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Our MA Photography course approaches photography as an expanded visual discipline. You'll be encouraged to confidently produce complex and extended photographic projects and engage with experimental and speculative approaches to making. Read more
Our MA Photography course approaches photography as an expanded visual discipline. You'll be encouraged to confidently produce complex and extended photographic projects and engage with experimental and speculative approaches to making.

We offer a dynamic and exciting environment for studying the critical theory of photography, and this course engages with practices of reading and writing about the image. MA Photography also pays close attention to the dissemination, exhibition and publication of photographic work.

We provide specialist digital and analogue facilities for large-format colour and black-and-white exhibition prints.

Our course offers a considered balance of support that develops practical skills and fosters a high standard of diverse critical approaches. You'll take risks, explore and develop your interest, and exchange, debate and discuss ideas. You'll respond to the diverse field of contemporary photography and explore practices of representation that engage with the still and the moving image, as well as performance and installation.

Your studies will be supported by a number of internationally renowned staff in a department that encourages experimentation. This will enable you to establish yourself as a rounded professional who can formulate ideas in a sophisticated framework whilst also being able to communicate to others, both visually and verbally.

We place a strong emphasis on publication, enabling you to find creative ways to disseminate your work beyond the academic context and into the public arena.

Facilities

Our range of equipment and technical support enables specialist and professional-grade work, whilst also encouraging experimental and speculative approaches to making.

Industry Partners

Our MA Photography course enjoys extensive links with a number of photographic, media and fine art professionals, curators, publishers, specialist printers and book designers. These connections enrich your experience through visiting lecturer and seminar programmes.

In the last three years, speakers on the course have included photographers and other creative practitioners such as:
-Ori Gersht
-Esther Teichmann
-Margaret Salmon
-Sarah Jones
-Matthew Stone
-Criodhna Costello
-Chris Coekin
-Carey Young
-Lisa Castagner
-Rod Dickinson
-Jo Longhurst
-Jason Evans
-Joseph Walsh
-Eva Bensasson

Additionally, creative professionals and industry links for our course include:
-Benedict Burbridge, editor of Photoworks
-Stuart Smith, book designer at Smith-Design
-Sarah James, writer at Art Monthly and Frieze
-Lucy Soutter, writer at Source
-Clare Grafik, curator of The Photographer's Gallery
-Jennifer Thatcher, Folkestone Triennial
-Jean Wainwright, writer at Art Newspaper
-Terry King, specialist printer
-Emily Pethick, directs The Showroom
-Robert Shore, editor of Elephant Magazine
-Edward Dorrian, organiser of Five Years
-Joyce Cronin, manages the Cubitt Gallery

Careers

Our postgraduate degree prepares you for your career through professional practice units, talks by visiting artists and portfolio reviews with figures from across the photographic industry. Career opportunities include:
-Freelance photography
-Fine art
-Fashion
-Advertising and editorial
-Post production/digital imaging
-Picture editing and research
-Curating
-Image, arts and community arts management
-Gallery administration

Graduates of MA Photography have gone on to win the Jerwood Photography prize; to exhibit their work in The Photographers' Gallery, Photofusion, ArtSway and the Geffyre Museum as well as publishing their outputs in different venues ranging from The Sunday Times Magazine to monographs with Dewi Lewis Publishing.

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MA Interaction Design Communication is a practice-led design course that prepares students to design for an increasingly technologically informed and interdisciplinary design world with skills in the following areas. Read more

Introduction

MA Interaction Design Communication is a practice-led design course that prepares students to design for an increasingly technologically informed and interdisciplinary design world with skills in the following areas: interaction design, design prototyping, physical computing, user centered design, open source digital platforms, design research, foresight and insight, experience design, communication design, speculative and critical design, interactive design and digital arts.

Content

MA Interaction Design Communication provides an opportunity for experimental practice in an area of design that increasingly explores the intersection of the physical and digital domains. With a focus on synthesising thought through rigorous design prototyping (making), digital processes and user perspectives, the course is highly reflective of interdisciplinary practice within the contemporary design, media and communications industries.

The integrated approach of the course to critical thinking provides you with the opportunity to work with critical ideas in an applied design context – for example psycho-geographic practice as empirical research or engaging with other critical theories of space to generate user perspectives. This ensures that ideation processes take on both the macro as well as micro opportunities for innovation and speculation crucial to building a portfolio of highly engaged work.

As well as placing you in a position to work across the board spectrum of interaction, design and communication the course is just as interested in design questions as design answers. This means that the course also prepares you for progression to further design research at MPhil/PhD level as well as to advanced self-directed experimental practice.

LCC has an outstanding team of practitioners and published researchers and enjoys a powerful programme of visiting speakers. The course also benefits from a cross-European collaboration with design industry professionals and higher education institutions and there is an opportunity to visit at least one other centre in Europe during the course.

Structure

Phase 1

1.1 Theories and Technologies of Interaction Design (40 credits)
1.2 Research Practice and Human Centered Design (20 credits)

Phase 2

2.1 Interaction Futures and Speculative Design (40 credits)
2.2 Physical Computing and Design Prototyping (20 credits)

Phase 3

Unit 3.1 Final Major Research Project

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This course promotes a dynamic and speculative approach to the design of interior spatial environments and values research that seeks to challenge traditional methodologies. Read more
This course promotes a dynamic and speculative approach to the design of interior spatial environments and values research that seeks to challenge traditional methodologies. It gives you the opportunity to pursue your particular issues of interest in interior design or specialist areas of three dimensional design, through concise and focused study.

You will cover a range of issues, both theoretical and practical. Design modules deal with contemporary issues in a variety of interior design typologies, including retail, exhibition, gallery, performance and speculative efforts broadly described as installation. Careful studies are made in the pursuit of a fresh approach to their design resolution, through analogous and figurative studies, as well as comparison using suitable contemporary exemplars. The thesis can be undertaken as a design project, a dissertation or a piece of research – effectively a hybrid, both a project and a written summary or theoretical proposition.

Modules

The following modules are indicative of what you will study on this course.
-DECODING THE INTERIOR
-INTERIOR DESIGN CASE STUDY
-INTRODUCTION TO DESIGN COMPUTING
-MAJOR THESIS PROJECT
-RETAIL DESIGN
-THESIS DEVELOPMENT

Careers

Our dedicated Career Development Centre is actively working with an ever-expanding network of over 3,000 employers to provide you with exceptional employability support and guidance. As a result we were nominated as finalists for a significant industry award – the NUE Awards Most Improved Commitment to Employability 2016.

We provide our students with work placements and international opportunities to support them in becoming highly employable, globally engaged graduates, and with one million businesses operating within 20 miles of the University of Westminster, over 84% of our students are in work or further study six months after graduation. Our graduates work in a variety of sectors and organisations, from small/medium-sized companies and start-ups to large not-for-profit organisations and corporates.

During your time at Westminster you will be able to use our comprehensive online vacancy service and meet with our experienced careers consultants, providing you with thorough training and support on CV writing, application forms, interview preparation and assessment centres.

