Knowledge Transfer at University of the Arts London


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Knowledge transfer is about exchanging expertise, experience, research results, skills and
ideas between universities and other organisations, businesses, government, the public sector and wider community to enable innovative new products, services, technologies and policies to be developed.
Knowledge transfer at the University of the Arts London can take place through a range of formats –
including commissioned projects, Knowledge Transfer Partnerships (KTPs), collaborative research, R&D consultancy, student projects and
International Knowledge Exchange
projects (IKE). Fundamentally we
approach knowledge transfer as a
two-way process of exchange with
mutual and sustainable benefits.

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Knowledge Transfer at University of the Arts London

  2. 2. KNOWLEDGE WHO ARE WE? projects (IKE). Fundamentality we University of the Arts London, Eu- approach knowledge transfer as a rope’s leader in art and design edu- two-way process of exchange with TRANSFER cation, comprises six world famous mutual and sustainable benefits. Colleges: Camberwell College of Arts, Central Saint Martins College CASE STUDIES of Art and Design (CSM), Chelsea College of Art and Design, London WHAT WILL IT COST YOU? College of Communication (LCC), The cost of engaging in a knowl- ACROSS THE London College of Fashion (LCF) edge transfer project needn’t be and Wimbledon College of Art. high and may require no more than a mutual interest and a com- CREATIVE DISCIPLINES For more than 150 years the mitment to two-way exchange. Colleges of the University have Schemes such as Knowledge been at the forefront of research Transfer Partnerships (KTPs) and and innovation in their specialist Research Council funded-projects disciplines of art, design, fashion, communication and the also receive significant govern- ment subsidy. Design P2 performing arts. We continue this tradition today with a range of strategic knowledge transfer opportunities for commercial and non-commercial partners and INTERESTED TO KNOW clients in the UK and overseas. MORE? We would be delighted to hear Fashion P18 from you to discuss your interests in knowledge transfer collabora- WHAT IS KNOWLEDGE tions with the University of the TRANSFER? Arts London. If you have any Knowledge transfer is about questions or would like to set up exchanging expertise, experience, research results, skills and a phone discussion or face to face meeting with a member of our Media & Communications P24 ideas between universities and Knowledge Transfer Team please other organisations, businesses, drop us an email at government, the public sector and wider community to enable innovative new products, services, A quick flick through this brochure technologies and policies to be developed. shows some of the University’s recent knowledge transfer Visual & Performing Arts P32 projects… Knowledge transfer at the Univer- sity of the Arts London can take place through a range of formats – including commissioned projects, Knowledge Transfer Partnerships (KTPs), collaborative research, R&D Archive Development & Conservation P38 consultancy, student projects and International Knowledge Exchange CONTENTS PAGE 1
  3. 3. Design 2 3
  4. 4. Images: courtesy ofof Kelsey Snook Images: courtesy Kelsey Snook CASE STUDY The Southbank Centre is the largest single-run arts centre in the world, situated in London on the banks of the River Thames. The Centre undertook a two year Knowledge Transfer Partnership (KTP) with Central Saint Martins College of Art and Design (CSM), University of the Arts London (UAL), to develop interactive environments that encourage participation and re-engage audiences. PURPOSE OF THE INITIATIVE The Southbank Centre wanted to give visitors to the site new kinds of interactive and tactile experiences to bring an exciting and alternative dimension to the way Southbank Centre people see the Centre. The key aims of the KTP were to increase visitor numbers to the Southbank, to raise awareness of what the Centre offers and provide new ways for people to engage with the Centre, ultimately, leading to an increase in its revenue streams, through increased ticket sales and membership. INTERACTIVE ExPERIENCES OUTCOMES ‘ • New approaches to engaging the public with the Southbank Centre resulted in exposure to new markets and revitalized relationships with existing KTP is a really creative and powerful markets, with a direct impact on membership registrations and visitor way for the Southbank Centre to numbers further its own ambitions and ideas • The developed of a new design methodologyhas enhanced the Southbank through collaboration. We are swapping Centre’s understanding of how to interact with the public • The Centre’s Flicker site grew from less than 10 hits per day to 5,000 hits, knowledge and expertise which makes leading to a 500% increase in the Southbank Centre’s online community economic sense as well as creating • New narrative environments and installed interactive experiences, such as ’ something that is more holistic and more photo booths placed in spaces around the Southbank, led to approximately interesting for the public to be part of. 11,500 new individual visitor interactions • Participatory design approaches gave the Learning and Participation team at the Southbank Centre increased confidence with their design decision Shan Maclennan, Creative Director of Learning and Participation, Royal Festival Hall, Southbank Centre making • The knowledge and expertise transferred during the project will be reflected in both Southbank’s Learning and Participation team’s working practices, and in teaching on the MA in Narrative Environments at CSM DESIGN 5
