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.

1. KNOWLEDGE
TRANSFER
BRINGING
CREATIVITY
TO BUSINESS

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 knowledgetransfer@arts.ac.uk
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. Design
2 3

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. 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. 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. 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. 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. 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. 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. Fashion
18 19

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. 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. Media &
Communications
24 25

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. 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. 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
(www.xennia.com). 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. Visual &
Performing Arts
32 33

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. 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. Archive
Development &
Conservation
38 39

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. 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