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11 )'Publisher’s note

13 )'Foreword

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14 )'The Renaissance of the prawn starter

22 )''This is the current ‘sexy’ of South African

furniture design

32 )''Confessions of a sideshow popstar: Shotopop

tells the tale up to now

40 )''Home-grown and sustainable with a natural

Cover image courtesy of Lung Animation and flair for world-class products
The Parlotones
44 )'Designing our world for 2050

50 )'Views on design education

!0')'-1+,*2%34+$536%3*

52 )'Grand Daddy’s trailer flash

58 )''FOXP2: the product of an inspirational

environment

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7)')'(56613+('*+5328%/+93

64 )'Lung animation creates top entertainment 88 )''Xin: Icograda World Design Congress 2009,
Beijing
72 )'Shy the Sun: Crafting each spot to perfection
94 )'How big is Barbie?
80 )'A storyteller rooted in Africa

":;')''<'$8/2=2(56#%*+*+53/

130 )'Designing the future of water 142 )'Following PIG 05049

134 )'Designed for Africa 144 )'Street Swags: People’s choice at INDEX: Awards

138 )''Co-creation produces INDEX: Award winning 148 )''Young design talent gets the SABS stamp of
Chulha stove approval

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184 )'The Eco Fashion story 194 )'Inspiring young talent

188 )'Creative Future Scholarship changes lives 198 )''Details of design: Investigating the element
of design analysis
190 )'Woolworths is making a difference
 @* )'

>B')'8%/+932#$565*+53 "";')'&'/?+53

98 )'Supporting young product designers 110 )'Highlights of local fashion trends for 2010

102 )''Creative thought and exchange flourish at 122 )'CIFF Summer 2010 trend forecast
Dutch Design Week

106 )'Jamming with creativity

154 )''House and Leisure and Woolworths join 168 )''Very important egos: Who are the fairest of
forces to nurture local eco-friendly design them all?

160 )''Elle Décoration’s SOLVE New Talent Search 176 )''Seven Ideas that Matter grants for social
good
164 )''The Carrol Boyes Metal Awards 2009
180 )'VUKANI! Fashion Awards 2009

(%/ 0"0')'*%$*+'$A23%</

204 )'Desirable products that leave a soft footprint 212 )'When is a box a window?

206 )'Through the eyes of a goldsmith 216 )'Student reflections on industrial design

211 )'A first for Africa: Design Grade 10 221 )''The winning stand at Design Indaba 2009

224 )''The Design Academy Eindhoven

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Cameron Bramley Jeff Malan

[email protected]
+0("#$&'()*%..'.&%)&*)
20(#+*!"'&(0*) Charl Lamprecht
Jacques Lange
%"3')'.&0%&'()*1*%$$(#)&.*)
!"'&(0*) Lana McLachlan & Michelle Swart
Suné Stassen
$0!%&'4!*"'0!$&(0*)
$()&0',#&')2*!"'&(0*) Jacques Lange
Jennie Fourie
"!.'2)*1*-%5(#&*)
$()&0',#&(0.*) Bluprint Design
Marieke Adams, Jason Aldridge, Veronica
Barnes, Lucilla Booysen, Charl Blignaut, +#,-'./!"*,5*)
Fatima Cassim, Olivia De Gouveia, Vikki du DESIGN Information
Preez, Casper Franken, Ewaldi Grové, Ayesha Tel: +27(0) 82 882 8124
Kamalie, Angie Hattingh, Des Laubscher, Heidi Fax: +27 (0) 86 678 8448
Liebenberg, Adrian Madlener, Weyers Marais, www.designmagazine.co.za
Robyn Mitchell, Carin Standford, Sarah
Stewart and Hilton Tennant

© 2009 Design Information.

DESIGN ) EDUCATION is produced by DESIGN Information. All material is strictly copyright, with all
rights reserved. No material may be reproduced in part or whole without the express permission
of the publisher. No responsibility will be accepted for unsolicited material. The publisher accepts
no liability of whatsoever nature arising out of or in connection with the contents of this publication.
The publisher does not give any warranty as to the completeness or accuracy of its contents. The
views and opinions expressed in DESIGN ) EDUCATION are not necessarily those of the publisher, its
endorsers, sponsors or contributors.

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 ""* )'

+#,-'./!07.*
)(&!

