading room.

Requisition time: Up to 15 minutes.

Laptops: Welcome.

Photocopying: Self-service, after staff approval, on the first floor: A4 is 10p, A3 is 20p. Colour photocopies are £1 for A4 and £1.50 for A3.

Photography: With the librarian’s approval, beforehand by phone for a timeslot before the library opens (i.e. between 9am and 10am). If it is for publication, there may be a fee.

Internet terminals: On the first floor there are eight, which can be booked and have email access. The first floor reading room has more terminals. CD Roms can also be consulted from here via the intranet.

Bibliographies and CD Roms: Ask at the issue desk for Art Index Retrospective, Art Abstracts, ABM, DAAI and Film Index International.

Strengths: The periodical collection, which covers all the main art and design magazines. Almost all of these are on open stack so it’s good for instant consultations – e.g. Artforum from 1973 onwards, Apollo from 1951 onwards, etc.

The Witt Library

Address: Courtauld Institute of Art, Somerset House,The Strand, London WC2R 0RNUnderground: Temple, Holborn and Charing CrossOpening times: 10am–6pm Mon–Fritel: 020 7848 2743email: [email protected]://www.courtauld.ac.uk/sub_index/photographic (no online catalogue)

Specialist area: Two million photographs, cuttings and reproductions of paintings, prints and drawings of Western art from the 13th-Century to the present day. The library covers works in public collections and some private ones. Each photograph is mounted on card with information about the artist, title, provenance, location, size and medium.

Admission procedure: A photo is taken and reader’s card issued with a key card, cost £5.

Type of library: Open stacks, organised by national school and artist in alphabetical order.

Lockers: Outside the Courtauld Library and within the Witt Library.

Laptops: Welcome.

Photocopying: Normal B&W photocopies are self-service, at 10p per A4 copy (coin operated). Laser photocopies (B&W and colour) are staff operated at 50p per copy.

Photography: No photography is permitted. There is a black and white photo service available, with prices starting from £11. There is also a three to five week waiting time.

Internet terminals: One.


CD Roms: ION Art database, a list of works by Old Masters at auction (pictures included and Agents for Alinari archives).

Strengths: American school database Golden Eye and British Artist Database. The collection is useful for art-historical provenance and general picture research. Invaluable for research on obscure artists.

The Women’s Library

Address: Old Castle Street, London E1 7NTUnderground: Aldgate EastOpening times: 9.30am–5pm Tues, Wed, Fri,9.30am–8pm Thurs, 10am–4pm Sattel: 020 7320 2222email: [email protected]://www.thewomenslibrary.ac.uk (includes online catalogue)

Specialist area: Women’s history in the UK.

Admission procedure: Free. A day pass will be issued with proof of student ID.

Type of library: Open stacks for books post-1920. The pre-1920 material is closed stacks. Open stacks for periodicals post 1970s.

Requisition time: Collections are made on the hour, and take 15–20 minutes.

Laptops: Welcome, if not essential, as it is pencils only in the reading room.

Photocopying: Self-service. Buy a card from the front desk (£2, £5 or £10). Copies are 15p each for A4, 30p from microfilm (no A3 possible).

Photography: Photographs are not permitted in the library, but there is a reproductions service. Telephone for details.

Internet terminals: Eight. Read-only email access. Printouts can be made with a photocopy card.

Bibliographies and CD Roms: None.

Strengths: Women’s rights, suffrage, sexuality, health, education, family – in Britain. There is a good selection of vintage periodicals on open stacks: from Cosmopolitan to Soviet Woman via Diva, Hypatia and Women’s Weekly.

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13chapter

In 2008 the RCA’s research community ensures that the College continues to be – in the words of the Rector – the longest continuous experiment in publicly funded art and design education anywhere in the world.

good research practice

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126 // good research practice // research rca handbook 08·09

intellectual property rightsIt is important that all students are aware that some of the information they identify, receive and utilise during their research may be confidential or com-mercially sensitive. It may be that this information is the result of the efforts of another researcher who is bound by a confidentiality agreement with an industrial sponsor. In any case, students must be careful that such information is kept secret and confidential and is not divulged other than to a person who is a staff or student member of the RCA and that the receiving person is notified that the information is confidential. Information can be carefully shared with parties outside the College provided they have signed an official confidentiality and non-disclosure agreement.

Many outcomes of research are potentially subject to intellectual property rights (IPR). A student’s thesis will be automatically protected by copyright, the shape and look of 3D work may be design-registrable and/or the function of an invention may be patentable. All IPR in the work may be sold or licensed provided the student has taken the necessary steps to protect them. The issue of ownership of the IPR needs serious consideration, particularly if a student is working with a company on developing a new product or technique, or plans to apply for funding from industry. The Regulations of the College state: “5.1 The rights, property and title in and to and the copyright, design rights, patent rights, performing rights, rental rights and all other rights of a like or similar nature anywhere in the world (the IPR) in all work in any dimension, form, or medium howsoever and whatsoever executed or produced by the student in the course of his or her studies or deriving therefrom (the Work) is hereby assigned to and owned by the College absolutely.” This means that the College can exploit the work in any manner whatsoever.

When a student graduates from the College, the IPR for their work is passed to them, unless they have successfully applied to the College’s “Selected Works” programme. This regulation means that the College can protect the students’ interests by taking issue with any company that seeks to use the intellectual property without authorisation.If the College decides to commercially exploit a student’s work through the Selected Work programme, the College will enter into an arrangement with the student regarding sharing of any profit arising from the exploitation of the Selected Work.

The Selected Works programme is run by InnovationRCA. Research students can submit applications to the programme should they have projects which incorporate technical innovations and suggest commercial potential. The College covers the legal fees associated with protecting the IP in the successful projects and works with the students to promote and sell their products to industry. For further information on the scheme, or on IPR issues in general please contact Nadia Danhash on extension 4149, [email protected]. Or visit the website: http://www.innovation.rca.ac.uk.

Finally, on joining the College, the student agrees to be bound by the Regulations of the College. It is recommended that students familiarise themselves with section 5 of the Regulations which covers intellectual property rights in detail. The full text of these can also be found in the College Handbook.

research ethics Research at the Royal College of Art aims for the highest possible standards within the disciplines of art and design. The College’s reputation depends on self-regulation of quality and conduct in the work of staff, associates, research assistants and fellows, students and collaborators.

Please remember that researchers are expected to demonstrate professional integrity and discipline in all aspects of their research.

Researchers should consider the parameters of their intended research and its potential impact. Heads of Department should monitor all research carried out by both staff and students in their department and identify issues or areas of potential breach of the Royal College of Art Code of Practice for Research Ethics.

rca research ethics checklistShould any of the following elements be involved in the proposed research, advice from the RCA Research Ethics Committee must be sought before the research is undertaken.

• Active involvement of other participants • Passive involvement of other participants• Colleagues and staff within other higher

education institutions • Members of the public • Children, young and other vulnerable persons• Animals • External bodies

Potential influencing factors:• Potential adverse impact on the environment• Moral obligations • Legal liabilities • Insurance • Health and safety

If any of the above elements are present in the research, researchers are required to complete the Research Ethics Checklist and Consent Form (RE 1) (available on the RCA Intranet: http://intranet.rca.ac.uk/pages/research/index.php), providing details of the methods and procedures to be adopted in undertaking the project. This form should be returned to [email protected] for consideration by the Research Office.

Further information about the Research Ethics Committee can be found in this Handbook on page 149.

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rca code of practice for research ethics This Code aims to provide those engaged in research at the Royal College of Art with clear standards of professional conduct in the following areas: • Definition of Research• General Principles• Observance of the Code• Obtaining Approval• Monitoring the Conduct of Research • Data Collection and Retention• Publications and Exhibitions• Recruitment of Participants• Research Involving Animals• Misconduct• The Human Tissue Act• Information, Resources and Links• Acknowledgements.

The Code is outlined in full below:

1. Definition of Research

1.1 Research is defined as “an original investigation undertaken in order to gain knowledge and understanding. It includes work of the direct relevance to the needs of commerce and industry, and to the public and voluntary sectors; scholarship; the invention and generation of ideas, images, performances and artefacts including design, where these lead to new or substantially improved insights; and the use of existing knowledge in experimental development to produce new or substantially improved materials, devices, products and processes, including design and construction. It excludes routine testing and routine analysis of materials, components and processes, such as for the maintenance of national standards, as distinct from the development of new analytical techniques. It also excludes the development of teaching materials that do not embody original research”. (RAE2008).

The definition of research includes the following:• Scholarship: the analysis, synthesis and

interpretation of ideas and information, and the creation, development and maintenance of the intellectual infrastructure of subjects and disciplines, in forms such as dictionaries, scholarly editions, catalogues and contributions to major research databases

• Basic research: work undertaken to acquire new knowledge without a particular application in view

• Strategic research: work which is carried out to discover new knowledge which might provide for future application

• Applied research: work which is undertaken to discover new applications of existing or new knowledge.

2. General Principles

2.1 Researchers are expected to demonstrate professional integrity and discipline in all aspects of their research. Specifically, they shall:• observe fairness• avoid or declare conflicts of interest• oppose prejudice with respect to gender,

religion, national or ethnic origin, age, sexual preference, race, physical or cognitive disability or health condition

• obtain informed consent from, and ensure the health and safety of, those participating in the research

• try to foresee, and keep themselves aware of, the developing consequences of their work and redirect it accordingly if necessary

• render the research and its results open to universal scrutiny, with the sole exception of respecting confidentiality and anonymity in relation to personal or commercially protected information

• abide by all legal and ethical requirements as required by the Royal College of Art and other relevant bodies

• be given access to appropriate training to support good research practice.

The guiding principles of this Code of Research Ethics are non-maleficence and beneficence, indicating a systematic regard for the rights and interests of others in the full range of academic relationships and activities.

Non-maleficence is the principle of doing, or permitting, no foreseeable harm including infringement of rights as a consequence of the research. It is the principle of doing no harm in the widest sense. Beneficence is the requirement to serve the interests and well being of others, including respect for their rights. It is the principle of doing good in the widest sense.

3. Observance of the Code

3.1 Researchers should comply with the legal implications of a piece of research. The Data Protection Act, the Computer Misuse Act, the Equal Opportunities Act, the Race Discrimination Act, the Obscene Publications Act, the Human Tissue Act, and the Human Rights Act are likely to be particularly relevant, along with relevant legislation on Disabilities, Health and Safety and Animal Rights.

3.2 The Royal College of Art must conform to government rules and legal requirements on access to and freedom of information and meet the requirements of funding bodies to publicise research findings.

3.3 Research should abide by the Code of Ethics of any professional body or subject association of which they are members. They should also be aware of any Code of Ethics which applies to potential and actual collaborators on the project and/or other participants. Where the location of the research is external to the Royal College of Art it is essential that the regulations, procedures, practices and guidelines which are relevant in these situations are taken into account.

3.4 The general principle of integrity should inform all research activities. Honesty should be central to the relationship between researcher, participant and other interested parties. Research outputs should contain acknowledgments of the work of others as appropriate. Particular care should be exercised in acknowledging the work of research students. Joint ownership of work by students and supervisors should only occur when a substantive contribution has been made by the supervisor. Issues arising from industrial placements and the protection/registration of materials should also be considered.

3.5 All Royal College of Art staff and students engaged in research must ensure that they have read the Code and observe its terms. Heads of School, Heads of Department, and supervisors of research students have an obligation to secure compliance with the Code within their areas of responsibility.

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3.6 Where a member of staff is unsure of the applicability of the Code to his or her research, advice should be sought from the Research Ethics Committee. Research students should consult their supervisors in the first instance. The ultimate responsibility should belong to the researcher.

4. Obtaining Approval

4.1 If there are any ethical dimensions to the research, a researcher is required to seek advice from the Research Ethics Committee before undertaking the project. In order to do so, the researcher is required to complete the Research Ethics Form (available on the Research Office pages of the RCA Intranet (http://intranet.rca.ac.uk): and furnish details of the methods and procedures to be adopted in undertaking the project.

5. Monitoring the Conduct of Research

5.1 Researchers who have obtained Research Ethics Committee approval for a project must submit a brief report of progress annually, including review of Health and Safety and, if appropriate, risk assessment. Perceived and potential conflicts of interest should be noted at the beginning of the research project.