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This course looks beyond fashion design as we currently know it. Mixing design practices, innovative thinking and conceptual speculations, along with technology and science, the course finds strategies for the future state of fashion in ecological, cultural and social contexts. Read more

Introduction

This course looks beyond fashion design as we currently know it. Mixing design practices, innovative thinking and conceptual speculations, along with technology and science, the course finds strategies for the future state of fashion in ecological, cultural and social contexts.

Content

In this ground breaking course, you are encouraged to explore and develop speculative fashion practice and theoretical perspectives in parallel. You will identify new territories for fashion and work in new spaces to communicate ideas in relation to design for sustainability where digital design applications, the interplay of hard and soft sciences, design futuring, fashion design theory, fashion thinking, meta design, ethics, politics, psychology and anthropology are considered.

You will examine a diverse range of methodologies and technologies, including film, audio, digital and online platforms, garment prototyping, publishing, events and performance. Critical fashion practice and reflexive thinking to test, reframe and make responses to existing paradigms, is key to MA Fashion Futures. This will enable you to develop a very personal response to, and a critique of, the current paradigm and the role and activities of fashion.

This course is aligned to and supported by the Centre for Sustainable Fashion and the Fashion Digital Studio.

Structure

15 months level 7 180 credits

September to February

Critical Fashion Practice (40 credits)
Research Methodologies (20 credits)

February to June

Fashion Fictions: Speculative Prototyping (40 credits)
Collaborative Unit (20 credits)

June to December

Masters Project (60 credits)

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Our unique Creative Practices and Direction programme will develop your creative-practice and leadership skills through engagement with practice-oriented theory and new collaborations. Read more
Our unique Creative Practices and Direction programme will develop your creative-practice and leadership skills through engagement with practice-oriented theory and new collaborations.

As a student of this programme, you will develop strong relationships with active professionals in your discipline and learn within a leading theatrical conservatoire that benefits from the intellectual stimulus of a major research-led university.

PROGRAMME OVERVIEW

This unique programme is aimed at creative producers and directors and those who train and work with actors and performers to develop and direct their skills.

The programme offers five specialist pathways, including actor training, choreography and movement direction, directing, musical theatre creation, and practices of voice and singing, and you will also have the opportunity to develop a specialist practice within your chosen pathway.

The programme is primarily designed for graduates in drama, theatre and dance from universities and conservatoires, but will also appeal to those who have established themselves professionally and wish to refresh their skills and perspectives and take on leadership, coaching, creative or directing roles.

PROGRAMME STRUCTURE

This programme is studied full-time over one academic year and part-time over two academic years. It consists of eight taught modules and an Advanced Creative Practice module.

Students enter the MA Creative Practices and Direction to a specified pathway, personally supervised by their pathway leader, an expert in the subject area.

The following modules are indicative, reflecting the information available at the time of publication. Please note that not all modules described are compulsory and may be subject to teaching availability and/or student demand.
-Facilitating Creativity
-Interdisciplinary Pedagogies
-Dramaturgy
-The Performing Body
-Body
-Research Methods for Practice
-Integrated Practice
-Specialist Techniques
-Personal Profile Development
-Technology
-Advanced Creative Practice

Pathways

Actor Training pathway
The specialist modules for this pathway are designed to produce a versatile and effective actor trainer with the strategies and skills required to enhance and facilitate an actor’s progress. Students will examine and contextualise a number of acting methodologies to develop their own comprehensive approach to professional practice.

Movement Direction and Choreography pathway
Students on this pathway follow and practically investigate a number of techniques and ideas dealing with onstage physicality. The focus is also on the development of movement language, through the investigation of the ideas and practices of seminal dance-based ideas (Laban, Bausch, Cunningham, Fosse, Graham, Horton, etc.) and methods for working with music and sound.

Practices of Voice and Singing pathway
This pathway brings together study and practice in both singing and voice, in order to create a new paradigm for teaching and coaching in these fields, enabling students to expand, develop and reflect on their coaching styles.

Directing pathway
This programme is a practice-led pathway incorporating methodologies and techniques that focus on approaches to theatre directing, dramaturgy, collaboration with other practitioners.

Musical Theatre Creation pathway
This pathway is designed for those who wish to study writing, and creative roles specifically in Musical Theatre. These might be as a director, choreographer, composer, librettist, musical director or creative producer.

Educational aims of the programme

-Provide advanced study and practice in creative leadership and direction in theatre-making and/or the training of theatre artists, specific to the pathway chosen
-Equip students for employment in the theatre industry and/or related performing arts industries as specialist practitioners in one of the following areas: Actor Training; Directing; Movement Direction and Choreography; Musical Theatre Creation; Practices of Voice and Singing
-Provide students with integrated practical and theoretical knowledge of specialist creative and/or pedagogic practices relevant to their chosen pathway; contemporary technical and scholarly contexts; and industry-specific contexts
-Enable students to develop intellectual and practical skills to inform and articulate self-reflection and critical awareness, through specialist study and practice, and work with other students in cognate fields
-Develop critical and independent practitioners imbued with a sense of learning as a lifetime pursuit via a commitment to professional and personal development

PROGRAMME LEARNING OUTCOMES

The programme provides opportunities for students to develop and demonstrate knowledge and understanding, skills, qualities and other attributes in the following areas:
-Understand critical, contextual, conceptual and ethical dimensions of creative practices, leadership and facilitation in theatre and performance practices
-Articulate the practitioner’s relationship with key creative and production colleagues, performers, industry professionals and audiences
-Comprehend the implications and potential for theatre and wider performing arts practices presented by key developments in creative processes, training and producing regimes, and contexts for preparation and production
-Demonstrate an awareness of recent developments and specific techniques in the relevant specialist pathway
-Generate ideas, concepts, proposals, processes, solutions and/or perspectives independently and/or collaboratively in response to set briefs and/or as self-initiated activity
-Employ both convergent and divergent thinking in processes of observation, investigation, speculative enquiry, conceptualisation, facilitation and/or making
-Critically evaluate one’s knowledge and understanding of relevant performance/pedagogic practice
-Interact effectively with others through collaboration, collective endeavour and negotiation
-Demonstrate leadership skills, providing clarity and direction for others
-Demonstrate competence with specialist creative/facilitative theatre and performing arts practices (specific to the pathway followed)

Knowledge and understanding
-Understand critical, contextual, conceptual and ethical dimensions of creative practices, leadership and facilitation in theatre and performance practices
-Articulate the practitioner’s relationship with key creative and production colleagues, performers, industry professionals and audiences
-Comprehend the implications and potential for theatre and wider performing arts practices presented by key developments in creative processes, training and producing regimes, and contexts for preparation and production
-Demonstrate an awareness of recent developments and specific techniques in the relevant specialist pathway
Intellectual / cognitive skills
-Generate ideas, concepts, proposals, processes, solutions and/or perspectives independently and/or collaboratively in response to set briefs and/or as self-initiated activity
-Employ both convergent and divergent thinking in processes of observation, investigation, speculative enquiry, conceptualisation, facilitation and/or making
-Critically evaluate one’s knowledge and understanding of relevant performance/pedagogic practice
-Manage and make appropriate use of the interaction between context, brief, planning, process, outcome and critical reflection.
-Analyse information and experiences, formulate independent judgments, and articulate reasoned arguments through reflection, review and evaluation
-Source and research relevant material, assimilating and articulating relevant findings
-Formulate reasoned responses to the critical judgments of others
-Identify personal strengths and needs, and reflect on personal development, adapting plans accordingly