The curator of Architecture and Design at the Museum The launch of this exciting new publication has long been
of Modern Art (MOMA, NY, USA), Paola Antonelli, was an act of passion for the minds behind the publishing
once asked to comment on the future role of designers team who have always believed that design is a valuable
in global society. Her response was quite straightfor- career option for young people. Moreover, we have
ward and prophetic: “People think that design is styl- always believed that design is a career that can make
ing. Design is not style. It’s not about giving shape to a difference to the world we live in today because de-
the shell and not giving a damn about the guts. Good signers have an inherent ability to deal with challeng-
design is a renaissance attitude that combines tech- es and solve problems, big or small. However, the
nology, cognitive science, human need, and beauty to designers of the future will have to solve more com-
produce something that the world didn’t know it was plex problems than any of their predecessors and this
missing.” publication aims to contribute to empowering them
by stimulating new thinking, showcasing best practice
Furthermore, when acclaimed designer, Paula Scher, examples from experienced industry stalwarts, as well
was asked what it takes to be a relevant designer in the as highlighting emerging talent.
21st century, she advised: “Be culturally literate, because
if you don’t have any understanding of the world you The mandate of ED) is multi-dimensional: To inspire
live in and the culture you live in, you’re not going to talented young minds to pursue careers in design,
express anything to anybody else.” convince parents to support their kids to embark on
careers in the wonderful world of design, empower art
The ethos of Antonelli’s and Scher’s statements en- and design teachers with relevant teaching resources
capsulate the philosophy behind what the publishing and solicit greater respect for the discipline amongst
team of DESIGN ) EDUCATION (or just call us ED)) aims career guidance teachers, school headmasters and
to achieve: A better informed and better equipped education administrators.
future generation of designers who have a clear grasp
of the challenging roles and responsibilities required We wish you an inspiring read.
by a new age, infused by technology, yet anchored in the
solid values of designing a better future that serves Cameron Bramley, Publisher & Jacques Lange, Group
all of humanity. Editor

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 ":* )'

6(0!8(0"*
Introducing you to the launch edition of DESIGN) out more from the creators of the latest Skunk Anansie
EDUCATION, or ED), makes me feel like a kid in a candy music video, Because of you. We also visit a powerful
store. I hope that ED) will become your best friend when product design duo, better known as LIV design, who
it comes to design news – whether you are a design stu- represents a new generation of sustainable and re-
dent or an up-and-coming creative. Our editorial team is sponsible designers and we take note of local and
made up of a gang of passionate and incredibly talented international fashion trend forecasts for 2010.
young designers who love to get behind the scenes
of the industry and who has produced a world-class Some of the problems experienced on planet Earth are
publication filled with exciting and meaningful editorial the direct result of past greed and badly designed prod-
content that entertains and also informs. ucts, systems, environments and processes. Today we
are forced to use our knowledge and skills in a more
As a biannual publication,ED) not only focuses on responsible way. We hope that governments and non-
trendy and valuable design titbits, but also informs creative industries will start acknowledging the vital role
the industry about people like YOU – showcasing the of the creative industries to come up with innovative
cream of the crop of new talent in a variety of design ideas and solve problems that are environmentally,
disciplines. Our editorial team delves deeper than the socially and economically sustainable. The time has
usual show-and-tell and shares valuable insights into come for design to be considered a stem subject for vital
home-grown, world-class productions and designs. We skills development and that, combined with science,
hope that you’ll be inspired! technology, mathematics and languages, we will be able
to develop a future workforce who are equipped with
ED) focuses, in particular, on the designer as thought the necessary skills to become more entrepreneurial
leader in a world that’s desperate for creative, critical in their thinking and sustainable in their doing.
and strategic thinkers. We offer you the opportunity to
develop design thinking, while also focussing on the ED) aims to assist in creating a new generation of re-
traditional understanding of the practice of design. sponsible creatives who will be able to redesign a
sustainable world and a better life for all.
This first edition of ED) takes you on a journey where
we not only look at product development, but also con- I want to thank our incredible team of contributors who
sider the vital role of the creative industry in entertain- directed their passion towards this launch edition of
ment like music, animation and movies – a vital way ED). Their vast energy defines this publication.
of sustaining our humanity and keeping the balance
between work and play. Claudio from Lung shares some Suné Stassen
behind-the-scenes stuff about producing music videos
for the popular rock band, The Parlotones, and we find Editor, DESIGN ) EDUCATION