5.2 Copies of published or disseminated accounts of the research must be sent to the Research Ethics Committee.

6. Data Collection and Retention

6.1 Researchers must comply with the Royal College of Art’s Regulations regarding Intellectual Property Rights. Researchers must guarantee that: • they arrived at their own work independently

and without having copied the work or infringed the rights of any third party;

• the rights, property and title in and to and the copyright, design rights, patent rights, performing rights, rental rights and all other rights of a like or similar nature anywhere in the world (the IPR) in all researchers’ work is assigned to and owned by the College absolutely, in accordance with the Royal College of Art Regulations;

• in the first instance, Nadia Danhash in InnovationRCA is the person to contact for advice on Data Protection and IPR [email protected] or extension 4149.

6.2 Researchers must record accurately their data in a durable form that may be audited, with appropriate references to enable ready recovery.

6.3 Security arrangements to protect research data (where there is an ethical imperative to do so) must be established.

6.4 Video/audio recordings of participants must be kept in a secure place and not released for use by third parties.

6.5 If the project undertaken involves qualitative research*, researchers must ensure that:• Respondents are honestly and comprehensively

informed about the qualitative• research in which they are taking part• Respondents are openly asked to give their

consent to take part and to any subsequent at-tributable use of their comments (and any other material arising from the group/interview)

• Undertakings made to respondents are honoured• The research respects the interests of clients• Respondents are treated with respect at all times• The rights of respondents are paramount.

* Qualitative research, for the purposes of this Code, is defined as research conducted whereby:• the basic methodology involves techniques which

seek to reach understanding through dialogue and evocation (rather than measurement);

• the data-collection process involves open-ended, non-directive techniques (not structured questionnaires);

• the data analysis output is descriptive (rather than statistical).

6.6 Quantitative research should be conducted in a professional manner, without unwelcome intru-sion and without harm to respondents. It should be transparent to respondents and its only purpose should be to collect and analyse information. Guidelines on the design of questionnaires can be found on the Market Research Society website: http://www.mrs.org.uk/standards/quant.htm

6.7 This Code of Practice should be read in conjunction with the RCA Heath and Safety Policy which is available on the Health and Safety section of the RCA Intranet. http://intranet.rca.ac.uk/pages/administration

7. Publications and Exhibitions

Publications and exhibitions are often key to the dissemination of research and constitute an implicit or explicit undertaking that good research practice has been followed. This is a complex area, with many sources of advice and information, but in general: • results should be published in an appropriate form;• the contributions of formal collaborators and all

others who directly assisted or indirectly support-ed the research should be properly acknowledged;

• there should be frank reference to the work of others;

• there should be avoidance of redundant publication;

• fraud and plagiarism are utterly unacceptable;• referees and sponsors should observe appropriate

guidelines for good conduct in terms of confidentiality, disclosure of conflicts of interest and so forth.

Examples of good publication practice can be found in the document produced by the Committee on Publication Ethics entitled Guidelines on good publication and the code of conduct available at http://www.publicationethics.org.uk/guidelines and in A Code of Practice on Archives for Museums and Galleries in the UK available at http://www.archivesandmuseums.org.uk/scam/publications.htm

8. Recruitment of Participants

8.1 Informed Consent: Consent is voluntary agreement based on adequate information. Potential participants should be:• invited to participate;• apprised of the project’s purpose;• given details of what their participation will entail;• assured that they are under no obligation to

participate in the project;• assured that they may withdraw from the project

at any time and their data destroyed, and that their withdrawal will be accepted without question;

• assured that they will not be asked to carry out any activity that involves risk

• represented by someone (such as a family member or carer) well-placed to appreciate the participant’s reaction, as well as an objective and independent advisor, should the participant be unable to give consent owing to impairments in un-derstanding or communication. Where participants are not in a position to give informed consent the researcher should have regard to the advice of the Royal College of Physicians (1990) and the Royal College of Psychiatrists (1990). English law may not currently permit guardians/parents to give consent on behalf of mentally incapacitated adults in certain matters. Researchers should seek advice as to whether they need to obtain a decla-ration from the court that the proposed research procedures are lawful;

• informed of who is sponsoring an event and of any commercial outcomes it may have;

• assured that all data held electronically shall conform to the provisions of the Data

Protection Act;

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• assured that users names and addresses and any other details recorded as background during projects will be treated as confidential and that such information will not be made available to anyone else or published in any form without specific permission;

• informed that the appropriate Health and Safety measures will be observed. And that project organisers will have contact details for medical and other services should these be required in

an emergency; • reimbursed for out-of-pocket expenses incurred

in attending events or participating in trials or research of any kind. Payment over and above this is optional. Any special arrangements or facilities needed to meet the needs of people with particular impairments will be made at the RCA’s expense.

• assured that full indemnity insurance will be taken out to cover all participants;

• assured that the venue will be checked for accessibility where requested. This will include access from public and private transport, communication and other facilities including toilets. All potential participants will be asked for details of their access requirements;

• assured that refreshments will be provided. This will include food for any meeting or event that lasts two hours or longer. Potential participants will be asked for details of any special dietary requirements.

8.2 The purpose of the consent procedure is to ensure that the participant has the necessary information to make a decision, and that the decision is freely made. Researchers are advised to provide their potential participants with:• a written record of invitation;• encouragement to ask questions;• time to reflect on the decision to participate

and a means of contacting the researcher whilst deciding.

8.3 Young persons over the age of 16 are generally thought to be able to give informed consent but it might be appropriate to seek advice depending on the nature of the work. Research involving children under 16 will require the informed consent of parents, carers or guardians. Notwithstanding the fact that parental consent has been obtained, primary responsibility for safeguarding the rights of the child remains with the researcher.

8.4 Research involving children: children should be consulted when the question of their participation in research arises. In a situation where a child is capable of giving consent, the approval of a parent or guardian must still be obtained for any child under 16 years of age. Children should participate in research only if the same knowledge could not be gained from research using adults or where the research specifically addresses issues relating to juveniles.

8.5 Researchers should be aware that they are often in a position of authority or influence over participants who may be their students or employees. This relationship must not be allowed to impel those participants to take part in, or remain, in the investigation.

8.6 Research involving people with learning difficulties or those who are mentally ill: research that could be undertaken with adults without learning disabilities or who are not mentally ill should never be carried out with those who have learning disabilities or mental illness. Moreover: • such research should be limited to that which

is related to the learning disability or illness;• consent must be obtained from the subject,

but it is good practice to obtain consent as well from the next-of-kin or legal guardian after clear explanation of the intended research.

8.7 Research involving pregnant participants should only be undertaken if pregnancy is an essential part of the research. Research into pregnancy and childbirth requires special consideration, as both mother and child are involved. Moreover, the rights and concerns of the father may need to be taken into account.


8.8 Researchers have a primary duty to protect participants from physical and mental harm during the investigation.

8.9 Subject to the requirements of legislation, including the Data Protection Act, information obtained about a participant during the process of research is confidential unless otherwise agreed in advance.

8.10 The collection, storage, disclosure and use of research data by researchers must comply with the Data Protection Act 1998. Researchers should be aware of the risks of identification and breach of privacy and confidentiality posed by all kinds of information storage and processing, including computer and paper files, email records, photographic material, audio and videotapes and any other information in which an individual is named, or from which an individual could be identified.

Templates for consent forms are available on the Research Office pages of the RCA Intranet http://intranet.rca.ac.uk

9. Research involving animals

9.1 Researchers studying animals that are living free should take precautions to minimise interfer-ence with individuals, as well as the populations and ecosystems of which they are a part.

10. Misconduct

10.1 Misconduct occurs when a researcher knowingly and deliberately seeks to corrupt, misrepresent, or falsify the outcomes of the research. It is important that the investigation of allegations of research misconduct will be a fair process that protects the interest of all parties involved.

10.2 Research misconduct has been defined as: “The fabrication, falsification, plagiarism or deception in proposing, carrying out or reporting results of research or deliberate, dangerous or negligent deviations from accepted practices in carrying out research. It includes failure to follow established

protocols if this failure results in unreasonable risk or harm to humans, other vertebrates or the environment and facilitating of misconduct in research by collusion in, or concealment of, such actions by others. It also includes intentional, unauthorized use, disclosure or removal of, or damage to, research-related property of another, including apparatus, materials, writings, data, hardware or software or any other substances or devices used in or produced by the conduct of research ... It does not include honest error or honest differences in the design, execution, interpretation or judgement in evaluating research methods or results or misconduct unrelated to the research process. Similarly it does not include poor research unless this encompasses the intention to deceive,” (Wellcome Trust) [as based on the definitions given in the MRC’s Policy and Procedure for Inquiring into Allegations of Scientific Misconduct (December 1997) and the GMC’s report Good Practice in Medical Research (in print, January 2002) and Imogen Evans, ‘Conduct Unbecoming the MRC’s Approach’, British Medical Journal, vol. 316, June 1998.

“Scientific misconduct can be recognised to cover two broad categories, the distinction being in terms of the focus of the dishonesty. Thus the first arises where there is fabrication or falsification of the research results; the second arises where there is plagiarism, misquoting or other misappropriation of the work of other researchers. Colluding in, or concealing, the misconduct of others is, in itself, misconduct. Honest errors do not, of course, constitute scientific misconduct.” (Drosphilia Genomics Resource Center).

It is also generally considered to include applications for funding with inaccurate or fraudulent information.

10.3 Intentional non-compliance with the terms and conditions of external funding awards, or with the College’s policies and procedures relating to research, constitutes misconduct.

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10.4 Misconduct also includes:• Plagiarism: presenting the work or thoughts

of another as one’s own without permission or citation;

• Fabricating one’s results or analysis;• False claims of publication or dissemination;• Intentional damage to, or removal of, another

person’s research-related property.

10.5 The Royal College of Art will investigate allegations of research misconduct made against its staff, associates, students and others for research being conducted in association with the College. The Royal College of Art is committed to dealing responsibly with cases of suspected misconduct. Researchers are encouraged to report issues to the Research Ethics Committee and to do so in a responsible manner.

10.6 As a result of failure to comply with the provisions of the Code, research will be subject to the College’s disciplinary procedures as set out in the Regulations and funding will be withdrawn. Future applications for funding may also be barred.

11. The Human Tissue Act

11.1 The terms of the Act make it illegal to publicly display any human tissue unless prior authorisation has been obtained from the Human Tissue Authority. Under the Human Tissue Act, public display of a whole body, body parts, or tissue also requires the consent of the person to whom it belongs, whether they are living or deceased.

More information is available on the Human Tissue Authority website, http://www.hta.gov.uk

12. Information, resources and links

Medical Research Council• MRC Applicants Handbook (2007) http://www.mrc.ac.uk/Utilities/

Documentrecord/index.htm?d=MRC001873• Good Research Practice (2000) http://www.mrc.ac.uk/Utilities/

Documentrecord/index.htm?d=MRC002415 • Policy and Procedure for Inquiring into Allegations

of Scientific Misconduct (1997) http://www.mrc.ac.uk/Utilities/

Documentrecord/index.htm?d=MRC002454• Human Tissue and Biological Samples for use in

Research http://www.dt-toolkit.ac.uk/home.cfm• Personal Information in Medical Research

(2000) http://www.mrc.ac.uk/Utilities/Documentrecord/index.htm?d=MRC002420

• Responsibility in Investigations of Human Participants and Material and on Personal Information (1992). Parts of this are superseded by guidelines issued in 2000 and 2001.

