Rationale The CrD Consortium identified the need for higher arts education (HAE) to fully use the potential of all cycles of the EQF especially with regard to the alignment and interaction of graduate, post-graduate and doctoral studies. Currently, in over 30% of the European Higher Arts Education (EHAE) sector, this is not possible in the 3rd cycle due to the lack of instruments and models that will allow learning, teaching and research to enhance each other within these schools. ObjectivesCrD facilitates the implementation of level 8 (PhD or equivalent) in those countries in the EHEA in which no such provision current exists. It facilitates the development of models of good practice in artistic research in partner institutions in conjunction with professional practice partners. CrD enables staff to enhance the currency of the curriculum at all levels by means of their own professional development.CrD has developed a COMPLEMENTARY offer that addresses an omission in the Bologna Process caused by binary systems and the various speeds in which HAE is aligned with the overall university system across Europe. CrD also addresses the need for recognition of artistic research. CrD supports parity in recognition of degrees, comparability of achievements and mobility of students, teachers, researchers and research outcomes across Europe. Participants Over a million individuals (arts students and staff) and 790 institutions in Europe and beyond will benefit directly and indirectly from the project activities. They come from the following target groups: - Academia: Postgraduate art students, mid-career artists, teaching staff at art institutions/universities, researchers, research supervisors - Professional Practice institutions: cultural, social, municipal and economy partners, curators, policy makers, artists ActivitiesCreator Doctus (CrD) developed a model for a new European 3rd cycle award for HAE that runs parallel to the existing Doctor of Philosophy (PhD). CrD focuses on embedding 3rd cycle education in the academy: within learning, teaching, career development and links with social/urban partners in order to make research an integral part of all aspects of education. CrD is a partnership between arts institutions in their various forms and professional arts organisations that represent the social, cultural and economic field. These partners will become educational providers whilst academia will implement their educational and research efforts against labour market requirements. With this partnership both partners bring their unique expertise and enhance one another towards relevance of their offers as well as social and economic impact. Results • A framework for a 3rd Cycle award or model for Higher Arts Education • Seven national adaptations of the proposed model • An international database of best practice in 3rd Cycle awards in HAE: www.3rdcycleinthearts.eu • A book with various case studies and examples of practice-based 3rd cycle models in the arts • A position paper for research in Higher Arts Education ImpactCrD empowers Higher Arts Education institutions across Europe to further develop their research programmes as an integral part of their institution and curricula living up to the standards set out during the Bologna Process, making full use of the European Qualifications Framework. Strong long-term co-operations will be built between education and the world of work and the developed model will serve as practical example for other institutions to develop similar co-operations. As a second target group artists and researchers themselves will profit from the possibility to use their practice as research and teaching and develop professionally. Further to that staff of societal partners will learn how to apply artistic research to support their institutions’ missions.