  5. 5. Acme THE FUTURE OF THE ARTIST’S STUDIO CASE STUDY Acme Studios is the leading studio development organisation in England. Its current development programme which is part funded by Arts Council England’s Grants for the arts – capital programme, will result in 200 new and permanent studios in London by 2012. To establish accurate user briefs for artists’ studios, Acme recently started a two- ‘ year Knowledge Transfer Partnership (KTP) with Central Saint Martins College of Art and Design (CSM), University of the Arts London, to review the changing role of the artists’ Securing a KTP to studio within contemporary art practice through an extensive programme of studio visits and interviews. develop new designs and management PURPOSE OF THE INITIATIVE protocols for artists’ Acme is increasingly involved in the development of new purpose-built artists’ studios. studios is extremely In order to continue to provide studios which meet the changing needs of artists’ exciting for Acme practice, Acme wanted to develop a project resulting in new design specifications and and important for the management protocols for future artists’ studios. As one of the first-ever KTPs in Fine Art practice the project has already generated interest and it is hoped it will pave the way for affordable studios other arts-based KTPs in the future. sector as a whole. This project will ensure OUTCOMES Acme continues to • An in-depth review of Acme’s current studio provision, including its current design provide high-quality, and performance specification and management regimes permanent and • A study of contemporary art and emergent practices in relation to the role and form of the studio affordable space which • An informed and authoritative model of the function of the artist’s studio and a continues to meet the ’ template for future design, provision and management requirements of artists • The publication of papers and the organisation of a conference which will underpin in economic need. Acme as the leading professional body in the UK developing and managing affordable space for artists Johnathan Harvey, Chief Executive, • Wide dissemination of the project findings to benefit of all those involved in the Acme Studios development and management of artists studios and in contemporary art practice more generally Image: courtesy of Acme Studios DESIGN 7
  6. 6. Food up Front USING FRESH DESIGN TALENT TO ENGAGE YOUNG PEOPLE CASE STUDY Food Up Front is a not-for-profit network organisation, which supports and encourages people in urban areas to grow healthy, natural food in their unused outdoor spaces. For this project Food Up Front set a live project brief for the students of the interdisciplinary BA (Hons) Graphic Product Innovation course at London College of Communication. The students were then mentored through the process of responding to the brief by a service design specialist from the highly regarded design consultancy Engine. PURPOSE OF THE INITIATIVE The students were challenged by Food Up Front to produce design outcomes ‘ that could be used to motivate and encourage 16 to 24 year olds to grow some of their own food. This target group was chosen because they had been found ‘hard-to-reach’. The students therefore adopted user-centered and contextual For this project, I design and research methodologies, in order to develop an understanding of wanted to make it as why this group was difficult to engage, and then in turn to develop approaches real as we possibly that would address these issues. This resulted in three distinct design concepts could. This meant for: an innovative marketing campaign, a new product, and a new service. Image: courtesy of R. Hoy-Priest, S. Marrett, J. Vorosilova, R. Hassan, K. Yen Cin Fok and D. Uljanovs involving Food Up Front in the role OUTCOMES • ‘The Food Front’ – a campaign designed to encourage young people in of a ‘real’ client, schools/colleges to grow their own food as a way of earning money interviewing ‘real’ • ‘Delayed Satisfaction’ – a product designed to provide enjoyable ways of 16-24 year olds as sharing the experience of growing and consuming home produce potential users, and • ‘Know what you grow’ – a campaign designed to reward people’s experience finally testing the of growing their own food through retail partnerships ’ project with ‘real’ • The company was exposed to the value that contemporary design practices could bring to its business, and also the quality of design work that UAL’s people. students could provide • The students were able to work on a ‘live’ design project, involving a real Jonas Piet, Service Design Consultant, Engine client and potential users, as well as benefiting from expert industry experience and mentoring DESIGN 9