• Responsibility in the Use of Animals in Medical Research (1993) – the main principles are summarised in Mice and Medicine

• Principles in the Assessment and Conduct of Medical Research and Publicising Results (1995)

• Research Involving Human Participants in Developing Societies: Ethical Guidelines for MRC – Sponsored Studies – interim guidelines

Engineering and Physical Sciences Research Council (EPSRC)Good Practice in Scientific and Engineering Research http://www.epsrc.ac.uk/ResearchFunding/GrantHolders/GuideToGoodPracticeInResearch.htm

Biotechnology and Biological Sciences Research Council (BBSRC)BBSRC Statement on Safeguarding Good Scientific Practice http://www.bbsrc.ac.uk/funding/overview/good_practice.pdf

Economic and Social Research Council (ESRC)Safeguarding Good Scientific Practice (available in the ESRC Research Funding Guide, p. 35) http://www.esrcsocietytoday.ac.uk/ESRCInfoCentre/Images/ESRC_Research_Funding_Guide_May_2008_tcm6-9734.pdfAlso available on the Dept for Innovation,


Universities and Skills website:http://www.dius.gov.uk/press/safeguarding-statement.html

COPE – Committee On Publication Ethicshttp://www.publicationethics.org.uk/

Wellcome Trusthttp://www.wellcome.ac.uk/node3610.html

European Science Foundation (ESF)Good Scientific practice in research and scholarship. European Science Foundation Policy Briefing. http://www.esf.org/activities/science-policy.html

General Medical Council (GMC)Draft report Good Practice in Medical Research (December 1999)http://www.gmc-uk.org/guidance/current/library/research.asp

National Academy of Science (NAS)NAS 1995 – On being a scientist: responsible conduct in researchhttp://www.nasonline.org

British Sociological SocietyStatement of Ethical Practice, 2002 http://www.britsoc.co.uk/equality/Statement+Ethical+Practice.htmMarket Research Society (MRS)Market Research Society Code of Practice http://www.mrs.org.uk/standards/guidelines.htm

Data Protection Act Guidelines for Social Research http://www.mrs.org.uk/standards/dp.htm#sra

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13. Acknowledgements

• The University of Surrey, Code on Good Research Practice

• The Toronto Resolution (TTR)• Ethical Principles of Psychologists and

Code of Conduct 2002• British Psychological Society, Code of Conduct,

Ethical Principles, and Guidelines, 2002• The Centre for Medical Law and Ethics,

King’s College, London, Manual for Research Ethics Committees (Third Edition)

• The University of the Arts, Code of Practice on Research Ethics

• The National History Museum, Good Research Practice

• RICABILITY – Research Institute for Consumer Affairs guidelines

• Market Research Society (MRS) – Code of Practice http://www.mrs.org.uk/standards/guidelines.htm

rca health and safety policy It is the responsibility of every research degree student to familiarize themselves with the RCA Health and Safety Policy and to ensure that they abide by it throughout their research career at the RCA.

Below is a summary of the RCA Health and Safety Policy. The full Policy is published in the RCA Regulations and on the website: http://intranet.rca.ac.uk

Summary Statement

1. The Council of the College regards Health and Safety as of prime importance in the pursuit of its mission.

2. It is the policy of the College to:2.1 Provide safe and healthy working conditions for all employees and students, to carry out risk assessments and comply with all relevant statutory requirements;2.2 Conduct its activities without risk to the general public;2.3. Provide appropriate supervision, training and personal protection, so far as is reasonably practicable in each case.

3. 3.1 The Rector is responsible for the implemen-tation of the Health and Safety policy. He has delegated these responsibilities to the Registrar.3.2 All Heads of Schools, Heads of Administrative Departments and other designated managers and supervisors are responsible to the Registrar for Health and Safety within their areas.3.3 The Council will ensure that, within the overall resources of the College, appropriate provision is made to enable the College to fulfil its Health and Safety obligations.

4. 4.1 Health and Safety procedures, bulletins and other information will be issued as the need arises and will be held in each School and Department.4.2 The College Health and Safety Policy and Procedures are supplemented by School/Department Codes of Practice, which are regarded as extensions of the Health and Safety Policy.4.3 Heads of Schools and Heads of Administrative Departments are responsible for ensuring that Health and Safety information is circulated to all employees, students, contractors and other visitors within their areas of responsibility, as appropriate.

5. All employees, students, contractors and other visitors are required to cooperate in achieving the aims and objectives of the Health and Safety Policy and to recognise their own responsibilities for safety. The College encourages staff and students to make suggestions for the improvement of Health and Safety within the College, through the appropriate managers, supervisors and union representatives.

6. The College has established a Health and Safety Committee which meets regularly to consider all aspects of Health and Safety, recommend changes in procedures and update policies as necessary.

7. The College will ensure that appropriate advice, guidance and training in Health and Safety are provided for all employees and students.

8. The Health and Safety Policy will be reviewed annually and when changes in circumstances or legislation so dictate.


Heads of Schools / Administrative departments

Each Head of School/Department is responsible to the Registrar for the implementation of the Health and Safety Policy within the School/ Department and will:1. At all times comply with Health and Safety policy and procedures and thus set a good example to employees, students and visitors.

2. Ensure that all employees with supervisory responsibilities for staff and/or students know and understand their responsibilities under the Health and Safety Policy.

3. Ensure that the requirements of appropriate legislation, relevant Codes of Practice and College Health and Safety Procedures are observed by staff, students and visitors.

4. Plan and set up in consultation with the Col-lege Safety Officer a Health and Safety programme within the School/Department. The programme should include routine safety inspections, risk assessments, COSHH assessments, and planning safe workplace layouts.

5. Establish a suitable organisation in consultation with the College Safety Officer to put the programme into effect. The School Safety Officers should be identified and a reporting system established. Heads of Schools should notify the Registrar in writing of the names of the School Safety Officers.

6. Monitor the implementation of the School Health and Safety Programme and the implementation of Codes of Practice, and revise as necessary.

7. Report to the Registrar annually on the progress of the Health and Safety Programme within the School/Department.

8. Make such arrangements as are appropriate and reasonably practicable to assist accredited trades union safety representatives to carry out their duties.

Academic, technical and administrative staff

Academic, Technical and Administrative Staff are responsible for assisting the Head of School/Department in achieving the objectives of the Health and Safety Policy and will:1. Report accidents/dangerous occurrences in accordance with the Accident Reporting Procedure.

2. Take appropriate immediate action to stop any unsafe practices or procedures within their delegated responsibility.

3. Work within all statutory regulations, and codes of practice applicable to the places of work under their control.

4. Ensure, so far as is reasonably practicable that all equipment is safe to use and that there is maintained a safe means of access to, and egress from the place of work under their control.

5. Ensure that all safe working procedures and instructions applicable to the place of work are applied, and review and revise them as necessary if there is a change in the work place or in light of new information.

6. Ensure that all new employees and students receive appropriate induction training and any further safety training necessary for the safe performance of their duties or studies.

7. Ensure that protective clothing and equipment are used for those activities and tasks requiring them.

8. Ensure that contractors on College premises are issued with the relevant statements of Procedures and Codes of Practice.

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Students, contractors and visitors

All students, contractors and visitors are required to co-operate fully in achieving the aims and objectives of the Health and Safety Policy and to recognise their own responsibilities for Health and Safety.

Students, contractors and visitors must not intentionally or recklessly interfere with or misuse anything provided in the interests of safety, health, or welfare in the pursuance of any of the relevant statutory provisions.

Accident and incident reporting

All accidents at the College must be reported. Accident report forms are kept by First Aiders and Department Administrators or in each First Aid Box. They are also posted on Departmental Health and Safety Notice Boards and are available on the College Intranet. First Aid staff should complete a report form immediately after treating the casualty. Completed accident report forms should be forwarded to the Safety Officer.

The Health and Safety Executive (HSE) requires that specified injuries and conditions are reported to them as soon as possible, normally within seven working days. Accidents to staff which result in admission to hospital for 24 hours or three consecutive days’ absence from work, including Saturday and Sunday must be reported to the HSE. All accidents involving students which require hospital treatment, including visits to Accident and Emergency Departments, should be reported if they are work-related. A complete list of reportable accidents is held by the Safety Officer.

The area where an accident which is reportable to the HSE occurred must not be touched, except for the purposes of making it safe, until an investigation by the Head of School/Head of Administrative Department and the Safety Officer has been carried out. The purpose of the investigation is to determine the cause and prevent a re-occurrence.

Near miss report forms are also available for reporting dangerous occurrences. These are posted on Departmental Health and Safety Notice Boards and are also available on the College Intranet.


Employees

All employees will:1. Familiarise themselves with the College Health and Safety Policy Statement and the relevant School/Department Health and Safety Codes of Practice.

2. Ensure that they and any persons under their supervision use safe working practices.

3. Ensure that any health and safety problem which cannot be resolved immediately is raised with the relevant responsible person as a matter of urgency.

4. Ensure that at all times full use is made of appropriate safety devices, protective clothing and equipment.

5. Report to their line manager unsafe practices, systems of work which may be unsafe, unsafe working conditions and damage to plant, machinery or equipment.

6. Take reasonable care for their own health and safety and that of others who may be affected by their acts or omissions whilst at work.

7. Cooperate with the College management so as to enable the responsibilities under the Health and Safety at Work Act to be carried out.

8. Not intentionally or recklessly interfere with or misuse anything provided in the interests of health and safety by the College.

9. At all times set a good example in matters of health and safety for students and visitors to follow.

10. Ensure that visitors using the facilities of the College do not intentionally or recklessly interfere with or misuse anything provided in the interests of Health and Safety.

Hazardous substances and gases

No chemicals, paints, or solvents (including spray cans) may be brought into College without authorisation. A material safety data sheet must be obtained for all hazardous substances in use. A risk assessment must be carried out for all activities and processes involving hazardous substances where there is a potential risk to health in accordance with the Control of Substances Hazardous to Health (COSHH) Regulations.

COSHH assessment training is available for staff. To reduce the risk of accidents involving chemicals, particularly flammable liquids, their use is restricted to those who have been adequately trained. This will include the appropriate action to be taken in case of emergency.

All compressed gas cylinders must be handled carefully, kept upright and protected from excessive heat. Staff and students will be given adequate training in the handling and use of compressed gas cylinders to enable them to identify and understand the risks associated with each product being handled.

Any adverse health effects, however minor, which may be related to the use of hazardous substances, should be reported to the Occupational Health Department and the Safety Officer.

ContractorsA copy of the Code of Practice for Contractors will be issued to Contractors by the Head of Buildings and Estates or the Safety Officer.

The Head of Buildings and Estates is responsible for ensuring that all building work complies with the appropriate building and electrical standards and is carried out safely. Contractors must provide a copy of their public liability insurance and health and safety policy. Risk assessments and method statements must be provided for all hazardous operations. A permit to work system is also in operation for hazardous activities such as ‘hot work’. The Head of Buildings and Estates and the Safety Officer are responsible for ensuring compliance with the Construction (Design and Management) Regulations (CDM).

An asbestos risk register for all College buildings is held by the Safety Officer.

Display Screen Equipment (DSE)All staff DSE workstations should be assessed in accordance with the Health and Safety (Display Screen Equipment) Regulations. Guidance on the ergonomic design and safe use of DSE equipment is available on the College Intranet. A DSE self assessment form should be completed and returned to the Safety Officer. All necessary measures will be taken to reduce any risks identified in the assessment to an acceptable level. Persons using DSE for the first time can contact the Occupational Health Department to arrange for an eyesight test.

Electrical EquipmentStaff and students MUST NOT bring their own electrical equipment, including radios, onto College premises unless the equipment has been tested for electrical safety by the Chief Engineer or his nominee.

Faulty or damaged equipment must not be used. No repairs should be attempted.

Electrical equipment should not be used in damp surroundings or where flammable vapours may be present.

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FireAll staff and students must ensure that they know the fire alarm procedure. They should familiarise themselves with the evacuation routes and fire exits for their area. On hearing the alarm, any equipment in use must be switched off or made safe. All persons must leave the area by the nearest exit using the stairs and go to the assembly point. Designated College Fire Wardens will assist in the evacuation. The assembly point for the Kensington Gore site is the Albert Hall steps. The assembly point for the Howie Street site is opposite the main entrance. The member of staff in the Security Control Room is responsible for calling the Fire Brigade.

If you discover a fire, raise the alarm immediately by breaking the glass of the nearest Fire Alarm Call Point. If you feel competent and it is safe to do so, try to put the fire out using the appropriate extinguisher.• Do not take any personal risk.• Do not use the lifts.• Do not re-enter the building until you are told

to do so.

Fire PreventionFire equipment and escape routes must be kept clear at all times. Fire or smoke doors are clearly marked as such and must not be wedged, propped or tied open. Fire extinguishers must not be used to prop doors open. Flammable liquids and aerosol sprays must only be used in accordance with safe working procedures and should be stored in a flammable storage cabinet when not in use. Workplaces must be kept clear of fire hazards. Fire safety guidelines are posted throughout the College and are available on the College Intranet. http://intranet.rca.ac.uk

First AidFirst Aiders and Appointed Persons are available to treat injuries at work. Notices detailing the names and locations of the nearest First Aid boxes, First Aiders and appointed personnel are shown in prominent locations throughout the College.

Nominated First Aiders are also trained in oxygen administration and the use of defibrillators. For all First Aid or medical emergencies contact Security by phoning 333 for the Kensington premises and 477 for Howie St.