Professional practical skills
-Select, evaluate, adapt and make appropriate use of techniques, materials, processes and partnerships
-Develop ideas through to outcomes
-Demonstrate skills in communication, expression and facilitation
-Utilise appropriate discipline-specific languages to investigate, analyse, articulate and apply ideas and information
-Demonstrate competence with specialist creative/facilitative theatre and performing arts practices (specific to the pathway followed)
-Present ideas and work to co-creators, performers, audiences and other stakeholders, as appropriate, in a range of situations
-Seek and respond to the views of others in the development or enhancement of their work
-Work in combination with others in relevant performing arts settings, demonstrating skills in teamwork, negotiation, organization, and decision-making

Key / transferable skills
-Interact effectively with others through collaboration, collective endeavor and negotiation
-Demonstrate leadership skills, providing clarity and direction for others
-Work effectively as part of a team and in pursuit of shared goals
-Study independently, set goals, manage own workloads and meet deadlines
-Anticipate and accommodate change, and work within contexts of ambiguity, uncertainty and unfamiliarity
-Source, navigate, select, retrieve, evaluate, manipulate and manage information from a variety of sources
-Select and employ communication and information technologies
-Demonstrate resourcefulness and entrepreneurship

FACILITIES, EQUIPMENT AND ACADEMIC SUPPORT

The School of Arts facilities include the 200-seat theatre in the Ivy Arts Centre, dark and light studios, digital creation stations and editing facilities, scenic, props and costume workshops, and interconnected sound recording and music facilities.

Teaching and workshop activity takes place largely in GSA’s dedicated rehearsal rooms, performance studios and design workshops. Lectures, presentations and seminars will occur in rooms across campus.

The University Library contains the majority of set texts, key journals, scripts, play texts and video materials necessary for the programme. Students have access to extensive facilities through the virtual learning environment, SurreyLearn, and IT Services.

Additional support is available in the Learning Resource Centre in the University Library.

Equipment is provided on a project-by-project basis according to the nature of the work in hand and the parameters of the project, which are negotiated with the tutor.

Facilities and equipment for production work will be booked by students according to specific project briefings and advertised resource parameters.

Academic support is provided by way of ongoing contact with the programme director and module leaders, group briefings and feedback, individual tutorials, and mentoring.

The programme makes use of a peer feedback system designed to provide a useful and supportive account of areas of strength and effectiveness, along with areas for improvement.

You are encouraged to identify personal learning and creative objectives that can be pursued in alignment with group project work.

RESEARCH

The School of Arts includes study in dance, digital arts, film, music, sound and theatre, with research activity in all areas, often with significant interdisciplinary connections.

With an integrated approach that comprises documentation, analysis and performance, Surrey’s agenda for research aims to engage critically with the past and present, while rigorously articulating new frameworks for understanding and practising the arts and culture in the twenty-first century.

Research infrastructure includes the Digital World Research Centre and the Laban Archive in the National Resource Centre for Dance (NRCD).

The School of Arts hosts and supports established research centres, research groupings and networks as well as individual research projects. Our research extends to partnerships with the artistic community, for instance, in support of public debates or in the dissemination of documentation for arts practice through the digital and print media.

GLOBAL OPPORTUNITIES

We often give our students the opportunity to acquire international experience during their degrees by taking advantage of our exchange agreements with overseas universities.

In addition to the hugely enjoyable and satisfying experience, time spent abroad adds a distinctive element to your CV.

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Wearable Futures is a cross-disciplinary umbrella programme for designers who are interested in the cluster of technologies and experiences that have the human body and its covering as their centre of focus. Read more
Wearable Futures is a cross-disciplinary umbrella programme for designers who are interested in the cluster of technologies and experiences that have the human body and its covering as their centre of focus.

The course offers a holistic environment based on the integration of creative computing, digital craftsmanship and material cultures, while also incorporating the technologies and advances in hardware that are impacting on manufacturing techniques and associated applications. Wearable futures has come about as part of Ravensbourne’s current commitment to become creative leader in the field of wearable applications and body-centric design. Ravensbourne's digital research culture is contributing significantly in this context.

The main conceptual framework for the course will be provided by theories of digital craftsmanship, body-centric technologies and phenomenological readings and speculative philosophy. These will form an important research foundation for building Ravensbourne’s critical reach and will assist in helping you to sift and prioritise the current trends and thought relating to fashion and discussion around the body within data informed spaces. An interdisciplinary field of study will include interaction and experience design (UX), “making” and open source culture, design innovation and applied philosophy. You will be introduced to philosophical trends and these will tie in with your practice and help you to develop a critical view incorporating design fiction and other emerging theories. You will engage with research methods such as participatory, user study and user-centered design.

"One of the exciting things about the design industries today is that boundaries of former categories such as fashion, product or experience design have been broken down" - Alexa Pollman, Subject leader, MA Wearable Futures.

The course is a platform for investigation, dissemination and analysis around contemporary theory and practice in the wearable industries. The course’s core role will be to foster your understanding of this market and to identify latent demand within the commercial sphere and to highlight future applications and directions. The aim will be to help you to influence the decision makers so that wearable solutions will be accepted and meet the cultural and ethical expectations when designing for the human body and the garment-industry. You are expected to consider the cultural and social role inherent to fashion as a part of wearable futures.

Wearable futures students will focus their investigations on the key flashpoints of the body as an interface for what is a symbiotic, physical and digital exchange. As part of the design methodology of the course, you will be asked to develop future scenarios and narratives in order to help you and your clientele to understand the concomitant social, environmental or cultural challenges of designing for a matter as delicate as the human body.

"At the moment we’re still very much in the “task” piece of wearable computing, not in the symbolic “how do we make sense of it” piece. I think in the wearable space we are still bringing all the old metaphors of computation with us and still interpreting them in a somewhat literal way—that they are a smaller smartphone, or a little computer. It will become much more interesting when we let go of that and work out the promise that wearable computing will make to us." Genevieve Bell, Anthropologist at Intel

Get to know the subject leader: Alexa Pollman

- Tell us about yourself

For me, garments are social reactors and I like to challenge the current notion of ‘wear’. I have experienced the industry from different angles: my original profession was in fashion design, but I have also worked as a creative consultant and spent my fair share of time in showrooms, for both – big and small brands.

I completed the Design Interactions Programme at the Royal College of Art, and collaborating with various disciplines has enriched my perspective as a designer.

Luckily, I have been awarded different grants that have allowed me to pursue my own work - Peut-Porter is my design consultancy agency and platform which researches and provides forecasts on wear and fashion. Currently, I am Designer in Residence at the Design Museum London and will have new work on show from September 2015.

- What's your opinion on the current state of wearable futures?