  7. 7. Images: courtesy of Giandaniele Asquini CASE STUDY Set up in 1970, the Jindal Steel Group is one of India’s fastest growing groups in the iron and steel sector, with nearly 50% market share in the country, and a major exporter across the globe. During a three month research and development focused International Knowledge Exchange (IKE) project, the University of the Arts London (UAL) helped Art d’Inox explore new ways of working with stainless steel and enhance the company’s product range. PURPOSE OF THE INITIATIVE Art d’Inox (a lifestyle product company within the Jindal Steel Group) decided to work with UAL on an IKE project as a way of leveraging the University’s knowledge, expertise and skills. The project set out to develop new and innovative design Art d’Inox processes to increase the company’s competitiveness and expand their design thinking. In order to achieve this, UAL set up and managed the project which involved a team of design graduates from Central Saint Martins College of Art and Design working in India directly with Art d’Inox. SPICES & FRUITS AS DESIGN INSPIRATION OUTCOMES ‘ • Fresh thinking was infused within the company’s present work practices in The company started this Knowledge a tactical way • New approaches of working with stainless steel were successfully introduced Transfer project because they wanted and implemented within the business to gain exposure to European design • New prototype products were successfully created within a short thinking. In just three months, our timeframe graduate came up with completely • Fresh concepts were explored to produce innovative new products using new concepts, using stainless steel and stainless steel and terracotta terracotta that were incorporated into • UAL graduates formed relationships with a range of industry contacts with ’ the opportunity to gain new skills and experience new designs including an innovative • The client gained exposure to European design thinking and benefited from stainless steel umbrella stand. engaging with young designers and their contemporary design practices Brent Holder, Business Development Manager, University of the Arts DESIGN 11
  8. 8. Image: courtesy of the MACPfNE archive CASE STUDY The German city of Pforzheim has long struggled against the constraints of its past, in particular its 250 year old reputation as the “City of Gold”, despite diminishing markets, and the lasting memory of the city’s destruction and heavily bombing during the Second World War. Backed by the Pforzheim organisation for economic development and city marketing and facilitated by Arthesia AG (Zurich) this collaborative project brought students from the MA in Creative Practice for Narrative Environments at Central Saint Martins (CSM) together with a group of students from the School of Design at Pforzheim University to help the city think differently about itself and its future. PURPOSE OF THE INITIATIVE Pforzheim 2025 In order to increase its competiveness and reposition the city, Pforzheim decided to change its backwards-looking culture by envisioning new futures based on its present day strengths and assets. A group of 24 students from CSM and Pforzheim University spent two weeks in Pforzheim working intensively on FORECASTING FUTURES a supervised live project to produce a range of visual-think-pieces, illustrating and explaining a range of distinctive potential futures for the city. The students ‘ created six different scenarios that visualised and communicated the potential futures, providing a focus for debate and change in the City. Students came up with a vision which expanded people’s thinking. OUTCOMES Although forecasting futures are partly • Identifying the main challenges for the future of Pforzheim created debate imagination, the external partner gained about what needs to be done to develop the town, and kick-started the tangible outcomes as the process of change. • A physical exhibition of the future scenarios was held in the Pforzheim scenarios can be developed into a City Hall and received extensive press coverage across Germany, helping to ’ strategy for introducing change to the capture people’s imaginations city of Pforzheim. • The city of Pforzheim was given a new way of thinking about their future which can now be used strategically in the city’s development plans • A new creative relationship between two globally recognized design schools Tricia Austin, Course Leader in MA Creative Practice for Narrative Environments, Central Saint Martins, was created with potential for ongoing collaboration and exchange University of the Arts London (UAL) • Students gained valuable networking opportunities and some have since obtained employment as a direct result if their involvement in the project DESIGN 13