Health and Safety CommitteeThe Health and Safety Committee is responsible for the development of the College’s policies on Health and Safety and for the monitoring of their implementation. The Committee, which meets once a term, is chaired by the Registrar and reports to the Staff Committee which is a sub-committee of the College Council. Membership includes the Rector, the Director of Administration, the Safety Officer, Departmental Safety Representatives and Safety Representatives appointed by the recognised trade unions.

Housekeeping A tidy and systematic method of working is necessary to promote a safe working environment. Clean your work area daily. Do not leave items on the floor. Wipe up any spills immediately. Corridors and staircases as well as access routes through studios must not be used as storage areas. Do not leave waste materials in stairwells or corridors. Inform the Buildings and Estates Office if you have any waste materials or items. Safe access and exit must be maintained at all times. The build up of combustible materials should also be avoided.

Ladders and Working at HeightIf you work above two metres from the ground special precautions are required. As well as safeguarding yourself, consideration must be given to people below. Working platforms must have guard rails/toe boards and other appropriate equipment. Tower Scaffolds should only be erected or moved by trained College staff.


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Ladders and step ladders must be maintained in good condition and defects reported immediately. Before using any ladder it should be examined to make sure it is safe. Appropriate warning notices should be posted when working at height. Guidance on the safe use of ladders and step ladders is available on the College Intranet. http://intranet.rca.ac.uk

Lifting Equipment, Fork Lift Trucks and HoistsOnly those persons who are trained and authorised to do so may use forklift trucks. Passengers must not be carried on fork lift trucks, hoists or lifting equipment. No lifting equipment should be used on College Premises unless it has been examined by the College insurers. The safe working load displayed on the equipment must not be exceeded.

Manual HandlingIf your work involves the movement of bulky, heavy or awkwardly shaped objects you will be given information and training about safe handling techniques. One of the commonest injuries is caused by incorrect lifting and handling. Do not try to lift or carry anything which is too heavy. Guidance on the safe manual handling techniques is available on the College Intranet. http://intranet.rca.ac.uk All manual handling activities will be assessed in accordance with the Manual Handling Operations Regulations. All necessary measures will be taken to reduce any risks identified in the assessment to an acceptable level. Manual handling aids such as trolleys and barrows will be provided. Make use of the equipment provided and ask for assistance if necessary.

Noise at WorkNoise assessments have been carried out to identify any areas or machinery where the noise levels may exceed the levels prescribed in the Noise at Work Regulations. All areas and machines for which hearing protection is required are identified by appropriate signage. Ear protection must be worn in these areas when operating machinery or working alongside people using the machinery. Ear plugs are provided for students in workshop areas.

Personal Protective Equipment (PPE)Where personal protective equipment (e.g. safety shoes, ear defenders, respirators and gloves) are required because of the work-related risk, they will be issued free of charge to staff. Provision will also be made for students. The equipment must be used properly and stored correctly. Where training in the use of PPE is needed it will be provided. Staff and students should always use PPE when it is required and should report any defects immediately.

Risk AssessmentsThe College will, in accordance with its general duties, make an assessment of the risks to the Health and Safety of its staff and students to which they may be exposed.

These risks will then be controlled so far as is reasonably practicable so that neither staff and students nor others who could also be exposed to them will be put at risk.

Responsibility for the implementation of the provisions of this policy lies with the Safety Officer and the Heads of Schools/ Heads of Administrative Departments.

Guidance on Risk Assessment and the relevant forms can be found on the College Intranet. http://intranet.rca.ac.uk

Smoking PolicySmoking is prohibited in all RCA buildings and vehicles.


Placements and TripsThe College recognises that it has a duty of care for the Health and Safety of students while on placements. The College also expects that the necessary action will be taken by the Placement Provider to ensure the Health and Safety of our students. A placement Health and Safety questionnaire will be sent to companies/organisations where students are to be sent on placements. Guidance on placements and the relevant forms can be found on the College Intranet. http://intranet.rca.ac.uk

The College also recognises that it has a duty of care for students on trips associated with their work. A travel checklist should be completed for all trips. An Overseas Travel Risk Assessment should also be completed if there are significant hazards associated with the destination (e.g. poor infrastructure/roads, terrorism, extreme climate) or if students are involved in hazardous activities. Guidance on trips including information on insurance, vaccinations etc. can be found on the College Intranet. http://intranet.rca.ac.uk

Working AloneIf you have to work alone, ensure that someone knows where you are and at what time approximately you will finish. Do not carry out work of a hazardous nature.

Workshops and Machinery SafetyAll College workshop equipment is colour coded (traffic light system). Signs explaining the coding are displayed in all workshops and the instructions must be followed. Details of the coding of each machine are included in Departmental Safety Policies. Students must attend a workshop induction before they use any machinery. Staff or students using a workshop for the first time must be shown the emergency exits. This is the responsibility of the Technician or another appointee of the Head of School.

The use of any machinery can involve significant risks. These risks can be minimised by adhering to the following:• Use only equipment that you have been

trained on and are authorised to use• Ensure that you are familiar with and adhere

to the College colour-coding scheme (traffic light system).

• Ensure that you know how to use the equipment safely.

• Always use machine guards• Keep long hair and loose clothing securely

away from all rotating parts of the equipment• Wear appropriate footwear (open toed sandals

and flip flops are strictly prohibited)• Wear eye protection and hearing protection

at all times where instructed to do so• Ensure that you know where the emergency

stop buttons are located.

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“It was unclear at the outset whether there would be any particular discipline or university department that would accommodate my project. The College, with its reputation for innovation in all subject areas, its broad outlook and staff expertise in every creative field provided the perfect environment.”Lois Walpole, Alumni

information for research staff

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146 // information for research staff // research rca handbook 08·09

All members of the academic staff at the College are expected to engage in research calculated to advance and underpin the subject that they teach and to make public the results of that research. The Research Committee monitors the quality and quantity of the research being carried out by each member of staff and ensures that deadlines are met. The Research Committee ensures that research conducted at the RCA does not breach the College’s Research Ethics Code of Practice. The Staff Committee decides upon the allocation of days released from College activities to enhance the research of individual members of staff.

The following mechanisms have been developed to assist this process: Research Allocation (including Remission); funding through the Research Development Fund (RDF); Research supervisor training and support for external funding applications.

Please contact the Research Office if you require further information on any of these procedures or application deadlines.

research committeeThe role of the RCA Research Committee is:1. To develop and implement staff research policy College-wide and to develop the RCA policy with respect to recruitment of research and degree programmes.

2. To advise the Senate on the development of a research strategy which will include:2.1 The organisation, development and conduct of research and allied activities in the College including strategic planning for the Research Assessment Exercise (RAE2008) and beyond;2.2 Development of interdisciplinary and collaborative research;2.3 Development of research component of InnovationRCA;2.4 Development of strategic research initiatives within South Kensington in accordance with the recommendations of the Council Working Parties.

3. To deploy internal research project funds from the Research Development Fund.

4. To encourage the development of sponsored research and to develop external research networks and projects through funding applications to the private as well as to the public sector.

5. To monitor the research carried out by individual members of staff and by research studios and centres within the Royal College of Art and to review the relationships between:5.1 Research and learning and teaching;5.2 Research and international strategy;5.3 Research and commerce, business and industry.

6. To advise the Staff Committee on the allocation of research time in staff contracts.

7. To create a programme for staff development and equal opportunities, to include the development of a structure for research staff career development (including supervisor training, accreditation for supervisor training and promotion of good practice in research supervision) and to review the funding and career structure of Research Assistants, Research Fellows and Senior Research Fellows.

8. To advise the Senate on the most effective and economic utilisation of facilities, accommodation and staff for research purposes, including projects, refurbishment and equipment supported by the Science Research Investment Fund (SRIF).

9. To maintain a College-wide record and index of research degree activity and to ensure that the provision offered to research students (including supervision resources, space, equipment and other support) is in compliance with good practice as outlined in the HEFCE/QAA Code of Practice for the assurance of academic quality and standards in higher education.

10. To advise Academic Standards Committee on the development and annual review of the Research Methods Course.

11. To review and maintain Royal College of Art research publications including the Research Handbook and the staff and student research pages on the Royal College of Art website.

12. To receive reports from the Research Ethics Committee on the discharge of its responsibilities.

Membership of the Research Committee:Professor Jeremy AynsleyProfessor Wendy DagworthyProfessor Anthony DunneProfessor Dan FernProfessor Sir Christopher Frayling, RectorHilary FrenchProfessor Sandra Kemp (Chair)Martina MargettsProfessor Jeremy MyersonDr Claire PajaczkowskaProfessor Olivier RichonAlan Selby, RegistrarProfessor Martin SmithProfessor Hans Stofer

Quorum: one half of the total actual membership

Members of the Research Committee are responsible for updating the research staff within their Department/School of all, non-confidential, Research Committee business.

Research Committee meetings, 2008–0916 October 200810 November 200825 November 200819 January 200923 February 200909 March 200927 April 200925 June 2009

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research development fundThe Research Development Fund (RDF) is admin-istered by the Research Committee and welcomes applications from all contracted members of staff. Staff on externally funded research contracts are eligible to apply to the Research Develop-ment Fund as principal investigators for their own research. A termly call for RDF is circulated to all research-active staff.

The Research Development Fund welcomes applications for:• short-term research assistance including

assistance for the appointment of a Research Assistant or Research Fellow

• match-funding for an existing project• travel and subsistence for conference

presentations where publication is expected or conference attendance when it is essential to the applicant’s own research

• contribution towards the costs of materials and equipment (where these are crucial and used solely for the purposes of the specified research)

• contribution towards publication costs of research (including the preparation of illustrative materials and fees relating to reproduction rights of texts or images, but excluding editorial related tasks or subsidies to publishers).

• pump-priming of new research projects.

Please note:• The Research Committee will assess your

application on the basis of evidence of your ability to conduct research;

• Exhibition catalogues are only eligible for funding where there is a significant and demonstrable research component;

• Where the application concerns the publication of a book, a publication contract or a written expression of interest and a publication schedule are required;

• Research Development Fund Application forms (RS1; RS2 & RS3) must be word-processed and returned to the Research Office. All forms must be signed by the applicant’s Line Manager and accompanied by supplementary documentation where appropriate;

• All Research Development Fund awards are authorised by the Research Committee;

• The Research Committee will not provide funding retrospectively;

• If you are awarded RDF funding, the Research Office will send you a letter confirming the amount of the award and the process for claiming the funding. To receive reimbursement, please submit your original receipts to the Research Office along with the relevant, fully completed, finance form.

research allocationThe Research Committee monitors the quality and quantity of the research being carried out by each member of staff. It is also responsible for recommending to Staff Committee the allocation of days released from College activities to enhance the member of staff’s research (Research Allocation). Research Remission from teaching duties is allocated for a period of two years and is reviewed annually. Allocation can be awarded for either half day or one day per week, additional to current contractual days (allocation) or as remission from other duties (remission), depending on staff requirements. The Research Committee allocates this research time (and HEFCE funding) strategically, with a view to enhancing the overall RCA Research strategy, rather than to particular individuals for the duration of their time at the College. All recipients of Research Allocation are required to complete a Research Allocation Annual Report Form by 01 June each year in order to have their period of remission renewed.

If you are interested in applying for Research Allocation, please take the following steps:1. meet with your Head of Department to discuss your proposal in its own context and within the departmental research strategy

2. submit a fully completed and signed Research Allocation Application Form (RS3) to the Research Office by the published deadline.

Your application will be discussed at the relevant Research Committee meeting. You will be notified in writing by the Research Office of the decision of the Committee.

research ethics committeeThe Research Ethics Committee (REC) is a sub-Committee of the Research Committee established to advise on legal, moral and ethical issues relating to research undertaken at the Royal College of Art and to ensure that research conducted at the College does not breach the Royal College of Art Code of Practice for Research Ethics, published in this Handbook.

The Committee:• considers all matters concerned with the

ethics and integrity of investigations involving research subjects;

• considers all legal matters arising from research, including issues relating to Intellectual Property Rights, Copyright, and the authentication and dissemination of research findings and outputs;

• safeguards the interests of volunteers taking part in investigations and research, to include the preservation of the right of anonymity of participants in, and respondents to research, and ensure that they are informed of any risks relating to participation in research;

• advises the Research Committee, as appropriate, on legal, moral or ethical issues relating to research;

• publishes the Royal College of Art Code of Practice for Research Ethics, the Research Ethics Checklist and a series of Participant Consent Forms (RE1–6), all available on the RCA website.

In 2008–09 the remit of the Royal College of Art Code of Practice for Research Ethics will be extended to include MA projects.