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By Jason Aldridge
Images courtesy wetaNZ.com
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Whilst many bemoan the funding for Sharlto Copley, whilst still at Jackson said he could make the film
issues and SABC goes into freefall, school. This producer saw him as he wanted to make and he echoes
the heart of South Africa’s film and quite a talent: “I started a production our thoughts when he says on
TV – although strained – is slowly but company immediately out of school. movieretriever.com: “It’s pretty rare
surely thumping and pounding as I mean that really was a joke, hiring for a first-time filmmaker to get to
only the African drum can. Carrying Neill, because he was still in high ‘go off and make what you want to
the torch for this newfound vitality school. I didn’t actually hire him, make.’”
is writer/director Neill Blomkamp’s but I did get him to do some stuff for
movie District 9. Unlike many other free... He had this incredible talent The concept for this film came from
sci-fi films set in default New York for animation and he kept on doing Blomkamp’s incredible short, Alive in
or Washington DC, the entertaining stuff that was inspiring me even at Jo’burg, which he never consciously
South African caricature Wikus van his young age,” said Copley in an thought of making into a feature until
der Merwe’s (played by Sharlto interview for vanityfair.com. much later. “I did the short film [Alive
Copley) misadventures with the in Jo’burg] because I wanted to do
government and prawns, is set in Blomkamp subsequently left for science fiction in South Africa. It was
Johannesburg. This world created Canada after matric, and the two purely messing around on an artistic
and realised by the movie is futur- worked on many other projects (com- level...Never once did it occur to me
istic but still deeply affected by our mercials, TV) separately and togeth- that I was doing it to try and make
country’s past, segregating the al- er, culminating in him casting his a feature film out of it...I just started
iens in homage to the infamous friend in the role for his first feature to realise I wanted to make some-
District 6 or even recent xenophobia film. The missing link? After cutting thing that was my own.” (moviere-
camps. The movie is one that doesn’t his teeth and working up the food triever.com)
wax lyrical on the usual issues of chain in the commercials industry,
apartheid/dying African child/ Blomkamp was going to direct the You might wonder why is there so
AIDS/poverty/White guilt that inter- Halo movie, which eventually fell much focus on other worldly genres
national audiences lap up or expect, through. Peter Jackson (director for like sci-fi or fantasy these days?
and is an unadulterated, action- Lord of the Rings, King Kong) – who Besides the geek factor, or huge
packed ride with believable charac- was producing the Halo production appeal of effects-driven action se-
ters – no fake accents. – decided to give Blomkamp his full quences, escapism is on the rise.
producing support in allowing the Whilst economies took a bashing
The success story seemingly begins young director to start the journey to and people are earning less money,
when Blomkamp started working District 9. According to Blomkamp, when it comes to movies, the crazier

!"#$%&'()
"7* )'

the better – take the audience away gated communities. I feel like I’m The lead conceptual designer for
from their daily problems into an- actually in the future in Jo’burg. I District 9, Greg Broadmore from
other world of fantasy. Then of have the sense when I’m there that WETA workshop, had this to say
course a number of facets in the film it’s a scaled-down version of Blade about his initial thoughts on the
can present itself as current realities Runner. Every single house in the project: “Knowing the film was going
or as predicted developments for suburbs has an electric fence. It to be set in South Africa was a major
an unknown future, which is some- just feels like this place is abso- part of why I found District 9 such
thing that will always be intriguing. lutely electric and futuristic. It’s an appealing film to work on.
According to Blomkamp: “All of where it’s actually going. That’s Working in the film industry as a
these topics I feel will become more why I love it. Not the same as in conceptual designer, you get to
important to the first world in the Hollywood”. see a lot of different projects and
coming years – wealth discrepancy, unfortunately, most of them are
 "@* )'

incredibly derivative and safe. Developing this world in South Africa enlightened us as to his visual ref-
Neill’s take on sci-fi, his decision and more specifically Johannesburg, erences: “For my job as lead concept
to cast unknowns, shoot it in a faux gives the film a very relevant visual designer, and focusing on the tech-
documentary style and to set it all edge, as well as social constructs nology of the film, I took from many
in Johannesburg are all brave deci- between humans and aliens that inspirations. Growing up in New
sions – both for him and for Peter mirror our country’s past segrega- Zealand I think allows an interesting
who produced the film. It’s these tion, providing a new and clever perspective on eastern and western
kinds of risks that make a film feel injection of optimism for how we cultures. I grew up with Star Wars
unique and stand out from the can depict this country in the and Aliens and was able to discover
usual suspects. It was really a no- proper context. But what other ref- Japanese movie design through
brainer to work on something so erences came into play to con- Nausica and Akira – these and a mul-
fresh.” struct this visual feast? Broadmore titude of other references come