  9. 9. Images: courtesy of BOP Consultancy CASE STUDY BOP Consulting provides research and strategy services to a wide range of organisations working in the public sector, including UNESCO, DCMS, and the UK Film Council. BOP decided to collaborate with Central Saint Martins, University of the Arts London, on a 6-month shorter KTP project, designed to explore how contemporary design methodologies could help to enhance BOP’s presentation and communication of its research findings in ways that were tailored to meet the needs of its clients. BOP Consulting PURPOSE OF THE INITIATIVE While BOP could readily develop new data capture and research methods, it needed greater expertise in the skills and practice of preparing and presenting its complex information and data so that clients could use it efficiently and effectively. The KNOWLEDGE DESIGNED KTP gave BOP a new information design and data visualisation capacity, providing the skills necessary to structure information into clear practical products that are ‘ compelling and easy for clients to understand and use. OUTCOMES This knowledge transfer project showed • Creation of a new and innovative design strategy that gives BOP a competitive us how innovation can work in a small edge and supports the company’s strategic objectives to increase income firm. The project asked big questions and profitability, by enhancing its research products through contemporary about the way we work overall. We had design approaches to information visualisation to ask ourselves ‘How far do we go from • A newly created design capability which will enable BOP to exploit niche here?’ We realised we didn’t have the markets and customers in the creative industries, developing their brand and extending their profile in the sector capacity for large innovations—we • Development of a new set of information design tools, and improvement of were much less radical. We innovated the visual skills and design awareness of all BOP staff using our existing tools and ended up • Provided an opportunity for the academics involved in the project to increase ’ with something pragmatic which was their experience of how design and product development techniques can perfectly suited for our needs. provide differentiation in a niche market • An extension of institutional involvement in context-led information design research, exploring both the processes involved and the market Paul Owens, Director, BOP Consulting requirements DESIGN 15
  10. 10. Images: courtesy of Alys Tomlinson CASE STUDY CDO2 Limited provides innovative technology to help financial organisations manage the high risks involved in developing structured credit products that allow users to manage their exposure to credit risk. In the current economic climate, managing risk associated with trading structured credit derivatives is challenging. CDO2 has been working for the past two years on developing a radically new risk management tool, which will present the data analysis in a visual form and lead to sounder financial decisions being taken by CDO2’s clients. To increase effectiveness, CDO2 needs to bring in visual art and graphic design expertise to complement its own technical IT software capabilities. PURPOSE OF THE INITIATIVE CDO2 This KTP aims to develop a set of novel visualisation tools which will improve the functionality of its software and make the multi-dimensional financial risk information it presents and analyses more accessible to users. The project involves reviewing the company’s existing products, gathering user requirements VISUALISING RISK and feedback from potential customers, developing, testing and evaluating new ‘ data visualisation techniques and prototypes, and embedding new information design tools in the company through staff training. On completion, the project We believe that new visualisation and will give the company a product which has the capability to analyse large arrays of data so that financial risk decisions can be made more speedily. analysis techniques are fundamental to CDO2’s success with this new product. OUTCOMES The KTP project is essential to help the • The development of a unique software for data visualisation which will act company grow its client base and provide as a market differentiator for CDO2 in a competitive international market the financial risk industry with a well • The creation of an in-house design capability after the end of the project, as based method to interrogate risk criteria a result of the knowledge transfer from the College’s research • Ability to sustain development of innovative data capture and presentation and present outputs that are readily ’ will gain CDO2 further market share world-wide in all its products understood to make decision making • The KTP will reinforce the college’s position as a UK leader in information more effective and efficient. design and data visualisation development • Opportunity to gain skills in developing new business strategies and processes Dr Gary Kendall, Founder and Director of CDO2 as well as applying information design methodologies DESIGN 17
  11. 11. Fashion 18 19