Research Ethics Committee meetings, 2008–0925 November 200809 March 2009

training available for research staffAll RCA staff are encouraged to attend the termly Research Supervisor Fora. Chaired by the Director of Research, these informal, lunch-time sessions provide supervisors with an opportunity to discuss any matters of concern. • Tuesday, 28 October 2008, 1pm • Tuesday, 17 February 2009, 1pm • Tuesday, 26 May 2009, 1pm

The Research Supervisors’ Training Day is an annual workshop where external speakers are invited to provide training to RCA supervisors on a variety of supervisory skills. The Research Supervisors Training Day 2008–09 will be held on Tuesday 18 November 2008 at 10am. The Research Office will cover the costs associated with attending these training sessions for non-contracted members of staff who would not normally be in College on the above dates. The Research Office will publish separately additional staff training events for supervisory teams throughout the year.

Centre for Learning and Teaching in Art and Design Supervisors’ Training CourseIn 2000 the College became a founder member of the Centre for Learning and Teaching in Art and Design (CLTAD) along with the University of the Arts and Wimbledon School of Art. Attendance at the CLTAD Supervisors’ Training Course has been mandatory for all new supervisors at the RCA.

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To download an application form please go to: http://www.arts.ac.uk/cltad/14707.htm and submit it directly to the Course office. For further information please contact the Course office on: tel: 0207 514 8162 or email: [email protected]

For further information on the supervision of MPhil and PhD students please refer to the ‘Role of the Supervisor’ section in this Handbook [page 17] and also to The Quality Assurance Agency for Higher Education ‘Code of Practice for the assurance of academic quality and standards in higher education’ Section 1: Postgraduate research programmes – September 2004 available on the RCA website at http://intranet.rca.ac.uk/pages/research/qaa_special_review_of_3327.html Limited copies of the Code of Practice are available from the Research Office.

Support for Doctoral StudiesThe RCA actively supports the career development of its staff and will contribute two thirds of the cost for contracted members of staff pursuing staff development activities relevant to their work. Please contact the Research Office for more details.

external funding opportunitiesThe Research Office actively encourages all research staff at the College to enhance their research potential by submitting applications for external funding to a wide range of public and private funding bodies. There are a variety of funding schemes available for early-career researchers through to established academics, in all fields of research undertaken at the College. There are funds available for providing researchers with Research Assistants; Doctoral Students; Research Leave; Fellowships and Research Grants.

The programme seeks to improve practice in supervision and prepare participants to deliver high-quality supervision to research degree students. It also seeks to keep abreast of the growing pro- fessionalism of research supervision across the sector and to take a lead in such developments in art and design. The programme will aim to develop appropriate networks in art design supervision resulting in the creation of a specialist research community. The Course provides a specialist pro-gramme of study for research supervision, leading to a SEDA accredited qualification. Assessment will be portfolio-based, including a reflective journal, a critical-incidence log, case studies and a critical analysis of a research proposal. Participants will also do a presentation on their own research. Mentor support will be integral to this programme.

Course leader: Katy Deepwell

What does the programme cover?• Values and purposes of research degrees • Preparing for supervision • Recruitment, selection and admission of students • Managing the process • Monitoring the process • Student supervisor relationship • Documenting the process • Completing • Assessment • Personal and professional development • Career needs • Own research • Practice-based degrees

This course will run over one year, with taught sessions (10) over two terms. Completion of this course is mandatory for all new research supervisors and is paid for by the RCA. The course will run on Thursday afternoons 2.30–4 30pm at Catton Street. In addition to the taught sessions some assessment tasks must be completed. Course commencement October 2008.

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If you are interested in submitting an external funding application during 2008–09, please take the following steps:1. Review the research rca guide to external funding schemes 2008–09 to identify a possible source of funding for your research project (downloadable from the RCA website and available from the Research Office).

2. Go to the website of the funding agency to thoroughly familiarise yourself with the guidelines for submission and the particular eligibility criteria of the scheme that you are interested in applying to, for example: http://www.ahrc.ac.uk; http://www.epsrc.ac.uk; http://www.artscouncil.org.uk or http://www.britac.ac.uk

3. Once you have identified a suitable scheme, send a proposal via email to [email protected] detailing your specific research question; aims; objectives; methodology; timescale; funding requirements and project collaborators.

4. On receipt of this written proposal the Research Office will work closely with you to develop the application in readiness for final sub-mission by the scheme deadline, including liaison with Personnel, Finance Office, ILS and Health & Safety to ensure that your application satisfies College requirements.

Please note that although the Research Office will provide as much support as possible during the application process (and subsequent reporting process), it is the responsibility of the Principal Investigator to ensure that the correctly completed application is submitted within the scheme deadline. Principal Investigators are also responsible for the submission of all subsequent reporting.

Please remember that all research applications to external funding agencies must be submitted by the Research Office. The Research Office will not submit applications which have been hastily compiled or inadequately completed as this may jeopardise future applications to the College.

Joint Electronic Submission (Je-S) SystemSince September 2006, the majority of research grant proposals to the six UK Research Councils must be submitted online through the Joint Electronic Submission (Je-S) System. To submit a proposal using Je-S, the Principal Investigator must be registered for Je-S. To register with Je-S, please go to the Je-S login page (https://je-s.rcuk.ac.uk) and choose ‘Create Account’ and follow the prompts. Please choose the ‘registered’ account option where indicated. The Research Office will be notified of your registration automatically.Once you are registered with Je-S, you will be able to circulate your draft application to the Research Office and your collaborators in other HEI’s electronically, enabling contributors to develop an application simultaneously. When complete, the Principal Investigator submits the final proposal via Je-S to the Research Office, who then submit the proposal to the relevant Research Council. For further information on both Je-S proposal submission and the registration process, please go to the login page and choose ‘Tutorials’. On-line tutorials and registration guidance may be accessed from here, even if you do not have an individual account.

If you require further assistance with Je-S, please contact the Research Office on [email protected] or on 020 75904126. The Je-S helpdesk is also very helpful on 01793 444 164.

research assessment exercise (rae2008)The Research Office was responsible for the Royal College of Art’s submission to the Research Assessment Exercise 2008 (RAE2008). RAE2008 was the sixth in a series of exercises conducted nationally to assess the quality of UK research and to inform the selective distribution of public funds for research by the four UK higher education funding bodies. Further information can be found on the RAE website: http://www.rae.ac.uk/

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The Royal College of Art’s principal research aim is to develop its contribution to scholarship and applied research in art and design and to act as a catalyst to encourage and stimulate industry at national and international level.

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154 // guide to forms // research rca handbook 08·09

Guide to forms used by research students and staff

forms relating to studentsAdmissions Application Form To be completed by applicant

PG1 Admissions Criteria Checklist for MPhil To be completed by Chair of the Admissions Board

PG2 Admissions Criteria Checklist for PhD To be completed by Chair of the Admissions Board

PG3 Unsuccessful Admission Checklist To be completed by Chair of the Admissions Board

Personal Development Plan PDP1 Supervision Tutorial Log To be completed by the student and supervisor(s)

PDP2 Training Needs Analysis To be completed by the student; signed by supervisor(s)

Leave of Absence PG4a Application for Leave of Absence To be completed by student; signed by Head of Department

PG4b Return from Leave of Absence To be completed by Head of Department

Research Ethics RE1 Research Ethics Checklist and Consent Form To be completed by student submitted to the Research Ethics Committee

RE2 Non-disclosure form To be completed by student

RE3 Parental Consent To be signed by the parent/guardian of a minor participating in a research project

RE4 Minor Consent To be signed by a minor participating in a research project

RE5 Survey Participant Consent To be signed by individuals participating in a survey for a research project

RE6 Focus/User Group Consent To be signed by individuals participating in a focus or user group for a research project

Interim Examination PG5 Interim Examination Report for MPhil or PhD To be completed by Chair of Examination Board

Transfer of Status PG6 Transfer of Status from MPhil to PhD To be submitted by student to the Examination Board; then completed by Chair of the Examination Board

Final Examination PG7 Notification of Submission of Thesis for MPhil or PhD Examination To be completed by student and supervisor(s)

PG8 Appointment of External Examiner To be completed by Head of Department

PG9 MPhil Final Examination To be completed by Chair of Examination Board

PG10 PhD Final Examination To be completed by Chair of Examination Board

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forms relating to staffResearch Development Fund RS1 Application for research development funding (research leave, replacement teaching costs, research assistance, match-funding, cost of materials, publication costs) To be completed by researcher and Head of Department/School

RS2 Application for conference funding To be completed by researcher and Head of Department/School

Research Allocation RS3 Application for Research Allocation To be completed by researcher and Head of Department/School

RS4 Research Allocation Annual Report To be completed by researcher

Research Ethics RE1 Research Ethics Checklist and Consent Form To be completed by researcher and submitted to Research Ethics Committee

RE3 Parental Consent To be signed by the parent/guardian of a minor participating in a research project

RE4 Minor Consent To be signed by a minor participating in a research project

RE5 Survey Participant Consent To be signed by individuals participating in a survey for a research project

RE6 Focus/User Group Consent To be signed by individuals participating in a focus or user group for a research project

TrainingCLTAD Supervisors’ Training Course Application Form downloadable fromhttp://www.arts.ac.uk/cltad/14707.htm To be completed by researcher and Head of Department and submitted to the CLTAD course office.

156 // appendix 1 // research rca handbook 08·09

appendix 1: current research students 2008–09

school of applied artsCeramics & Glass

Maham Anjum-ChestiMPhil by Project, Full-time. RCA BursaryWhat are the present attitudes towards the ceramic crafts in the Indian subcontinent and are there opportunities for the development and promotion for these crafts – for cultural benefit and consumption within the subcontinent and for global appreciation and sales?Martin Smith

Emmanuel BoosPhD by Project, Part-time. AHRCThe Poetics of Glaze: Ceramic Surface and the Perception of DepthEmmanuel Cooper

Heike BrachlowPhD by Project, Full-time. AHRCShaping Colour: Density, Form and Light in Solid Glass SculptureMartin Smith

Steve BrownPhD by Project, Full-time. AHRCThe Physicality of Print: an enquiry that offers to expand the dialogue between screen-printed image and ceramic material/form through practice, history and theoryFelicity Aylieff, Glenn Adamson

Suresh DuttMPhil by Project, Full-time. RCA BursaryConstructing Space: in what ways can a sense of space be communicated using the optical qualities of a geometric construction in glass?Felicity Aylieff

Frances FedererMPhil by Project, Full-time. RCA BursaryGold, Glass and the ImageAlison Britton

Edith Garcia*MPhil by Project, Full-time. RCA BursaryThe Absence and Presence of the Human Form in Sculpture: Where is the Vanishing Point?Felicity Aylieff

Daniel Harvey*MPhil by Project, Full-time. RCA BursarySynthesizing Bone to StoneEmmanuel Cooper

Min Jeong Song*MPhil by Project, Full-timeImage-on-Glass Technology: a Technology-led Conceptual Approach in Glass ArtAlison Britton

Goldsmithing, Silversmithing, Metalwork & Jewellery

Tine de RuysserPhD by Project, Part-time. AHRCDeployable adornment: electroforming to create jewellery and fashion accessories with deployable and adaptive structures.David Watkins, Beatriz Chadour-Sampson, Julian Vincent, David Humphrey

Kathryn Hinton*MPhil by Project, Full-time. RCA BursaryThe Craft of Digital ToolingMichael Rowe, David Humphrey

Stephen Knott*MPhil by Thesis, Full-time. AHRCSpot the Difference: Concealing the ‘ever-same’ in modern adornment using historically constructed illusionsGlenn Adamson, Hans Stofer

Leon WilliamsPhD by Project, Full-time. AHRCJewellery for DisabilitiesDavid Watkins, Beatriz Chadour-Sampson


school of architecture & design Architecture

Ruth CampbellPhD by Project, Full-time. EPSRCOut of Place: exploring identity through archi-tectural experiment into psychological spaceNigel Coates, Jeremy Myerson

Mohamad Hafeda*MPhil by Project, Full-time. Informal Design Production in Beirut: The negotiation of spaces, factors of conflictNigel Coates, Mark Garcia, Fernando Rihl

Emilia SerraMPhil by Project, Full-time. RCA BursarySequence and montage in the perception of public space: designing along the East London line extensionNigel Coates, Al Rees

Chrysostomos TsimourdagkasPhD by Project, Full-time. Greek State Scholarships FoundationTypotecture: Incorporating typographic elements into the architectural fieldNigel Coates, Mark Garcia