Approximately 280 institutions around the world offer third-cycle research degrees in the arts. The legal frameworks and organisational structures of that institutions vary widely, as well as the doctoral programmes and degrees they offer. Yet, they share the same vision, namely to realise doctoral programmes that enable candidates to make an original contribution to their discipline and to advance the field of artistic research by further developing themselves as both artists and researchers.In 2016 The European League of Institutes of the Arts (ELIA) adopted the Florence Principles on the Doctorate in the Arts, a position paper that establishes a point of reference for doctoral education in artistic research. The paper identifies supervision as a key issue for facilitating good doctoral education and encourages institutions to establish a good supervision culture. Which in the quite young field of artistic research is a challenge as supervision does not have the same tradition it has in most other disciplines and – at the same time – a great opportunity.The Strategic Partnership Project “Advancing Supervision for Artistic Research Doctorates” has addressed doctoral supervision as the core component in doctoral education, proposing a balanced set of approaches and tools to improve supervision on both a strategic and a practical level. Having been set up as a strategic partnership project within the European Union’s ERASMUS + funding scheme, the project consortium represents different types of higher art education institutions situated in a comprehensive range of national and local frameworks, ensuring the transnational and transdiciplinary perspective on the topic.The project has very consciously approached the field of artistic research (doctorates) as braodly as possible instead of discussing individual disciplines in detail. Furthermore, the project has paid special attention to the triangular nature of doctoral supervision by emphasizing the (many) relationship(s) between doctoral candidate, supervisor and institution respectively university leaders and professionals in doctoral education responsible for the implementation of doctoral programmes. All outcomes have been developed in a way that they can be used by all three actors and at different stages of the supervision process.The project has been implemented in three phases:(Phase_1) In “Setting the Framework” the challenges, potentials and boundaries of doctoral supervision have been explored, aiming to come up with a working tool that takes the format of a mindmap to encourage the discussion about what supervision is – and what it is not. The second work package has dealt with questions related to the ethical and social values and conditions of art and research as well as the ethical and social responsibility of the artist and researcher. (Phase_2) During “Distinguishing the Actors” the roles and competencies of the supervisors have been elaborated and it has been shown that doctoral supervision touches on a wide range of human interactions and relationships. Doctoral supervision navigates scholarly frameworks and institutional rules and manages complex power relations as well as human emotions. An online interactive resource has been developed that enables users to explore different doctoral supervision frameworks and scenarios.(Phase_3) The ability to share knowledge is crucial for the further development of artistic research as such, nurturing a feedback and peer culture in doctoral programmes is therefore essential. “Improving Practices” has explored and analysed artistic feedback practices in doctoral supervision and the shifting boundaries in supervisory relationships that may take place when peer learning comes to the fore. The final book presents the project resources and outcomes in a compact and ready-to-use format for advancing supervision practices and strategies in diverse contexts.All outputs and resources can be accessed via the project website: https://advancingsupervision.eu

"The strategic partnership „CRAFTING THE FACADE: Reuse, Reinvent, Reactivate"" is directed and coordinated by the University of Liechtenstein, Prof. Urs Meister and DI Carmen Rist-Stadelmann. The aim of the partnership is to establish an intensive cultural and social exchange between the participating students and teachers of the three partner Universities, the Academie van Bouwkunst in Amsterdam, the Mackintosh School of Architecture in Glasgow, and the University of Liechtenstein, concerning the subject of building envelopes and the concerned architectural traditions. The project „CRAFTING THE FACADE: Reuse, Reinvent, Reactivate"" fosters an interdisciplinary approach that enriches the focus on architectonic and constructive notions with cultural, social and economic issues that promote the discussion on structural and material aspects within the European building tradition. With the definition of three terms reuse, reinvent and reactivate, a clear emphasis is placed on the existing and future building culture. Reuse analyses existing constructions, components and building materials. Reactivate is concerned with traditions in craftsmanship and technical aspects. With reinvent, we learn from existing buildings and try to take advantage for the future. Against the background of the climate change and the current need for resource efficient building, these fields of research allow defining the design of building envelopes in an innovative way and to meet the targets of the strategy 2020 of the European Commission.The programme consists of three parts: education, research and results. In the participating Universities, existing teaching modules are combined with new elements that create a whole new environment. In education, design studio are supplemented with the joint workshop that is dedicated to prototyping in scale 1:1. In research, a parallel topic is explored and documentet on the interactive e-learning platform. During the whole project, results of the design studios, workshops and excursions are linked in an annual symposium and gathered in a series of publications. This allows to call attention internationally towards our building culture which is of utmost importance in teaching architecture, for the building industry as well as in politics. The program is open to twelve Bachelor- or Master students per Partner University per year. Knowledge of the general background, a thematic focus on the content in the previous studies, the amount of study semesters, language skills as well as the attendance of the design studios and courses in the respective University are requirements for the participation in the programme. All products resulting from the design studios, research activities, workshops, excursions and symposia are gathered in a series of three annual publications and documented on the e-learning tool. These sources serve as a unique library of knowledge for a general public as well as students, teachers and professionals in the realm of architecture. This will enrich the professional discourse about facades and the importance of the building envelope in a technical, cultural and social context and therefore be of enormous interest for the development of the building culture within the European community."

The British Empire Exhibition, Glasgow 1938, was the last major public event showcasing an Empire that was set to disappear. It was also the most ambitious pre-was demonstration of a radical new architecture. This project will explore the physical context and architecture legacy of the exhibition and bring its importance to an international audience of architects, historians and the public. A detailed 3D interactive model and narrative of the exhibition will be available via a website and in the very grounds where the Empire Exhibition was located.