  12. 12. Image: courtesy of Cassette Playa CASE STUDY Cassette Playa is a luxury/street menswear brand started in 2007 by designer Carri Mundane. Mundane, whose designs have a very distinctive graphic style, has collaborated with brands including Nike, Sega, Jim Henson, Uniqlo, Nintendo and received recognition from artists such as M.I.A, Klaxons, Dizzee Rascal, Telepathe and Late of the Pier. A recent London Development Agency funded Knowledge Connect Project, between Cassette Playa and London College of Fashion (LCF) has led to the development of an innovative technology application that enables customers to interact with the brand on a deeper level. PURPOSE OF THE INITIATIVE The Digital Fashion Studio at LCF proposed to develop a new software design application for Cassette Playa. The design application would allow customers to see a 3D graphic or animation/video located on their clothing when they view themselves via a webcam, mobile phone or other hand hell device. The end Cassette Playa result of the project was an ‘Augmented Reality T-Shirt’ (AR-T) range, which was seen as a unique opportunity for Cassette Playa to increase its competitiveness, as this technology has never been used in the Fashion industry before. ‘AUGMENTED REALITY T-SHIRT’ RANGE OUTCOMES ‘ • Access to AR-T expertise, design practices and software development led to new T-shirt design prototypes and innovation within the company The positive thing about this project was • Development of a new software application, unique to the brand, has increased value, novelty and sales potential to the company’s product that it presented quite technical things to offer people in a way that was easy for them to • Development of a new AR-T range, which can be developed by adding new enjoy and understand. We also managed to functionality ’ entirely realise a very unique Cassette Playa • Raised brand awareness, due to publicity received at London Fashion Week customized design concept. 2010 leading to more orders, wider audiences and new clients • An increase in consultancy and licensing collaborations between Univerity Philip Delamore, Senior Research Fellow (DigitaL Technologies), of the Arts London and non-fashion product businesses London College of Fashion, University of the Arts London FASHION 21
  13. 13. Image: courtesy of Pilar Macchione CASE STUDY Based in Delhi, India, NSK Textiles supplies ranges of ready-to-wear clothing for a worldwide market. A recent International Knowledge Exchange (IKE) project between NSK Textiles and the University of the Arts London (UAL) allowed the company to gain access to contemporary design methods and processes for the first time, and increase their competitiveness. PURPOSE OF THE INITIATIVE To increase their market penetration, NSK Textiles looked to UAL for exposure to European design thinking. Over the course of this three-month IKE project, the UAL graduate worked with the company to design a complete sample clothing collection, from concept to full prototype collection. The new collection was NSK Textiles based on thorough market and competitor analysis and developed for leading retailers in European and US markets. OUTCOMES TRANSFORMATIVE IMPACT ON DESIGN THINKING • The company experienced the benefits of an in-house designer for the first ‘ time • Opportunity for the company to review its design thinking in the context of The knowledge exchange with NSK Textiles both Indian and global clothing markets • Company and competitor analysis carried out during the project will be used was two-way. Firstly, the company has to increase the business’ ongoing market penetration and profitability been able to leverage the intellectual • Exploration of new design thinking was embedded within the company, capital of the University of the Arts London further supported by the development of a reference set of conceptual through the skills and knowledge of the guidelines graduate and academic. Secondly, there • Two full sample collections were created, with some designs selected by the was a chance for our graduate to learn company’s European and US clients ’ new skills. She has increased her cultural awareness, design skills and employability. Brent Holder, Business Development Manager, University of the Arts London FASHION 23
  14. 14. Media & Communications 24 25
  15. 15. Press Association PRESSING INTO THE FUTURE CASE STUDY Image: courtesy of the Press Association The Press Association (PA) has been the main UK and Irish news and information provider for over 140 years. As a business the PA faces multiple challenges from the ongoing digital revolution and the need to adapt its traditional print storytelling to digital platforms. During a two year Knowledge Transfer Partnership (KTP), the University of the Arts London (UAL) has guided the PA through this ever-changing media landscape. PURPOSE OF THE INITIATIVE Due to the shrinkage in traditional media usage and the growth in digital the PA decided to collaborate with UAL in order to keep the company at the forefront of the world multimedia industry. Through the KTP the PA sought to better understand the role of video online and to change the ways in which it gathered, processed and delivered digital content as an organisation. OUTCOMES • Assessment of the current market situation leading to a greater understanding of how the PA