Design Products

Jorge Roberto Lopes dos SantosPhD by Project, Full-time. CNPq Conselho Nacional de Desenvovimento Científico e TecnológicoPhysical three-dimensional models for design projects: the impact and complementary roles of conventional and new techniquesHilary French

Design Interactions

James Auger*MPhil by Project, Full-time. Microsoft Research LabsLiving with Robots: an interaction-focused approach exploring the implications for robots in the homeAnthony Dunne, Alex Taylor

Elio CaccavaleMPhil by Project, Full-time. RCA BursaryFuture families: a practice-based research project to explore social, cultural and ethical issues surrounding emerging reproductive technologies and new family formsAnthony Dunne

Björn FrankeMPhil by Project, Full-time. RCA BursaryDesigning influence: artefacts as influential actors manipulating human behaviour and thoughtAnthony Dunne

Konstantinos GrivasPhD by Project, Part-time. EPSRCInterfacing intimacy: designing ubiquitous technology for the intimate dwellingAnthony Dunne, Phil Tabor

Julijonas UrbonasMPhil by Project, Full-timeHighbrow Fairground: Reflective Design towards sublimation of Amusement.Anthony Dunne, Brendan Walker

school of design for productionIndustrial Design Engineering

Eunju HanPhD by Project, Full-timeFloating spaces: Hybrid-mapping between physical and non-physical factors in city spacesTom Barker

Ben StoranMPhil by Project, Full-timeDomestic wind turbine designsTom Barker

Alison WrightMPhil by Project, Full-timeHow can roadblocks to the design of inclusive housing and home products be overcome through a practical tool or system of communication, which will encourage a wider uptake of inclusive design?Tom Barker, Ashley Hall

Ding Yu*MPhil by Project, Full-timeDesign of Global Brands in ChinaTom Barker, Cai Jun

Vehicle Design

Sheila ClarkMPhil by Project, Full-time. RCA Staff Development FundMaterial, Form and Colour for Vehicles of the FutureDr Paul Ewing, Dale Harrow

Max FickelMPhil by Project, Full-time, RCA BursaryStructural optimisation with aesthetic constraints as exemplified by the design of an ultra lightweight human powered vehicleDr Andrew Nahum, Dr Paul Ewing

Luke HarmerPhD by Project, Part-timeFrom where I’m sitting – improving the design of public transport through commuter perspectives: with specific reference to the busDale Harrow, Dr Paul Ewing

Simon HarrisMPhil by Project, Part-timeA new people’s car: changing the bias of vehicle control layouts from vehicle-centred to user-centredDr Paul Ewing, Dale Harrow

Louise KieslingMPhil by Thesis, Part-timeDesign Transience – The impact fashion has on the Automobile IndustryDale Harrow, Dr Paul Ewing

Artur MausbachPhD by Project, Full-time. The Ministry of Education, Brazil (CAPES)The Style of the Sustainable CarDale Harrow, Dr Paul Ewing

Osmar RodriguesPhD by Project, Full-time. CNPq – Conselho Nacionalde Desenvolvimento Científico e TecnológicoVehicle Design for Transportation of People in Off-Road ConditionsDale Harrow, Dr Paul Ewing

David SwannMPhil by Thesis, Full-time. EPSRCSmartpods: Taking Healthcare to the CommunityDale Harrow, Roger Coleman

Lino VitalMPhil by Project, Full-time, RCA BursaryNew approaches to vehicle architecture for future electric automobilesDr Andrew Nahum, Dr Paul Ewing


school of communicationsAnimation

Tereza Stehlikova*MPhil by Project, Full-time. RCA BursaryTactile Imagination & Film: How Invoking the Sense of Touch Can Enhance the Viewing Experience of FilmJoan Ashworth, Deborah Levy

Communication Art & Design

Sofie BeierPhD by Project, Part-time. Legibility in contemporary typographyJeff Willis, Kevin Larson

Jocelyn CammackPhD by Project, Full-time. AHRCVisual deception: cinematic exploration of a neurological phenomenonAl Rees, Christopher Kennard

Daniel Campbell BlightMPhil by Project, Full-time. RCA BursaryHow can interdisciplinary study, for example with the cognitive neurosciences, allow for a greater understanding of human perception of sonic art?Jon Wozencroft

Jorge Dos Reis Tavares DuarteMPhil by Project, Part-timeNew Vowel Notation System for the Adult ClassroomTony Cobb

Abbe FletcherMPhil by Project, Part-timeBetween the frames: The role of the interval between the Frames and ShotsAl Rees

Matthew FlinthamPhD by Thesis, Full-time. AHRC Landscape and Environment Scheme Parallel Landscapes: A spatial and critical analysis of militarised sites in the United KingdomPatrick Keiller, Patrick Wright

Rod JudkinsMPhil by Project, Part-timeChaos theoryJon Wozencroft

Robert Kernohan*MPhil by Project, Full-time. RCA BursarySupport Structures for Immaterial Objects: Moving Images within Exhibition FormatsAl Rees, Nicky Hamlyn

Olivia Lory KayMPhil by Project, Part-timeNarrative development and technological innovationAl Rees

Clive MyerPhD by Project, Part-time. University of Glamorgan.The role of collective consciousness in the diegetic space of the film subjectAl Rees, Jorem ten Brink

Alistair NashMPhil by Project, Full-time. RCA BursaryThe Symbolic Creation and Collection of Information – A New Brand DefinitionTony Cobb

Rachel Pedder-SmithPhD by Project, Part-timeThe Representation of Biological Diversity in ArtDan Fern

Claire RobertsonMPhil by Project, Full-time. RCA BursaryThe Babylon system is breaking me down: a description of male youth culture located in London and ParisAl Rees

Paul Scattergood*MPhil by Project, Full-time. RCA BursaryDigital and Spatial Materiality in 3D Illusionistic ProjectionJon Wozencroft, Al Rees

Karin von OmptedaMPhil by Project, Full-time. Commonwealth FellowshipTypefaces for Low VisionJeff Willis, Tony Cobb

school of fashion & textilesMenswear

Nicholas ClementsMPhil by Project, Part-timeDad’s Style: Naming a New Sub Culture.Wendy Dagworthy

Textiles

Katie Louise GaudionMPhil by Project, Full-time. RCA BursaryThe development of interactive textiles structures to encourage haptic and proprioceptive response for the service-users of multi-sensory environmentsPrue Bramwell-Davis

Elaine IgoeMPhil by Project, Part-time. University of Portsmouth.Flocking: potentiality and transferabilityPrue Bramwell-Davis

Rachel PhilpottPhD by Project, Full-time. AHRCStructural textiles: adaptive form and surface in the third dimensionClare Johnston, Prue Bramwell-Davis

Kirsten ScottMPhil by Project. Full-timeCan new, natural millinery materials be developed and could Africa be a source?Philippa Watkins

Emma ShercliffPhD by Project. Part-timeThrough the eye of the needle: Understanding contemporary domestic textile craft in the UKFreddie Robins

Suzanne StankardPhD by Thesis, Part-time. Contemporary Malaysian songket: relationships between technique, culture and material aesthetic Philippa Watkins, Suzanne Keuchler

school of fine artPainting

Daniel BakerPhD by Project, Full-time. AHRCSight Unseen: The Role of Gypsy Aesthetics in the Transmission of Cultural AgencyElizabeth Price

Teresita DennisPhD by Project, Full-time.Locating Experience: Painting and its ReserveElizabeth Price, Jonathan Miles

Nadine FeinsonMPhil by Project, Full-time. RCA BursaryPainting the Perfect Cannibal: An investigation into paint, image and deformation through the monstrousElizabeth Price

Ian KiaerPhD by Project, Part-time. AHRCThe Endless House: buildings as a thought modelJonathan Miles

Robin MasonMPhil by Project, Part-timePathetic sublime and erotic meditations on the Isenheim Altarpiece.Elizabeth Price

Hephzibah Rendle-ShortMPhil by Project, Full-time. RCA BursaryRe-Picturing – re-presentationElizabeth Price, Jonathan Miles

Michelle StevensonPhD by Project, Full-timeReading Meaning into Order: an investigation into the value and interpretation of theinstitutional objectJo Stockham

Photography

Frederico Camara*MPhil by Project, Full-timeViews of ParadiseYve Lomax, Francette Pacteau

Justin Coombes*MPhil by Project, Full-time. RCA BursaryRecollected Places: Ekphrasis, Nostalgia and PhotographyOlivier Richon

Criodhna CostelloMPhil by Project, Full-time. Irish Arts CouncilThe Temporal LoopYve Lomax, Francette Pacteau

Jessica PotterPhD by Project, Full-timeMapping and unmapping the perception of space in contemporary visual artYve Lomax

John SethPhD by Project, Part-timeChance conscious seeingYve Lomax, Olivier Richon

Francis SummersPhD by Project, Part-timeCompulsions to enjoyYve Lomax, Francette Pacteau

Esther TeichmannPhD by Project, Part-timeLoss and CreationFrancette Pacteau

Norma-Louise ThallonPhD by Project, Full-timeHumour and ArtYve Lomax, Francette Pacteau


Printmaking

Andrea BüttnerPhD by Project, Full-timeAesthetics of shame: the relevance of shame for contemporary art and visual cultureNigel Rolfe

Hélène MartinMPhil by Project, Part-timeA Vindication of the Void: a Lack FulfilledJo Stockham

Marilène Oliver-PoulsenMPhil by Project, Full-time. RCA BursaryRepresenting the absent body – resurrecting the digitised and coded selfJo Stockham

Sculpture

Claire CarterMPhil by Project, Full-timeManipulative installation: devices set up to heighten responses in the experience of the spectatorKeith Wilson, Elizabeth Price

Wijnand De Jonge*MPhil by Project, Full-time. RCA BursaryMonuments Against InfinityElizabeth Price, Keith Wilson

Katrina PalmerPhD by Project, Full-timeThe object of sculpture and the subject of narrativeElizabeth Price, Keith Wilson

Antigoni PasidiPhD by Project, Full-timeThe restorative role of the work of art: the work as a stageDenise de Cordova, Elizabeth Price

Jorge Rivera FragaPhD by Project, Part-timeRepresenting Narcissus – reflections in the process of self-recognitionTrish Lyons, Margarita Gluzberg

school of humanitiesConservation

Victoria ButtonMPhil by Thesis, Full-time. RCA BursaryHans Holbein the Younger: An investigation into his choice and use of materials and techniques with particular reference to his portrait drawingsAlan Derbyshire, Harriet Standeven

Stavroula (Iris) KapelouzouPhD by Thesis, Full-time.Harming works of art. The challenges of contemporary conceptions of the artworkJonathan Ashley-Smith, Nick Zangwill

Richard MulhollandPhD by Thesis, Full-time. AHRCA Technical study of David Smith’s drawing mediaHarriet Standeven, Narayan Khandekar

Cordelia RogersonPhD by Thesis, Part-timePreserving jewellery made from plastics and rubber: values embodied in materials and objectsWilliam Lindsay, Beatriz Chadour-Sampson

Critical and Historical Studies

John Joseph Charlesworth*MPhil by Thesis, Full-time. RCA BursaryArt Criticism: the mediation of contemporary art in Britain, 1970–2005Martina Margetts

Duncan CookPhD by Thesis, Full-timeArt, agency and eco-aesthetic practicesJohn Stezaker, Peter Mortenbock

Emmanuelle DirixMPhil by Thesis, Part-timeThe thin divide: reflections on the shop window, the display of fashion and the construction of modern desire (1848–1910)Joe Kerr

Cecilia JardemarPhD by Thesis, Full-time. AHRCFace to Face: the quest to capture the containedOlivier Richon

Filipa Roseta Vaz MonteiroPhD by Thesis, Full-time. Calouste Gulbenkian FoundationThe modern avenue: the automobile’s place in the architecture of the cityJoe Kerr, Stewart Geddes

Juliet ThorpMPhil by Thesis, Part-time. RCA Staff Development FundRoyal College of Art Collection: Gemstone or Millstone?Martina Margetts

Curating Contemporary Art

Stefano CagolPhD by Thesis, Full-timeCrossing the Exhibition: the need for a modern approach to contemporary art exhibitionMark Nash

José Filipe CostaPhD by Thesis, Full-time. Fundação para a Ciência e a TecnologiaTracking the Carnation Revolution: Cinema and memory in post-revolutionary PortugalMark Nash, Rosalind Gray