We currently find a variety of opinions on wearables and truthfully spoken, I see a lot of problems occurring with their application. This is why it is important to train specialists who can engage with the topic in a much broader sense than is currently being done by the industry. Our wearable futures students will be asked to be highly innovative but at the same time engage with the cultural and social impacts of body-centric design. We need them to bridge the gap between artisans and material or textile specialists and the tech world.

The fashion system successfully uses technology in many experience-based ways and this seems like a very natural process to me as the narrative, experience-based aspect seems inherent to fashion. Wearable futures will not only produce gadgets and devices, it will help to define our relationship to technology when it enters our personal spheres, it will look at the moral and ethical side of data-capturing as well as its technological possibilities and ask students to research and design future aspects and needs of wear.

- Is this course right for me?

This course will focus on body-centric design – a topic which is currently being explored in a massive range of disciplines. We will ask for an extremely flexible mind, someone who is eager to work with various media and collaborate with science, engineers and artists to create their own definition of wearables.

Studying an MA should allow a student to find his or her very own position, strength and reason to design. Whether their work will have a technological, experiential , future or fashion focus will in the end be very much up to what they have decided to explore in the process. We want students to become ambassadors who understand not only the technological aspects and applications of wear but the medium that they will most closely be working with – the human body.

- Why are you so passionate about this course subject?

I think the course has potential to become a wake-up call – what are we doing to ourselves and our bodies? How much more obsessed with data capturing and monitoring will we become? We can’t ignore the trends and tendencies but we need to discuss and open up the field, get some creative minds together and talk about the cultural meaning of ‘wear’ and how that can work intriguingly when paired with technology.

For me, one of the big pluses of Ravensbourne is the fact that it doesn’t have a ‘traditional’ fashion orientation but instead is very interested in the digital and technological aspects of education. I especially feel that our MA courses have a lot to offer in terms of a general interdisciplinary approach, more so because they take in a small amount of people. Designers need one another to work and explore their role and as the MA’s share the same space, we will surely see a lot of cross overs with the other courses. Also, we have had quite some interest from big industries and I think we will see some exciting collaborations happening here in the future.

Course structure

1. Technology Issues – will ask you to engage and experiment with technologies used in the body-centric design sector. The three provided project briefs will explore such fields as data-capturing, 3D Printing and alternative production methods or sensory technology. You will work with fellow students and develop quick mock-ups to understand the mediums at hand and create wear with a focus on experiences.

2. Business and Innovation – will help you understand the business and innovative practices used in the creative industries. Could your idea become a successful product and how can you find a niche to place yourself in? Wearable Technology is one of the quickest growing markets of the industry and your contribution to the field could have manifold impacts.

3. Concept & Prototyping – will allow you to develop your personal design method and introduce you to an holistic design-strategy. You will be asked to present your concepts employing various media and design speculative, narrative and plausible futures in order to challenge and understand the needs, hopes and dreams related to wearables.

4. The Research Process – will help you to investigate and strengthen your concepts and ideas by teaching you the skills and methods needed to ground you personal project in an academic context.

5. The Major Project – represents the culmination of the design work and the research you conducted in your studies. In this unit, you will forge a specialist project and work self-managed and practice-based, seek advise from specialists outside the college and present your personal take on the future of wearables.

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This two year course uniquely combines a professional course; that is, an ARB/RIBA Part 2 course with a Cambridge Master’s degree in Philosophy. Read more
This two year course uniquely combines a professional course; that is, an ARB/RIBA Part 2 course with a Cambridge Master’s degree in Philosophy. It provides advanced teaching, research and practice opportunities in environmental design, including the social, political, historical, theoretical and economic aspects of architecture, cities and the global environment.

The course is a hybrid of independent research through design and a structured technical learning resource. It is designed for mature students that join the program with a distinct area of interest and provides guidelines to their scientific research, access to specialists of various fields relevant to their studies, and a matrix of deliverables that foster an informed body of work underpinned by a sophisticated set of design and presentation techniques.

The main outcome is a design thesis consisting of a detailed design proposition, supported by a written argument of up to 15,000 words. This is preceded by four essays or design exercises equivalent of 3,000 - 5,000 words. The course is closely connected with research interests within the Department’s Martin Centre for Architectural and Urban Studies. A number of the academics and researchers teach and supervise on the course.

Key benefits

- In the 2014 Research Excellent Framework, Cambridge Architecture’s research work was ranked 1st in the UK, achieving the highest proportion of combined World Leading research. 88% of the research produced by the Department was rated as World Leading or Internationally Excellent (Unit of Assessment 16: Architecture, Built Environment and Planning). This consolidates our top ranking established in the previous Research Assessment Exercise of 2008.

- Ranked 1st for Architecture by the Guardian's 2015 University Guide.

Visit the website: http://www.graduate.study.cam.ac.uk/courses/directory/aharmpaud

Course detail

The programme propagates a twofold understanding of environmental design and mediates between its technical/architectural, and social/political aspects. Both trajectories are studied within a specific geographic area/region, its local set of conditions and global entanglements setting the parameters for each student’s research. Based on the area/region’s characteristics, students speculate on the expansion and adaptation of one of its specific traits and its environmental performance. The outcome of this first part of the course is an experimental adaptation of an indigenous typology, producing a speculative environmental prototype. This prototype is examined scientifically and tectonically, using real and virtual modelling alongside various other media and serves a particular demand and a specific set of site conditions. Complementing this tectonic first part, the design direction of the second part of the course is broader in scale and highly speculative in nature. It draws upon the technical findings of the initial research, but focuses on the socio-political conditions and cultural traditions shaping the area of focus in order to build a set of far-reaching proposals. Together, both parts of this research through design result in a heightened understanding of the performance/efficiency/specificity of a certain environmental issue and the environment it is embedded in.

Format

The course is structured by two terms focusing on design and detailed technical analysis (residence in Cambridge), an interim field work period (elsewhere), and a third term focusing on regional analysis/research (residence in Cambridge). These complementary term components, together with the practice placement, provide an opportunity to explore distinct interests within design practice in various settings, whilst offering a sound framework to pursue meaningful research.

Candidates are free to choose a geographic area/region of their interest that frames their study throughout the programme. Following an initial familiarization with their chosen specific locality and a global assessment of the given environment at hand, students are expected to identify a technical/architectural issue that is indigenous or characteristic to the area/region of interest and holds potential to develop.

The focus shall be primarily with issues of contemporary construction, not excluding the consideration of historical or traditional building methods that are still prevalent. More generally, candidates develop an understanding of the complexity of environments and their various aspects being inseparable from, and integrated with each other. More importantly, however, students will develop highly particular areas of expertise that they may draw on for the remainder of the course.

The programme positively encourages students to develop complex architectural proposals that meet RIBA/ARB criteria for Part II exemption and to acquire knowledge and develop and apply research skills in the following areas:

- role of environmental and socio-political issues in architecture and urban design
- The wider environmental, historical, socio-cultural and economic context related to architecture and cities
- The building science and socio-political theories associated with architecture and urban design
- Modelling and assessment of building and urban design
- Monitoring and surveying of buildings and urban environments
- Human behaviour, perception and comfort, and their role in building and urban characteristics
- Research methods and their application through academic and design methods.