should provide news to their clients • Exposure to new and innovative types of video usage on digital platforms that could help the PA attract potential investors ‘ • Changes and greater efficiency in the company’s working culture as a result of examining the needs and wants of their clients in an online There are huge changes going on environment throughout the media industry, and • Development and improvement of the PA information architecture and the Press Association recognises news gathering tools that partnerships such as KTP • Development of a social media strategy within the PA now considered as an make sense right now. I am sure important new technique for digital story telling • Improved efficiency within the PA Content Management System, leading the support of the Associates and to faster and more effective information gathering, processing and ’ the University will prove invaluable dissemination over the coming decade. • Introducing semantic web technology has fundamentally changed the way PA delivers and archives news leading to long-term cost savings John Angeli, Head of Content, Press Association MEDIA & COMMUNICATIONS 27
  16. 16. Image: ‘Edward and Thomas Tomkinson’, 1784 by Gainsborough Thomas, courtesy of Bridgeman Art Library Bridgeman Art Library REACHING TEACHING CASE STUDY Cleverly categorised by titles ranging from ‘Science and Medicine’ to ‘Emotions and Ideas’, Bridgeman Education allows users to search effectively through their extensive library of over 300,000 photography, fine art, cultural and historical images, using a variety of intuitive search terms. A recent Knowledge Transfer Partnership (KTP) between the Bridgeman Art Library and London College of Communication, University of the Arts London has expanded these categories ‘ and made them more accessible to aspiring graphic designers and students. The Bridgeman Art PURPOSE OF THE INITIATIVE Library took on a KTP Started in 1972 by Harriet Bridgeman, then an editor for illustrated art books, project because the the Bridgeman Art Library has grown into one the world’s leading sources of fine art, cultural and historical images from over 2,000 collections and more organisation was looking than 30,000 artists. This KTP project set out to develop and diversify Bridgeman for ways in which to Education’s online educational offer through market research, user needs diversify from its core analysis and responsive design solutions. business and at the same time meet the needs OUTCOMES of educational users • New search categories created related to Graphic Design, History of Science, and Fashion to expand Bridgeman’s sales potential in the Education for copyright approved market content. The outcomes of • Development of an e-commerce service targeting the educational sector the project are enabling and improved management of the company’s website Bridgeman to reach • Exposure to Graphic Design Schools – tomorrow’s commercial clients the next generation of • Exploration of new business models for licensing images graphic designers and • Review of the company’s present activities, building on existing market research and earlier projects picture researchers, and ’ • Creation of educational web pages and seminars in collaboration with creates a new income educational bodies and institutions stream for the business. • New processes developed to improve Bridgeman’s digitising practices • The opportunity to supply high resolution images that will enhance the Pandora Mather-Lees, Managing visual finish of various projects Director for Sales, Bridgeman Art Library MEDIA & COMMUNICATIONS 29
  17. 17. Image: courtesy of Xennia CASE STUDY Xennia is the world’s leading independent industrial inkjet technology company, bringing unrivalled R&D expertise and printing systems to the commercial sector ( This 2 year Knowledge Transfer Partnership (KTP) brought Xennia together with academic researchers in imaging and print technology from the London College of Communication (LCC), to explore solutions for enhancing print quality and reducing the costs of product prototyping. This R&D process resulted in the development of innovative ‘virtual printer’ software and production prototypes of customised inkjet printers for novel industrial printing applications onto textiles, ceramic tiles, plastic blocks, and curved surfaces. PURPOSE OF THE INITIATIVE Xennia initially undertook the KTP to gain an enhanced understanding of how ‘photographic print quality’ could be achieved in industrial inkjet printing systems. However, as the project progressed, the academics’ expertise in ink Xennia technology, image processing and colour management, combined with the Associate’s high level of technical skills, led to the development of a new piece of software. This ‘virtual printer’ enabled significantly improved print quality to be achieved through the virtual prototyping of most aspects of designing the VIRTUALLY ENHANCING PRINT qUALITY print delivery systems. ‘ OUTCOMES With the virtual inkjet printer simulation • Xennia acquired the knowledge and understanding to reproduce colour tool and colour image processing imagery in photographic quality