Inês Costa DiasMPhil by Thesis, Full-timeThe lusophone contemporary arts – a postcolonial perspectiveMark Nash, Jean Fisher

Olga FernandezPhD by Thesis, Part-timeThe ‘institutionalisation of curatorship’: the relationship between curatorial practice and institutional critique’Claire Bishop

Louli Kyriaki MichaelidouMPhil by Thesis, Full-timePost-1960s Cypriot Art: Locating Contemporary through the Post-ColonialMark Nash

Rafal NiemojewskiPhD by Thesis, Full-timeCurator’s playground: rise of contemporary biennialTeresa Gleadowe, Claire Bishop

Nuria Querol AntichMPhil by Thesis, Full-timeCurating the Postcolonial? Positioning Contemporary Art in India Through its ExhibitionsMark Nash, Jean Fisher

Polly Savage*MPhil by Thesis, Full-time. RCA BursaryAn Analysis of the Impact of Marxist Government and Petro-Diamond Patronage on Art Frameworks in Angola from 1975 to the PresentMark Nash

Marieke (Maria) van HalMPhil by Thesis, Part-timeThe Biennial EffectMark Nash

History of Design

Mary Ann BolgerMPhil by Thesis, Part-time.Waterford Institute of TechnologyCeltic Modernism: the negotiation of national identity, tradition and modernity as reflected through Irish graphic design in the period 1949–1978.Jeremy Aynsley, David Crowley

Laura ElliottMPhil by Thesis, Full-time. RCA Bursary.To what extent was the V&A able to overcome its colonial and socially-deferential history in order to embrace modern design and a modern British public?Ulrich Lehmann, Glenn Adamson


Marina EmmanouilPhD by Thesis, Full-time.The emergence of graphic design in Greece, 1950s–1970s: graphic design education at the Athens Technological InstituteJeremy Aynsley, Viviana Narotzky

Sarah FosterPhD by Thesis, Part-time. Cork Institute of Technology.The expression of national and religious identities in the 19th-century Irish Domestic interior.David Crowley, Christopher Breward

Denise HagströmerPhD by Thesis, Full-timeIn search of a national vision: Swedish embassies and residences from the mid-20th century to the presentDavid Crowley, Viviana Narotzky

Miya ItabashiPhD by Thesis, Part-time. Japan FoundationJaponisme: The representation of Japanese Art in late nineteenth- and early twentieth-century BritainTanya Harrod, Jeremy Aynsley

Michelle JonesMPhil by Thesis, Part-timeEnglish Couture: The Incorporated Society of London Fashion DesignersChristopher Breward, Viviana Narotzky

Claire LeightonMPhil by Thesis, Full-time. RCA Bursary. Collecting and interior decoration at Strawberry Hill during the period of residency of Lady Waldegrave in the 19th CenturyGlenn Adamson, Angela McShane

Livia RezendePhD by Thesis, Full-time. The Ministry of Education, Brazil (CAPES)The Brazilian quest for modernity and national identity through participation ininternational exhibitions, 1851–1922David Crowley, Christine Guth

Catharine RossiPhD by Thesis, Full-time. AHRCThe transition to modernity: the practice, dissemination and consumption of modern craft in postwar Italy 1945–60Glenn Adamson, Tanya Harrod

Diane SilverthornePhD by Thesis, Full-time. AHRCNew Spaces of Art, Design and Performance in Vienna 1890–1920: Alfred Roller and the Vienna SecessionistsJeremy Aynsley, Simon Shaw-Miller

Alice TwemlowMPhil by Thesis, Full-time. RCA BursaryThe politics of design criticism since the 1950sDavid Crowley, Viviana Narotzky

*New research students due to register October 2008


appendix 2: research alumni1995–2008

school of applied artsCeramics & Glass

Mike Eden MPhil 2008The Hand and the Glove: Actual and Virtual Explorations of the Ceramic Container

Bonnie Kemske PhD 2008Evoking intimacy: touch and the thoughtful in sculptural ceramics

Skarl Thampirak PhD 2008The investigation and development of stable zinc silicate crystalline wares suitable for small-scale production for domestic and utilitarian use at 1200 C or lower

Martin Hosken MPhil 2003 Clay and psyche, breaking the vessel

Sylvie Vandenhoucke MPhil 2003 Glass – towards an inner space on introducing metal oxides in pate de verre making

Julian Stair PhD 2003 Critical writing on English studio pottery 1910–1940

Keith Fraser MPhil 2002 The Arcanist – a study of reduced lustres fired on high temperature glazes

Richard Slade PhD 2002 Autoreductive glazes: a systematic practical exploration

Etsuko Nishi MPhil 1999 Investigation of multiple-layered thin pate de verre

Mey Saied MPhil 1997 An investigation of Sudanese raw materials for ceramic manufacture

Felicity Aylieff MPhil 1996 The elusive body

Goldsmithing, Silversmithing, Metalwork and Jewellery

Saemi Cho MPhil 2006 Studies on the condition of labour and work related to the fundamental role of craft

Cornelia Nuis MPhil 2005 Ornament: from servant to prominent – 3d ornamental mapping

Clare Finn PhD 2004 The decorative metalwork of Pablo Picasso; his collaboration with Francois Hugo

Sompit Fusakul PhD 2003 Interactive ornaments

David Humphrey PhD 2003 iReEn Integrated Research Environment; an innovative computer-based, collaborative, research to prototype environment for use in the decorative and applied arts, with specific focus on its application in historical jewellery research

Sarah McAleer PhD 2003 Children’s jewellery in Europe traditions and contemporaneity

Stephen Bottomley MPhil 2001 Making with New Technology. CAD/CAM & Contemporary Jewellery Craft Practice

Rita Coquet MPhil 2001 Chinese traditions (960-1912) looking through the female eye

Marianne Ridge MPhil 2000 Electroforming for studio jewellery

Apinya Boonprakob PhD 1999 Evocative Thai jewellery

Ann-Marie Carey MPhil 1997 Laser surface – aesthetic

Ian Ferguson PhD 1996 The development of solid state diffusion bonded Mokume Gane

Ruth Faulkner MPhil 1995 The adaptation and application of rotational moulding for jewellery making

school of architecture & design Architecture

Thomas Modeen MPhil 2005 CADCAMMing – The use of solid freeform fabrication in the conceptualization and actualization of design and architecture

Socrates Yiannoudes MPhil 2005 Exploring the kinaesthetic aspects of spatial experience and perceptions through the design of (inter)-active architectural projects.

Judith Kimpian PhD 2001 Pneumatrix: the architecture of pneumatic structures in the digital world, curved spaces transient volumes dynamic structures

Design Products

Richard Liddle MPhil 2006 Can new manufacture processes and technology be developed to use recycled HDPE plastic effectively in product design?

Lois Walpole PhD 2004 Weave, coil & plait: crafty containers from recycled materials

Natalie Woolf PhD 2004 Plastic: A Material Metaphor

Jyri Kermik PhD 2000 The Design and Production of Furniture with Limited Resources with Particular Reference to Estonia

Ming-Huang Lin PhD 1999 Bamboo, dragon and phoenix: the influence of cultural icons on the aesthetic language of everyday objects, especially when applied to Taiwanese product design

Diego Masera PhD 1998 Eco-production: sustainable product development in small furniture enterprises in the Purepecha region of Mexico

Industrial Design Engineering

Ben Shaw PhD 2007 More than the Sum of the Parts: Shared Representations in Collaborative Design Interaction

Pattarapol Chantkam MPhil 2003 A new hybrid of natural material for Thai furniture industry

Neil Barron MPhil 2001 Technology as handmaiden to Generative Drawing

Kathleen McCluskey MPhil 2001 Beyond the Touch Screen: An investigation into Gallery based Virtual Environments from a user point of view

Rosemary Wallin MPhil 2000 Hybrid Footwear

Ben Shaw MPhil 1998 Speaking different languages: metaphor, discourse and disciplinary conflict in product development

Frances Geesin PhD 1995 The chemical and structural manipulation of fabrics and fibres through stiffening techniques with specific emphasis on electrodeposition (the resulting material have applications in fine art, fashion and the applied arts.


Design Interactions

Sebastiaan Raijmakers PhD 2007Design Documentaries: Using documentary film to inspire interaction design

Judith Aston PhD 2003 Interactive multimedia: an investigation into its potential for communicating ideas and arguments

Jason Lewis MPhil 1998 Dynamic poetry: introductory remarks to a digital medium

Robert Spence PhD 1998

Anthony Dunne PhD 1997 Hertzian tales; an investigation into the critical and aesthetic potential of the electronic product as a post-optimal object

Fiona Raby MPhil 1995

Vehicle Design

Kleber Puchaski PhD 2008Feel the future: perceptions of branding and design towards product development in the motoring industry

Joseph Simpson MPhil 2008‘Where’s my flying car?’ – the future of the car in an urban context

Merih Kunur MPhil 2004 What is really needed in city transport to increase quality of life?

Sonja Dahl MPhil 2001 The challenge of change: automotive design strategies for the future

school of communicationsAnimation

Ho-Won Nah MPhil 2008Trick or Treat: The Materiality of Animation Technique and the Representation of the Animator’s Presence in Early Animations

Tajinder Dhami MPhil 2007 Space is the Place: an extension of the viewing frame

Liz Gould MPhil 2003 Observing the gaps: a study of the transmission of ideas in animation

Shilpa Ranade MPhil 1995

Communication Art and Design

Alun Harris PhD 2008The Fruit of the Poison Tree: Jurisprudence and ‘Dirty Harry’

Adam Kossoff PhD 2008On Terra Firma: Space and Place in the Moving Image

Simon Payne PhD 2008Materiality and medium-specificity: digital aesthetics in the context of experimental film and video

Matthias Hillner MPhil 2007Virtual typography – The poetics of transition

Claudia Müller-Hermann MPhil 2006 Spatial Spheres – Form and synthesis of virtual, architectural and cultural spaces

Cynthia Silver MPhil 2006 The influence of Botanical illustration, biodiversity and conservation on the loss of species

Andrew Conio MPhil 2005 An interdisciplinary fine art video practice, which borrows from the modalities of theory, theatre, literature and film

Richard Wolfson MPhil 2005 Visual music

Jung-Mei Tsen PhD 2005 The face of Chinese typography

Sean Gregory MPhil 2004 Quality and effectiveness in creative music workshop practice

Rebecca Jewell PhD 2004 African designs

Heitor Alvelos PhD 2003 The fabrication of authenticity graffiti beyond subculture

Nada Prlja Serafimovski MPhil 2002 Personal art: blurring the boundaries between the artist and the viewer

Stefan Szczelkun PhD 2002 Exploding cinema 1992–1999, culture and democracy

Mariko Dawson MPhil 2001 The stroke-web

Jiwhe Koo MPhil 2000 The future of books: interactivity between text & form

Heashin Kwak MPhil 2000 Structural design of paper and board packaging for sustainable development

Michael Leek MPhil 2000 Information illustration: developments through naval architecture and shipbuilding c1586–1902

Alan Male MPhil 2000 Illustrating prehistory; the development of illustrative conventions in the reconstruction and depiction of prehistoric life forms

Jeremy Radvan MPhil 2000 The computer as a tool for observation

Paul Stickley MPhil 2000 A psychological and philosophical mapping of colour

Helen Bowling MPhil 2000 An investigation into Czech illustration

Thomas Flemming MPhil 1999 Breaking the Flow: a study of cinematic and digital graphic imaging

Juthamas Tangsantikul MPhil 1999 Interactive media research for the third age

Leonard Massey MPhil 1998 A research method for electrostatic media

Niki Stylianou MPhil 1998 Labyrinthine structures: the idea of the labyrinth as a tool for mapping the space between text and architecture

Peter Jarvis MPhil 1998 The role of the architectural illustrator: an empirical study into aspects of representation

Yukki Yaura MPhil 1998 Japanese scroll painting and its contemporary application in wild-life art

Miurne Dineen PhD 1998 Jaipur Fresco Technique: an investigation into its practical and contemporary application, and explorations into the origins and context of its indigenous usage

Geoffrey Schott PhD 1998 Picturing the functions of the brain: 20th century graphic illustration of brain function: observations and critical analysis

Susan Michaelson MPhil 1997 A transpersonal perspective in art and design

Nicholas Ardizzone PhD 1997 Edward Ardizzone R.A. 1900–1979 commissioned works of the Second World War


Timothy Freed PhD 1997 The butterflies of Kensal Green Cemetery; the development of a Victorian urban cemetery and its viability as a butterfly conservation area

Joao Manuel Madeira MPhil 1996 Post-Humanism: the Post-Modern idea of self

Lyn Wells MPhil 1996 Natural History illustration and bird behaviour

Philip Hockey MPhil 1995 The combining of static and interactive exhibits

school of fashion & textilesFashion/Menswear

Daniel Kearns MPhil 2000 Reshaping bespoke

Fashion/Womenswear

Daijiro Mizuno PhD 2008Clothing, Space and Perception: Orality in Fashion Design

Janice Turner MPhil 2004 A uniform surface – can a uniform compliment enforced identity?