In so doing, the candidates develop the following skills:

Intellectual Skills

- Reason critically and analytically
- Apply techniques and knowledge appropriately
- Identify and solve problems
- Demonstrate independence of mind

Research Skills

- Identify key knowledge gaps and research questions
- Retrieve, assess and identify information from a wide range of sources
- Plan, develop and apply research methods
- Apply key techniques and analytical skills to a new context
- Report clearly, accurately and eloquently on findings

Transferable Skills

- Communicate concepts effectively orally, visually and in writing
- Manage time and structure work
- Work effectively with others
- Work independently
- Retrieve information efficiently
- Assimilate, assess and represent existing knowledge and ideas

Assessment

The design thesis represents 60% of the overall mark and consists of a:

- written dissertation of not more than 15,000 words (20%). The word count includes footnotes but excludes the bibliography. Any appendices will require the formal permission of your Supervisor who may consult the Degree Committee. Students submit two hard copies and one electronic copy of their thesis for examination at the end of May.

- design project (40%) submitted for examination at the end of July in hard and electronic copy.

Candidates present their design thesis to examiners at an Exam Board held at the end of the second year. Students must remain in or be prepared to return to Cambridge to attend the examination.

- Four essays or equivalent exercises of 3,000 - 5,000 words, including footnotes/endnotes but excluding the bibliography, on topics approved by the Course Directors will be presented for examination. The first three of these essays are submitted during Year 1; one at the beginning of the Lent (Spring) Term and two at the beginning of the Easter (Summer) Term. The remaining essay is submitted at the beginning of the Easter (Summer) Term in Year 2.

The first essay constitutes an essay or equivalent (5%) and an oral presentation (5%), the second is a pilot study (10%) and the third is a design submission (10%). The final essay is a project realisation essay (10%).

- The course requires regular written, visual and oral presentations in the Studio. Effective communication of research findings and design concepts are an important criterion in all areas of the students' work, and assessed at all stages.

- A logbook of work and research carried out during the fieldwork period will be presented at the beginning of the Easter Term of Year 2 for assessment. The logbook is not awarded a mark.

Continuing

To continue to read for the PhD degree following the course, MPhil in Architecture & Urban Design students must achieve an overall average score of at least 70%. Continuation is also subject to Faculty approval of the proposed research proposal, and, the availability of an appropriate supervisor.

How to apply: http://www.graduate.study.cam.ac.uk/applying

Funding Opportunities

Candidates for this course (which is not considered to be a 'research track' masters course) who are considered 'Home' for fees purposes are not eligible for most funding competitions managed by the University. Home students usually fund themselves and take out a loan from the Student Loans Company (see: http://www.slc.co.uk/).

General Funding Opportunities http://www.graduate.study.cam.ac.uk/finance/funding

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Explore the design of products through physical and virtual modelling. Develop creative skills, technical knowledge and apply design thinking to a range of projects. Read more
Explore the design of products through physical and virtual modelling. Develop creative skills, technical knowledge and apply design thinking to a range of projects.

This course explores new and emerging methods for rapid prototyping, digital crafts and the repatriation of manufacture.

You’ll use old and new technologies for the virtual and physical modelling and testing of design ideas. With highly creative projects you’ll employ design prototyping and fabrication methods for various scales of production, critically informed by design research methods.

You’ll have the opportunity to shape your own ideas, concepts and theories through a self-directed major project, informed by design research and critical enquiry.

See the website http://www.napier.ac.uk/en/Courses/MA--MDes-Product-Design-Prototyping-Postgraduate-FullTime

What you'll learn

Research led and critically informed, this course encourages a process of re-thinking the form and function of prevailing design practice. Through applied research you’ll engage with speculative design provocations that test ideas through motifs, messages, signs, symbols and interventions.

In specialist prototyping modules you’ll develop specific skills and knowledge in CNC milling, laser cutting, 3D printing, digital crafts and Arduino (electronic prototyping), which will inform and enable highly developed 3D outcomes in your self-directed major project.

Collaboration with practitioners from other areas is encouraged.

You have the option of taking an MA or MDes award, depending on whether you complete a dissertation or design project report in your final trimester.

We have a strong studio culture supported by our multidisciplinary staff team of academics and industry based practitioners. You’ll develop creative, professional, strategic and contextual knowledge and skills and apply design thinking to a range of creative outcomes.

Modules

• Design Research Methods
• Sketching in Hardware & Software
• 3D Prototyping
• Design Management
• Major Design Project
• For MDes Degree - Design Project Report
• For MA Degree - Design Dissertation

Study modules mentioned above are indicative only. Some changes may occur between now and the time that you study.

Careers

The repatriation of manufacture is a key theme in promoting the creative economy of Scotland and Europe. The UK is a global leader in the design industry and many of our graduates have gone on to work in leading design consultancies or have set up their own businesses.

With a physical and digital/online portfolio demonstrating industry-ready skills, graduates can apply for design jobs, freelance work or establish entrepreneurial ventures.

You may also continue to study to MPhil or PhD level.

How to apply

http://www.napier.ac.uk/study-with-us/postgraduate/how-to-apply

SAAS Funding

Nothing should get in the way of furthering your education. Student Awards Agency Scotland (SAAS) awards funding for postgraduate courses, and could provide the help you need to continue your studies. Find out more: http://www.napier.ac.uk/study-with-us/postgraduate/fees-and-funding/saas-funded-courses

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The Master of Science in Financial Mathematics Program prepares students for jobs in the financial sectors, including investment banks, hedge funds, asset management firms and security companies that require substantial quantitative capabilities to solve practical problems in pricing derivatives, risk management, assets and liabilities management, and trading strategies. Read more
The Master of Science in Financial Mathematics Program prepares students for jobs in the financial sectors, including investment banks, hedge funds, asset management firms and security companies that require substantial quantitative capabilities to solve practical problems in pricing derivatives, risk management, assets and liabilities management, and trading strategies. These jobs include quantitative analysts, derivatives traders, quantitative programmer, risk managers, sales of structured products and statistical analysts.

The curriculum is designed as a one-and-half year study for full-time students and three-year study for part-time students. Our Program is known for its solid curriculum that embraces option pricing theory, portfolio theory, risk models, time series analysis of financial data, financial economics, computer programming. We do expect students to be capable and efficient learners; and specifically, they are required to have a solid background in undergraduate level mathematics, statistics and computing.

We continue to enhance our curriculum through the introduction of new courses based on market relevance and recent innovative developments in the field of quantitative finance. In recent years, new courses on algorithm trading, market microstructure, financial computing, and structuring and trading strategies have been offered. The academic courses are offered by faculty members in the Mathematics Department that are actively engaged in various research areas in financial mathematics and stochastic analysis. Some of these faculty members have related consultancy experiences on industrial finance projects and used to deliver industrial courses to finance practitioners. The Program also invites a number of seasoned practitioners to teach market related courses. These industrial instructors are high level finance professionals who have been working in top international financial institutions (like Goldman Sachs, JP Morgan, BNP, HSBC, Fitch, etc.) and hold PhD degrees in science / engineering from leading universities (like Harvard, Cambridge, Oxford, University of Michigan, UCLA, etc.).