through its industrial inkjet systems capabilities developed within this KTP • New software was developed with a user interface to provide a graphic prediction of how variables in the printing system will impact upon image quality project … Xennia is now competing with ’ • Xennia can use this software to ‘virtually test’ combinations of design the major international digital inkjet print parameters for new inkjet print systems, saving the company significant technology manufacturers. costs on physical prototyping • A theoretical colour model was developed which has defined the standards Professor Lindsay MacDonald, Faculty of Media, London College by which Xennia chemists now select ‘ideal’ pigments of Communication. • The KTP has enabled Xennia to maintain its position as ‘market leader’ and also helped to demonstrate the R&D team’s cutting-edge expertise MEDIA & COMMUNICATIONS 31
  18. 18. Visual & Performing Arts 32 33
  19. 19. Image: courtesy of the V&A ‘ CASE STUDY Live performance Using the prestigious Raphael Gallery, in the Victoria and Albert Museum, as within the collections a site-specific performance space, No Yesterdays on the Road was a specially commissioned contemporary dance piece created in response to the collections challenges the in the new Medieval and Renaissance Galleries. As a creative intervention this common assumption initiative and collaboration between the Museum and the University successfully of the museum as helped to bring the museum’s activities and collections to a wider and more a passive place. diverse audience, and provided an exciting opportunity to use new approaches Responsive and to engaging audiences with collections. interventionist performance have the PURPOSE OF THE INITIATIVE No Yesterdays on the Road, created for the V&A Contemporary Collections’ ability to reactivate ’ ‘Friday Late’ series follows on from a group of 11 interventions curated by both the artifact and Peter Farley and performed in the galleries of various collections throughout the space. the museum. Such interventions aim to explore the relationship between the museum, collections and audiences. The performance was choreographed by Jessie Brett, a graduate of London Contemporary Dance School, with design by Peter Farley, Senior Academic Elizabeth Hurt, a final year student at Wimbledon College of Art. Lecturer, Wimbledon College of Art, University of the Arts London OUTCOMES • Opportunity for the V&A to work with practitioners from other arts disciplines who challenge perceptions of the role and function of the museum, thus furthering this debate • Exposure of the museum’s activities and collections to a wider and more diverse audience • Exploration of unusual performance spaces with an aim to make the museum and its collections a less distant and more intimate and comfortable experience V&A Museum • Collaboration between performance-makers and curators of the many V&A collections resulted in exchange of specialist knowledge • Opportunity for the performance-makers to work in a world-famous institution and measure their own practice in relation to objects and CREATIVE INTERVENTIONS artifacts of global significance VISUAL & PERFORMING ARTS 35
  20. 20. Image: courtesy of the The Baring Archive ‘ The access allowed to The Baring Archive, which is among the finest archives of a financial institution, was fantastically ’ generous and a CASE STUDY wonderful opportunity. The Baring Archive is one of the finest archives of a financial institution in the world, and holds material of international significance, dating from the founding Eileen Hogan, Painter, Book Artist and of Baring Brothers Co. in 1762 to its acquisition, as a global investment bank, by Research Professor, CCW Graduate School, University of the Arts London ING in 1995. The re:SEARCHING project enabled artists and researchers across a number of disciplines to select artefacts in the Archive and create new artistic responses to these. The project, led by Eileen Hogan, included practitioners from the three CCW colleges (Chelsea College of Art and Design, Camberwell College of Arts and Wimbledon College of Art), University of Sussex and University of Central Lancashire. PURPOSE OF THE INITIATIVE ING (the owner of the Archive) recently established The Baring Archive Limited as a charitable company, with the aim of safeguarding and managing the archive and developing its use as an educational resource. As the Archive is predominantly used by financial historians the collaboration with CCW Graduate School has uniquely contributed to widening the audience for the Baring Archive, and investigating the relationship between artists, archives and collections. OUTCOMES • Demonstrated the relevance of the Baring Archive within an art and design context, by highlighting the important potential of archives in general to artists • Provided a unique opportunity for researchers and practitioners to explore a remarkable financial archive more often used by historians • The re:SEARCHING exhibition, held at The Baring Archive, allowed practitioners and researchers to showcase their new work alongside the inspirational historical pieces The Baring Archive • Arising out of a six-year collaboration between Wimbledon College of Art and ING the re:SEARCHING project has created a new dimension to the relationship between the University and the Archive • The project is leading to a series of research seminars and a publication, PLAYING IN THE ARCHIVE and possibly other locations for the exhibition VISUAL & PERFORMING ARTS 37
