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Conservation of Clocks and Related Objects
We are still accepting applications for all subjects for 2019 entry. Find out more about funding opportunities.
Equip yourself for a career in clock-making and working with
dynamic objects by acquiring the practical and technical skills,
the theory, principles and techniques used in historic horological
manufacture. The programme begins with practical exercises to help
you establish hand and machine tool skills relating to historic
craft practices in clock-making.
You will make your own clock before working on a range of historic clocks; this bench-based activity is integrated with theory and professional practice. Learn how to combine and use this knowledge when making treatment decisions as a professional practitioner.
You can expect
You are taught through a combination of lectures, seminars, external trips and visits and workshop practicals. In addition, you have personal tutorials with your subject tutor.
At level 4 you typically have around 18-19 contact hours per week, typically consisting of:
At level 5 you typically have around 16-17 contact hours per week, typically consisting of:
When not attending lectures, seminars and workshop or other timetabled sessions you will be expected to continue learning independently through self-study. Typically, this will involve reading journal articles and books, working on individual and group projects, undertaking research in the library and preparing coursework assignments and presentations.
Level 4: 53% of your time is spent in scheduled
teaching and learning activity
Scheduled teaching and learning: 633 hours, Independent learning: 567 hours
Level 5: 50% of your time is spent in scheduled
teaching and learning activity
Scheduled teaching and learning: 600 hours, Independent learning: 600 hours
Programme Structure Year 1
Programme Structure Year 2
You will work in our specialist Clocks workshop with access to a well-equipped analytical laboratory. Collaboration with other craft practices specialisms makes for a uniquely enriched learning environment.
The on-site Art and Conservation Library puts thousands of specialist books and journals within your reach and you can access specialist databases in the IT suite.
UCAS tariff points:120, completion of a level 3 qualification, for example A-Levels, BTEC, or Foundation Diploma in Art and Design.
Applicants can be considered if they can provide evidence of prior learning with an appropriate portfolio of work.
International applicants should provide a digital portfolio, evidence of English language ability to level B2 (IELTS 6.0) as well as equivalent level 3 qualifications.
Included is mandatory study trip costs of £400, which typically includes tailored visits to collections/exhibitions of specific interest to the programme of study.
Lunch, accommodation and other living expenses are additional, available on request.
Student Scholarships and Bursaries
Approximately 60% of students receive some form of funding. Find out more
Graduates go on to work as makers, repairers, restorers, teachers or advisors. There are many areas of specialism within the profession.
"For me one of the best things about studying at West Dean College is the inter-disciplinary nature of the place. The fact that as a 1st year student with relatively little experience I'm getting to work alongside MA students and learn from what they're doing. I can experience the things that they are experiencing and also the fact that I can augment my research by speaking to students from entirely different disciplines."
Dale, FdA Historic Craft Practices - Clocks
Subject Leader, Clocks (and Related Objects)
Malcolm's extensive experience in private practice, as well as the heritage sector/museums, lies behind his in-depth understanding of the profession. He brings a comprehensive knowledge of traditional craft skills, theory and contextual history. He also has an interest in new and innovative ways of applying conservation to mechanical objects.
Programme Co-ordinator FdA Historic Craft Practices
Nick specialises in instruments inspired by Viennese guitars of the early and mid-nineteenth century, including those with extra bass strings, and the mid-twentieth-century guitars of the North American 'golden era' of acoustic guitar making. In recent years his passion has led to him studying the instrument's development and societal history.
Geoff Allnutt - J E Allnutt & Son
Tobias Birch - Montpellier Clocks
If you are interested in applying for this course or would like further information please contact admissions either by enquiring online or calling the number below. To make your application you will need to download and fill out our application form.