Programme Objectives

The Master of Science (MSc) program in Financial Mathematics aims to prepare students from quantitative disciplines for security pricing, trading strategies and risk management. The curriculum includes mathematical, statistical and computational methods for security pricing, asset allocation, speculative trading, and risk management, and offers comprehensive coverage on financial markets and valuable insights on the performance of various pricing models in market practice.

Graduates from this program are well prepared for jobs in trading and market making of derivatives, financial product development (structured products, insurance products etc.), investment decision making (fund management, trading strategies, etc.), and risk management (risk assessment, stress testing, etc.).

On completion of the program, students are expected to have:
-Comprehensive knowledge of financial products commonly traded in the markets and solid understanding of models of security pricing and hedging in equity, fixed-income, forex and credit markets.
-Solid understanding of the principles and technologies for risk management and trading strategies.
-The ability to construct quantitative models and use them for production through quantitative programming.

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The English Department consists of approximately 35 full time faculty members teaching and researching in both traditional and emerging fields, housed in one of the largest and most dynamic Faculty of Arts in the country. Read more
The English Department consists of approximately 35 full time faculty members teaching and researching in both traditional and emerging fields, housed in one of the largest and most dynamic Faculty of Arts in the country. Our distinguished graduate faculty represents a wide array of approaches to the study of literature, including Holocaust and trauma studies; postcolonial literatures; medieval and early modern studies; Canadian literature; American literature, Victorian iterature, digital humanities, comic and graphic texts, gender studies and cultural studies. Our faculty members publish on translation theory, early modern literature, graphic novels, performance theory and practice, homoerotic poetry in the Renaissance, experimental poetry, medieval manuscripts, indigenous literature, speculative fiction, young adult literature and youth studies, among many fields, including traditional historical periods. In 2014, the department saw the investiture of a new Canadian Research Chair in Creative Writing.

We offer a strong, established and distinctive graduate program, with two MA options (a thesis-based route and our new course-based route) as well as a PhD: with all degrees, students can select a creative writing option, completing a creative thesis or research project. Our students present conference papers all over the world; our creative-writing graduates (and students) are winning prizes and publishing widely in every genre; our graduates hold academic positions across the country, as well as proceeding to careers in publishing, business, and government.

MA Program

The MA in English at the University of Calgary offers students the opportunity to complete a range of graduate courses as well as undertake an independent research project in either the one year Course-Based MA or the two year Thesis-Based MA. Areas of specialization include but are not limited to digital and media studies, medieval and early modern literature, dramatic literature and performance studies, graphic literature and comics, cultural and gender studies, nineteenth-century studies, postcolonial literatures, Canadian literature, American studies. In either option, students are able to specialize with a creative writing project under the supervision of one of our internationally recognized writers.

In both programs, students may elect to do the creative writing option.

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Behind every beautiful fashion shoot is a talented photographer. Be that photographer. As a student of MA Fashion Photography, you’ll build upon your existing fashion and photography knowledge to identify, develop and manage a Masters project. Read more
Behind every beautiful fashion shoot is a talented photographer. Be that photographer.

As a student of MA Fashion Photography, you’ll build upon your existing fashion and photography knowledge to identify, develop and manage a Masters project.

Throughout the course you’ll have access to UCA’s state of the art photography and participate in a variety of lectures, seminars, tutorials and workshops, with regular off-campus visits to shoots and exhibitions.

Our MA Fashion Photography course offers you the opportunity to develop your practical fashion photography skills whilst giving you a solid grounding in critical thinking and theory.

Your studies will be supported by a number of internationally renowned staff in a department that encourages experimentation. This will enable you to establish yourself as a rounded professional who can formulate ideas in a sophisticated framework whilst also being able to communicate to others, both visually and verbally.

We place a strong emphasis on publication, enabling you to find creative ways to disseminate your work beyond the academic context and into the public arena.

Facilities

Our range of equipment and technical support enables specialist and professional-grade work, whilst also encouraging experimental and speculative approaches to making.

Industry Partners

Our MA Photography courses enjoy extensive links with a number of photographic, media and fine art professionals, curators, publishers, specialist printers and book designers. These connections enrich your experience through visiting lecturer and seminar programmes.

In the last three years, speakers on the course have included photographers and other creative practitioners such as:
-Ori Gersht
-Esther Teichmann
-Margaret Salmon
-Sarah Jones
-Matthew Stone
-Criodhna Costello
-Chris Coekin
-Carey Young
-Lisa Castagner
-Rod Dickinson
-Jo Longhurst
-Jason Evans
-Joseph Walsh
-Eva Bensasson.

Additionally, creative professionals and industry links for our course include:
-Benedict Burbridge, editor of Photoworks
-Stuart Smith, book designer at Smith-Design
-Sarah James, writer at Art Monthly and Frieze
-Lucy Soutter, writer at Source
-Clare Grafik, curator of The Photographer's Gallery
-Jennifer Thatcher, Folkestone Triennial
-Jean Wainwright, writer at Art Newspaper
-Terry King, specialist printer
-Emily Pethick, directs The Showroom
-Robert Shore, editor of Elephant Magazine
-Edward Dorrian, organiser of Five Years
-Joyce Cronin, manages the Cubitt Gallery

Careers

Our postgraduate degree prepares you for your career through professional practice units, talks by visiting artists and portfolio reviews with figures from across the photographic industry. Career opportunities include:
-Freelance photography
-Fine art
-Fashion
-Advertising and editorial
-Post production/digital imaging
-Picture editing and research
-Curating
-Image, arts and community arts management
-Gallery administration.

Graduates of MA Photography have gone on to win the Jerwood Photography prize; to exhibit their work in The Photographers' Gallery, Photofusion, ArtSway and the Geffyre Museum as well as publishing their outputs in different venues ranging from The Sunday Times Magazine to monographs with Dewi Lewis Publishing.

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Visual Communication explores the mechanisms for conveying messages and meaning through a diverse range of media. From the hieroglyphics of ancient Egypt to the complexity of contemporary app design, the power of visual communication has been harnessed by businesses, organisations and individuals for millennia. Read more
Visual Communication explores the mechanisms for conveying messages and meaning through a diverse range of media. From the hieroglyphics of ancient Egypt to the complexity of contemporary app design, the power of visual communication has been harnessed by businesses, organisations and individuals for millennia. Our MA Visual Communication course is designed to prepare you for the contemporary professional world, helping you develop a confident design voice and create an outstanding portfolio of work.

On our course, you’ll be encouraged to develop new skills to strengthen and inform your design practice, and you’ll gain an understanding of the skill sets required for print, motion, and digital design. You’ll also have the opportunity to enhance your practice in the areas needed to become a creative leader and go on to a career within the broad field of visual communication, which includes areas such as print media, interaction design, motion design, web design, exhibition design and advertising.

We believe that the most successful designers are cultural innovators who, through their practice, inform, persuade and entertain. MA Visual Communication is designed to help you develop a voice as an author and innovator and to equip you with the skills and knowledge to identify and solve design problems within cross-disciplinary environments. You’ll learn to approach design as an agent of change – a strategy for positively transforming behaviours in desirable and sustainable ways.