  21. 21. Archive Development & Conservation 38 39
  22. 22. St. Catherine’s Monastery THE LIbRARY CONSERVATION PROjECT CASE STUDY St. Catherine’s monastery in Sinai, Egypt, is the oldest active Christian monastery in the world and holds a unique collection of Byzantine and other manuscripts. The Saint Catherine Foundation, with support from the Headley Trust, funded a large-scale conservation project for the library which has been carried out by world-leading conservation experts from Camberwell College of Arts, University of the Arts London (UAL), and an international group of scholars and librarians from nine different countries. The project started in 1996 and is still ongoing. PURPOSE OF THE INITIATIVE Ligatus (UAL Research Unit) has been given the task of assessing the condition of the ancient manuscripts and offering advice on the ongoing protection and maintenance of the books. The work includes the complete renovation of the library and the creation of a new conservation workshop. OUTCOMES • The completion of the largest and most thorough survey ever done of a unique and internationally significant historic manuscript collection, comprising 3,300 bound volumes • The introduction of a new XML-based electronic survey methodology that has made the study of early manuscripts and printed books quicker, more consistent and electronically searchable ‘ • The development of an on-line glossary of bookbinding terms that is the basis of a unique tool for recording bookbindings to be offered to libraries around the world and ultimately to be translated into 14 European The collection is the oldest and one languages of the most important libraries in the • The development of a new stainless-steel box for storing the manuscripts, Christian world, and the aim of the Image: by Nicholas Pickwoad, courtesy of Ligatus which introduces an entirely new storage system to the conservation world ’ project is to ensure its safe survival into • Plans to digitize a large collection of slides of bindings (30,000 images, the new millennium. indexed and described according to the terms of the glossary), that will create an valuable data resource for research that is currently only available to a limited number of people Nicholas Pickwoad, Director of Ligatus Research Centre at Camberwell College of Arts, Univerity of the Arts London ARCHIVE DEVELOPMENT & CONSERVATION 41
  23. 23. Image: courtesy of MISSONI CASE STUDY This collaborative academic research project brought the distinguished Missoni brand and its family run archive together with experts at London College of Fashion (LCF). The project included the digital scanning of rare archive pieces and the curation of an exhibition at The Estorick Collection of Modern Italian Art in London. PURPOSE OF THE INITIATIVE The skills of broadcast journalism and scholarly research were combined to collate a range of fresh interviewees and insights into the Missoni brand, aesthetic and family business. Documentary imagery and the archive were scanned using high definition filmwork so that five decades of Missoni design could be woven together in a way that suited today’s multi-format world. The end result was an exhibition entitled Daring to be Different, an inspirational new documentary Missoni and an archive catalogue, all of which featured formerly unseen sources from the Missoni archive and have added unique value to this rare collection. OUTCOMES UNLOCKING NEW ARCHIVE SOURCES • The research project helped to unlock the archive in unique and intimate ways, opening opportunities for future archive exploration and educational ‘ insight • Digital scanning was used for the first time within the archive as a tool It was an exciting and important to produce a high definition video showing the Missoni brand’s distinct intricate weave opportunity to review many previously • ‘The Black and White of Colour’, a 30 minute documentary, was written and unseen items of artistic interest. produced by Maggie Norden, featuring insight into the Missoni family’s art Partnerships such as this – using history interests and influences and much of their private collection ’ resources astutely – can add extra • The Estorick Collection of Modern Italian Art hosted a three-month Missoni heritage interest all round. exhibition, bringing interesting new audiences to both the company’s archive and the collections at the Estorick Maggie Norden, Director of Creative Media and Principle • The Missoni brand is harnessing the unique value of the produced Lecturer in Broadcast Journalism at London College of Fashion, documentary and catalogue, which have since been used within the newly University of the Arts London launched chain of Missoni international luxury hotels ARCHIVE DEVELOPMENT & CONSERVATION 43