Manel Torres Balash PhD 2001 Fabric in a can – the future

Joanna Norman MPhil 2000 The relationship between fashion and fragrance

Frankie Ng PhD 2000 The creation of seamless fashion

Rosalind Hibbert MPhil 1999 Deconstructing denim

Mary Patterson MPhil 1996 Fashion and disability

Constructed Textiles

Jessica Payne PhD 2004 Exploration of the design potential of 18 gauge-electronic circular double-jersey knitting machine, with regards to the development of weft-knitted.

Diana Irani MPhil 2002 A system for manufacturing and marketing customised herbal properties in textiles

David Poyser MPhil 2001

Shizuko Kimura MPhil 2000 A research into figure and life drawing through stitch

Jane Harris PhD 2000 Surface tension – the aesthetic fabrication of digital textiles (the design and construction of 3D computer graphic animation)

Emma Salmon PhD 2000 Skin deep? a cultural and aesthetic study of calendered vinyl

Andrea Carter MPhil 1999

Christine Westwood-Davis MPhil 1999 Computer aided or computer crafted

Savithri Bartlett MPhil 1997

Robert Mew MPhil 1996 Printed Textiles

Rachel Wingfield MPhil 2002 Luminescence and the textile environment

Joan Farrer PhD 2000 From straw to gold; an ecological assessment

Wendy Wilson MPhil 1999

Katherine Wells PhD 1998

Bernadine Green MPhil 1997 An investigation into the decision making processes used by colourists within clothing fashion prediction, with special reference to women’s wear

Louise Henning MPhil 1997 Innovation and the development of new visual languages in printed textile design created CAD

Eros Tang MPhil 1997 The creative use of three dimensional computer graphics as a primary medium for printed textile design

Sharon Baurley PhD 1997 An exploration into technological methods to achieve three-dimensional from in textiles

Jennifer Tillotson PhD 1997 Interactive olfactory surfaces: the Wellness Collection – a science fashion story

David Edmond MPhil 1995 Establishing a small textile printing business in the 1990s

school of fine art Drawing

John McNorton PhD 2004Choreography of drawing: the consciousness of the body in the space of a drawing.

Painting

Simon Logan MPhil 2008The Lens of Literature: Looking for the Imaginary

Christos Michaelopoulos MPhil 2006 The Frozen Flatland: A Secret Continuation of Modernism

Gabriel Klasmer PhD 2005 Machinery: painting and the machine

Rachel Garfield PhD 2004 Identity politics and the performative encounters with recent Jewish art

Jean Beuchat Shaw MPhil 2003 Boat memory: the myth-making role of distance and mobility in work of the contemporary artist.

Mark Hayward PhD 2000 Venus in chairs: a neo-Darwinian analysis of classical beauty in art and its subsequent passage from art to design

Yvonne Kyriakides MPhil 2004 Genocide and culture competing discourses in post-World War II art practice and theory

Pnina Shinebourne MPhil 2002 Beyond fragmentation

Katherine Meynell PhD 2000 Time-based art in Britain since 1980; an account of an interdisciplinary practice

Jim Mooney PhD 2000 Praxis-ethics-erotics towards an eroticisation of thought: a matter of praxis

Photography


Jo Longhurst PhD 2008Perfectability: the whippet as a mode of inquiry

Kimberly Schoen MPhil 2008Inherence of habit: rethinking the series in photography

Michael Schwab PhD 2008Image Automation: Post-Conceptual Post-Photography and the Deconstruction of the Photographic Image

Wiebke Leister PhD 2007Apropos laughter in photography: freeze frame on an open mouth: is it joy, pain or despair?

Jonathan Whitehall PhD 2006 Incommensurable Times – representations of the personal and historical

Shez Dawood MPhil 2005 The metaphor of brightness

Runa Islam MPhil 2005 Roads with no ends: The Open Narrative of David Lynch’s Mulholland Drive

Vanda Playford PhD 2005 Reconsidering the consulting room: role playing, rituals and story telling in general practice.

Francis Summers MPhil 2003 Feedback: the use of noise in contemporary art to trouble the logic of identity

Nicola Coutts PhD 2002 Insectile; an analysis of insect imagery and mythology

Patrick Shanahan PhD 2001 Esperantis theorising the post-landscape

Mohini Chandra PhD 1999 Pacific album vernacular photography of the Fiji Indian diaspora

Karen Askham MPhil 1997

Printmaking

Joy Gerrard MPhil 2008Politics, aesthetics and the spectacle – witnessing the crowd in the city space through contemporary art

Mabe Bethonico PhD 2001 That which recurs

Gail Henderson MPhil 2004 Drawing the erroneous body and female sexual difference

Julian Simmons PhD 2004 Gardening computer drawing imagery

Tsai-Wei Chen MPhil 2003 Mapping with gaps

Julian Simmons MPhil 1997 The design and fine art application of computerised draughting techniques

Sculpture

Stephen Wilson PhD 2007Myth and reality from childhood to maturity: Pinnochio and the complexity of relationships between artist and creation’

William Horner PhD 2006 Beauty Composition and the Formless

Juliet Haysom MPhil 2005 Cloud-A schematic of appearance

Michael Roles PhD 1998 Two kinds of being; an interface between photography and sculpture

Patrick Beveridge MPhil 1995 The art of James Turrell

school of humanities Conservation

Helen Evans PhD 2008How Damage Alters Meaning: An Analysis of the Conservation and Display of War-Damaged Objects in War Museums

Timea Tallian MPhil 2007Science and serendipity: exploring the secrets of early portrait miniature painting

Fotini Koussiaki MPhil 2006 Insight into the techniques and painting materials of Pablo Picasso

Maria Troupkou MPhil 2005 An application of risk analysis for the conservation management of photographic archives

Charalampos Theodorakopoulos PhD 2005 The UV photo-ablation of terpenoid picture varnishes

Nicole Ingram MPhil 2004 Management of Risk Analysis: the impact of special events on the contents of historical buildings

Harriet Standeven PhD 2004 The historical and technical development of gloss house paints, with reference to their use by 20th century artists

Victoria Doran MPhil 2003 An evaluation of composition ornament in Britain from the late eighteenth to the early twentieth century

Pedro Costa Gaspar PhD 2003 A comparative study of methods used in conservation for the cleaning of stone and related materials

Francesca Cappitelli PhD 2002 The chemical characterisation of binding media in 20th century art

Athanasios Velios PhD 2002 Virtual conservation; the reconstruction of a fragmented object with the aid of the three-dimensional computer models

Christos Maris MPhil 2001 Risk management in preventive conservation

Angela Geary PhD 2001 Computer related imaging in conservation; the visualisation in three dimensions of the original and present appearances of European polychrome sculpture using laser scan data, presented in virtual and enhanced reality environments

Kirstie Reid MPhil 2000

Lyndsey Morgan MPhil 1999 The chemical and visual characterisation of artificial patinas on bronze sculpture

Silvia Valussi MPhil 1999 Stretching the lifetime of a synthetic material characterisation of modern elastane fibres

Sandra Grantham PhD 1999 Byo bu & Fusuma developing an approach to the conservation of Japanese screens through historical and technical study and an investigation of current practices

Magdalena Kozera MPhil 1997 Mounting and framing in British photographic exhibitions 1851–1916

Paraseki-Vivi Tornari MPhil 1996 Applications of holographic interferometry in preventive conservation and diagnosis of work of art

Konstandia Vigli-Papadaki MPhil 1996 Applications of holographic interferometry to the study of museum objects

Jane Davies MPhil 1995 ‘On gilded clouds...’ a study of the materials of oil on plaster murals of the late seventeenth and early eighteenth centuries in England


Critical and Historical Studies

Stewart Geddes MPhil 2007The unstable: tearing, scraping, Cubist theory and ruins

History of Design

Robert Barker MPhil 2008Style Transmission: Rococo Silver and Colonial Jamaica’

Ana Beatriz Ferreira Da Rocha E Silva MPhil 2008‘...and the Tate became Modern’ – Discourses of Urban Regeneration and Cultural Tourism as Agents in Shaping a new Identity

Isabel Godson PhD 2008The design of public events in the Irish Free State 1922–1949

Harriet Atkinson PhD 2007Imaginative reconstruction: designing place at the Festival of Britain, 1951

Amanda Girling-Budd PhD 2007Holland and Sons: a nineteenth-century cabinet-making firm and its clients, 1835–85

Aisling Molloy PhD 2007Frederick Vodrey: an artisan-entrepreneur in the Irish economic and cultural revival

Alison Fitzgerald PhD 2006The production and consumption of goldsmiths’ work in eighteenth-century Dublin.

Maria Sacchetti MPhil 2006 Uncluttered dress: minimalist aesthetic, design, retailing and consumption in a case study of the fashion designer Donna Karen.

Tom Sawyer MPhil 2006 From Gothic to Roman: the transformation of our standard letterforms from Medieval to Modern

Trevor Keeble PhD 2005 The domestic moment: design, taste & identity in the late Victorian interior

Victoria Kelley PhD 2005 Soap and Water – cleanliness, class and gender 1880–1914

Inger Sarin MPhil 2004 Oil-Cloth, wachstuch and toile ciree: the floorcloth its origin, European connections and place in the 18th century London interior

Quintin Colville PhD 2004 The role of material culture in constructing class related identities among male Royal Naval personnel 1930–1960’

James Lindow PhD 2004 Magnificence and splendour: the palace in Renaissance Florence

Deborah Landis PhD 2003 Scene and not heard: the role of costume in the cinematic storytelling process

Viviana Narotzky PhD 2003 An acquired taste the consumption of design in Barcelona, 1975–1992

Elizabeth Audas MPhil 2002 Reflections of modernity shop display 1930–1940

John Cross PhD 2002 Furniture in colonial Jamaica 1700–1830

Line Pedersen Mphil 2001 The design of art nouveau jewellery in Denmark

Diane Bisson PhD 2001 Museums in transition; past and present interpretations of the concept of design

Brenda King PhD 2001 Collections of Indian silk textiles and their connection with the English silk industry between 1830 and 1930.

Nicolas Maffei PhD 2001 Designing the image of the practical visionary: Norman Bel Geddes, 1893–1958

Rick Poynor MPhil 1998 Modernism and eclecticism: Typographica, 1949–67

Christopher Breward PhD 1998 Manliness and the pleasures of consumption masculinities, fashion and London life 1860–1914

Jennifer Salahub PhD 1998 Dutiful daughter: fashionable domestic embroidery in Canada and the British model, 1764–1911

Yasuko Suga Ida PhD 1998 Image politics of the state: visual publicity of the General Post Office in inter-war Britain

Susan Weber Soros PhD 1998 E.W. Godwin secular furniture and interior design

Darron Dean PhD 1997 The design, production and consumption of English lead-glazed earthenware

David Attwood MPhil 1996 Worlds in a box technology and culture in 1950s British radio design

Elizabeth Atkinson PhD 1996 The formative years the evolution of photography’s role in British periodical advertising during the 1920’s and 1930’s

Amin Jaffer PhD 1996 Furniture in British India 1750–1830

Humanities

Malcolm Quinn PhD 2001 Enculturation and its critiques

Susannah Handley PhD 1997 Cloth, clothes and chemistry synthetics, technology and design in the 20th century

John Cussans PhD 1995 Revolting subjects and epidemic disorder: George Bataille, heterology and broadcast horror

Randy Cutler PhD 1995 The songs of science. The surrealist fascination with the culture of science, 1919–1936

Paul Kilsby PhD 1995 The seer and the seen themes and strategies in experimental European photography in the inter war years.


178 // notes // research rca handbook 08·09

notes

Creditscompiled by: Prof. Sandra Kempedited by: Jessica Ranadesigned by: Esther Mildenberger MA RCAenvision+, http://www.envisionplus.comprinted by: Vereinigte Verlagsanstalten GmbHKONKORDIA/Wesel Kommunikation

2008

192 // credits // research rca handbook 08·09


rca

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