Using our dedicated studio spaces and independent study areas, you’ll develop your own style and design voice. You’ll learn through of a range of lectures, project briefs, workshops, written assignments, group critiques and individual tutorials.

Led by experienced professional designers with connections at the highest level of the industry, you’ll have the opportunity to collaborate on a diverse range of projects with other members of our unique creative community.

Facilities

Our range of equipment and technical support enables specialist and professional-grade work, whilst also encouraging experimental and speculative approaches to making.

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On this MA you will interrogate digital culture as you develop and think through your own projects in our bespoke Centre for Cultural Studies media lab. Read more
On this MA you will interrogate digital culture as you develop and think through your own projects in our bespoke Centre for Cultural Studies media lab. You will undertake research and writing that incorporates contemporary art, software studies, critical theory, philosophy and cultural studies. http://www.gold.ac.uk/pg/ma-digital-culture/

Our modes of art, experimentation, work, sociability, politics and economies are changed in tandem with the development of digitality. Many of us are now continuously wired into our networks for fun, at work, and at home. We often find ourselves at the margins of networked relationships where different flows of power form from the residue we leave behind in electronic memories. On one hand we find ourselves policed by the ability to sort large amounts of information on the move, on the other, new spaces grow from technical innovation, experimentation and artistic methods.

Join our MA Digital Culture and help create new insights within these logics. Your writing and projects will be supported in an interdisciplinary environment. You do not necessarily need to have an initial project in mind, nor a technical background, just an enthusiasm for learning and experimentation. Each year we have a very lively mix of students who bring prior experience from across the arts, humanities, and sciences.

The MA in Digital Culture helps students develop and realize innovative projects and prepare for, or to create a bridge towards, a critical career in the cultural, creative, educational, analytical, and computational sectors.

This program is based on the research excellence in cultural studies (Scott Lash), software studies (Matthew Fuller), media philosophy (Luciana Parisi) and critical practices (Graham Harwood).

The MA in Digital Culture grew out of the prior MA Interactive Media: Critical Theory and Practice.

Contact the department

If you have specific questions about the degree, contact the Centre for Cultural Studies.

Modules & Structure

We use art methodologies alongside those from computing and cultural theory. A key method adopted in the Lab is to make the space between theory and practice ambiguous. The class makes and explores things, attempting to explain the phenomena being looked at or thought about. Explanation in this context is not necessarily a reduction of phenomena to literature or a system of logics, but can instead be thought of as knowledge incorporated into a thing that we create, look at or point to, through figuring out a proposition.

In practice this means we may:

-Learn MySQL databases and explore how their integral model of entities and relations create new forms of governance and aid in the performance of different scales of power
-Build simple telephony systems while taking inspiration from early/current data networks and their relationship to cultural change, resource wars and political insurrection
-Explore systematic failure within computation by exploring hacking and security issues such as creating fork bombs, doing penetration testing and reviewing the need for cryptography post-Snowden

We actively work with cultural theory in a world with computation as a central pillar. The Digital Culture Unit in the Centre for Cultural Studies, under whose auspices this programme is run, has been a pioneer of practice-led theory. This method pursues a form of working on projects that at the same time undertakes research and writing that incorporates contemporary cultural theory, philosophy and cultural studies. The Masters, therefore, is also ideal for students with primarily theoretical interests who wish to ground these with concrete knowledge and experience.

Building on the Digital Culture Unit's research excellence in software studies, media philosophy and digital art, students will learn to employ cutting edge research and practice-based methodologies to enhance their own skill set. The programme gives you the opportunity to develop critical and speculative theoretical and practice-based research on the ways computational media technologies are embedded in the technical, cultural, aesthetic, and political structures of society and how we interact with them. The applications of such work are highly diverse. The degree helps students to prepare for or to create a bridge towards a critical career in the cultural, creative, educational, analytical, and computational sectors.

Skills

You'll develop skills in:

Theoretical and practice-based research methodologies
Software and hardware production including basic electronics, programming, networking, telephony, relational database analyses
Group working skills
Event planning and production

Careers

The programme helps students to prepare for a critical career in the cultural, creative, educational, analytical, computational sectors.

Find out more about employability at Goldsmiths.

What our alumni are doing now

-Joao Wilbert (2008/9) has a background in web design and is now a Creative Technologist working at Google Creative Labs. http://www.jhwilbert.com
-Maria Beatrice Fazi (2008/9) has a BA in Philosophy and is now completing her PhD on Computation and Aesthetics at the Centre for Cultural Studies.
-Lisa Baldini (2010/11) is a New York based curator. In 2012 she has curated Code of Contingency.
-Loes Borges (2010/11) has a BA in Media and Cultural Studies and is now lab manager at the Digital Art Lab in Zoetermeer, (NL). http://www.loesbogers.com
-Tom Keene (2011/12) has a BA in Fine Arts and is now collaborating with Furtherfield, London-based media arts organisation, co-director of Brixton Remakery, a community-led recycling initiative. http://www.theanthillsocial.co.uk
-Marcos Chitelet (2011/12) has a BA in Design and is co-founder of the design agency DID, as well as political web platform Sentidos Comunes, and FaceEnergy, a start-up developing projects on energy efficiency for the city of Santiago, Chile.

Prizes and awards

In 2011, Alexandra Sofie Joensoon and Cliff Hemmet – both students from the MA – won a prestigious prize at the media arts festival Ars Electronica. Alex and Cliff created a low cost DIY telephony server together with sex workers activist group X-talk. Today the project is a platform for critical reflection on how communication practices and structures are materialised in the sex industry.

Funding

Please visit http://www.gold.ac.uk/pg/fees-funding/ for details.

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Our MA Animation course builds on our long history of providing highly regarded animation education at UCA Farnham, and will provide you with a strong interdisciplinary approach to the animated form. Read more
Our MA Animation course builds on our long history of providing highly regarded animation education at UCA Farnham, and will provide you with a strong interdisciplinary approach to the animated form. We offer a dynamic environment in which you'll be able to engage with the animated form in traditional 2D and 3D stop motion, as well as the theoretical aspects of the discipline.

This course attracts students from around the world and has a rich cultural mix. You'll approach animation as a broad discipline and be encouraged to engage with experimental and speculative approaches to making through a range of projects, which will culminate in the production of a high quality animated film.

MA Animation at our Farnham campus has a long history of nurturing creative, innovative and challenging animators and has an incomparable alumni. This course will support you in developing practical skills while fostering a high standard of diverse critical approaches.

On this course you'll be encouraged to take risks, explore and develop your interests, and exchange, debate and discuss your ideas. You'll be expected to produce original and exciting films during your time with us, and explore the wide range of creative possibilities of frame-by -frame filmmaking. We'll encourage you to be open to these possibilities and to develop new skills, as well as building on your existing ones.

Your studies will be supported by internationally renowned staff on a course that is proud to have no house style. We'll encourage you to explore your own natural inclinations - whether narrative, experimental, documentary or fiction. This will enable you to establish yourself as a rounded professional who can formulate ideas in a sophisticated framework.

Our course uses a wide range of technical resources that cover the whole spectrum of contemporary animation practice, from traditional drawn and stop motion animation to the latest digitally generated imagery.

Part-time students are normally taught on a Wednesday but sometimes field trips, study visits or other events take place on other days of the week. You should check before enrolling if you have concerns about the days your course will be taught on.

Industry Partners

Our course actively encourages you to gain industry experience through a wide variety of approaches. These include work experience, internships, studio visits, commissions and competitions and entry into major film festivals.

We've built an extensive network of industry connections, giving us access to high-profile visiting lecturers, and to commissions, competitions and exciting work placement opportunities.

Our industry links include:
-Aardman Animations
-STUDIO AKA
-Passion Pictures
-Mackinnon & Saunders
-Nexus
-Framestore
-Cinesite
-The Mill
-ustwo
-Stylorouge
-Blink Productions
-ITV

Careers

Animation is one of the most significant and rapidly expanding media fields. An enormous range of career opportunities exist in animation. These range from the traditional techniques of animation storytelling, drawn to model and CGI animation.

Typical careers in the industry include:
-Directors
-Producers
-Animators (in commercials, films, broadcast, online media and games)
-Editors
-Character designers
-Production designers
-Pre-vis artists
-Compositors
-Storyboard artists
-Post-production

As one of the pre-eminent animation courses in the world, our sought after alumni have landed many exciting, high-profile roles across the industry - including positions as:
-Animators
-Directors
-Producers
-Designers
-Model makers
-Storyboard artists
-CG animators
-CG riggers

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It is expected that applicants from the field of architecture will already possess an accredited graduate diploma or postgraduate degree in architecture (UK), a professional master's in architecture (US), or the international equivalent. Read more
It is expected that applicants from the field of architecture will already possess an accredited graduate diploma or postgraduate degree in architecture (UK), a professional master's in architecture (US), or the international equivalent.

The MArch course is an experimentally minded design studio. You will be working with students from all over the world to generate design proposals that explore the edges of architectural thought.

There is an emphasis not only on the materials and techniques of construction but also elements such as air, heat, water, sound, smell and lights as materials too. This exploration will involve visits to factories and workshops where materials are manipulated in a variety of unusual ways, and also practical experimentation and testing in the studio environment.

This programme offers the opportunity to explore ideas in great detail, resulting in a thesis that might take the form of a video, set of drawings or physical model. The portfolio generated alongside the thesis will act as a curated record of your findings.

Why choose this course?

Oxford Brookes University is unusual in offering this design-based speculative research course in architecture that builds on its excellent reputation for architectural courses at postgraduate and undergraduate level. Brookes' School of Architecture is recognised as one of the country's leading schools and is consistently ranked by The Architects' Journal as one of the five best schools in the UK.
Students from the school figure regularly in national and international prizes and awards, and go on to work for many of the best-known practices in the country. We have an international reputation in research, in areas ranging from sustainable design to modular buildings and from design for well-being to vernacular architecture.

Staff in the school regularly secure research funding from the UK's research councils and the European Union as well as industry, with an annual research grant income averaging £1,000,000 in recent years. This research expertise feeds directly into the teaching programme at all levels, from undergraduate to PhD. The School of Architecture has dedicated studio space and postgraduate facilities.

This course in detail

The Advanced Architectural Design Modules (50+30 credits) represent the core of the learning experience. Project–based learning is used in a studio environment to individually and collectively explore architectural design problems. The design studio tutors will set the specific design problem and methodology employed. It is envisaged that several parallel studios may be established, numbers permitting, each led by separate studio tutors with different agendas, programmes and methodologies. However, the learning outcomes will be common. Initially, there will be only one studio which will be organised as follows:

The first semester is always a rigid organised fabric of reviews, workshops, tutorials and deadlines with students working both individually and in groups. Within this framework students engage in two strands of investigation: A. an in-depth research into the tectonic possibilities of a new material/s and B. the analysis of a real site with the aim of generating a series of questions that demand an architectural response. By the end of the semester each student is expected to present to a jury of invited critics a catalogue both conceptual and material, from which they will make a project, in a coherent manner using appropriate media. This jury provides formative feedback for students on their learning.

The first semester design studio is complimented by a series of challenging, group and individual based workshops, Urban Cultures, on drawing, model making and movie making, run by the tutors. Students are expected to engage in questioning and debate with the lecturers and are required to produce a series of responses in drawn and written forms, which contribute to their design portfolio, around a theme related to the lecture series.

Spread over the second semester there is a further series of lectures on Architecture and the City given by external academics and practitioners. Students are expected to engage in questioning and debate with the lecturers and are required to produce a series of responses in drawn and written forms to exercises set by the visiting lecturer. The results are to be bound into a book, which contributes to and supports their design portfolio, around a theme related to the lecture series.

The second semester design studio focuses on the architectural implications of bringing the two apparently dissimilar strands of the first semester’s investigation into surprising conjunctions. Students are asked to approach the possibilities created by these apparently disconnected procedures in an entirely logical way.
At this stage the studio places emphasis on the importance of developing students’ ability to demonstrate conceptual clarity, to locate their ideas in the spectrum of current and past architecture and to maintain a strong link between concept and product.

Students are also encouraged to explore a wide range of media and technique and to develop a rationale for selecting appropriate techniques for the representation of particular kinds of architectural ideas. Students are required to present their design projects to an invited group of invited critics close to the end of the semester.

This proves formative feedback for students. The final Module mark is generated from a portfolio-based assessment held at the end of the second semester involving a panel internal staff. This system will ensure a parity of marking when the module consists of multiple design studios.

Students also undertake a Research Methods Module in the second semester that prepares them for their dissertation project. A set of generic postgraduate school-wide lectures on research paradigms, methodology and research tools is followed by Masters specific seminars in which students develop a synopsis for their dissertation’. The module is assessed by means of a review of a relevant past Masters dissertation and a synopsis proposal.

The MArch programme concludes with the Dissertation Project in which individual students work with a supervisor on projects that have developed from the work of the design studio. Students are expected to produce original, relevant and valid projects. The dissertation can take a written or design based form. In the latter case a written commentary is expected as part of the dissertation submission. Students submit their dissertation projects at the end of the summer vacation and are expected to hold an exhibition of their work in the Department or elsewhere as agreed.

Students who have qualified for the award of MA are encouraged to apply to continue to the PhD degree programme in the School if they so wish. A Postgraduate Diploma in Advanced Architectural Design can be gained by students who complete 120 credits but do not complete the full master's programme.

Teaching and learning

Studio research is complemented by a series of challenging talks by visiting academics and practitioners at every stage of the process as well as a consistent programme of individual discussions and workshops with your tutors.

You will work both in groups and individually, exploring a new kind of architecture. The methods of exploration include techniques primarily associated with the movie industry, such as the making of collages, optical composites, physical models and drawings both by hand and computer. The tutors act as guides to reveal areas of interest so that you develop an individual approach to the brief, the programme and the realisation of a project.

Teaching is heavily design-studio based, with project-based learning in a studio environment. Several parallel studies may operate, offering different methodologies but with common learning outcomes. The design studio will be complemented by a series of lectures, reviews, tutorials and site visits.

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