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"B* )'

together and I hope distil into some- subconscious connections being David Meng at WETA workshop was
thing different. It was also my and made to South Africa. The costume the lead designer for the prawns
Neill’s intention to reference 70s and graphic design of the MNU secu- and he gave us his thoughts on the
and 80s sci-fi design, like that of rity forces are for instance refer- conceptual processes behind the
Chris Foss. However, nothing I’ve enced from existing private security creature design in D9. The main
designed in the film is a literal forces, which were often taken references for the aliens are derived
translation of design ideas, it was from South Africa. In MNU’s case, from humble enough sources:
my intention to try and create they were dialled up in the tech- “mostly we took inspiration from
something new.” nology stakes with slightly futuristic crabs, lobsters, praying mantises,
looking armour – intended to look and more”.
Developing and executing the visuals as if MNU had gleaned something
of the MNU (police-like force or or- however small from the aliens’ On how far they were willing to
ganisation) or aliens, with the South materials technology”. Parallels push the design of the aliens, Meng
African context in mind wasn’t bla- can, however, be drawn with the says there was a strong emphasis on
tant or in-your-face. According to ‘No Prawns Allowed’ signs, and the character of the aliens as the
Broadmore, “the setting didn’t ‘Slegs blankes’ (Whites only) signs social outcasts of society. “Neill
consciously affect the technology of the past as well as the MNU’s would reject certain things as being
or design of the aliens. They had look and feel of ADT (security com- too flourished or fantastical. On
to stand separate and define pany) on steroids. the other hand he did want a lot of
themselves, but I’m sure there are things going on within the alien
 ">* )'

anatomy, for them to be very busy. aliens had to look real, dusty and We always try and go as wild as we
He was not at all afraid to make the beaten up, reflecting the environ- can with designs at the start of a
aliens inhuman or ‘disgusting’. But ment they lived in and their social project and reign it in as the films’
again, there was still a mundanity status.” story dictates. Even though a device
about the alien design, which ended may be doing something incredibly
up being very fitting for the movie. So with the success of a multitude far-fetched, it’s our quest to make
In the film the human populace are of sci-fi films, the medium of film these things feel practical with
completely over-towering the aliens, is choc-full of futuristic, post- common sense in some way, espe-
and think very little of them. You are apocalyptic, fantastical elements cially in a film like D9 where the
supposed to accept them as real, of design, which sometimes can rest of the setting and performance
and like much of reality, they are un- feel like an overload of rehashed is so gritty and grounded...Science
remarkable. I didn’t think this movie clichés. District 9 seems to be very fiction and fantasy is certainly as
was the kind of film where the crea- unique within its genre, striking a popular as ever before, but as to
tures needed to be showcased, perfect balance between real and whether that gives more opportu-
such as in Alien or Predator. It would fantasy that is not so unbelievable nity for diverse design thinking and
have defeated the purpose if the or implausible so that the audi- risk-taking, I’m not so sure. Holly-
aliens stole the show.” ence will loose engagement. wood is not taking too many risks
Whether this is the case or not, at the moment given the state of
In the context of the reality of the Broadmore says “...we strive to the financial world, but ultimately
D9 world, Meng says, “visually the make our designs feel authentic... it’s all up to the filmmakers. There

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0;* )'

are certainly many important people that everything has been done all
in the film industry who are currently ready.”
making safe and boring decisions,
but eventually it’s up to us and the District 9 is a great movie, which
rest of the up-and-coming film resonates with everyone across
makers to push for more new ideas.” different generations in South Africa
and in making an honest South Afri-
The prawns also weren’t too similar can story, the universal themes in
to what audiences have previously the movie shine through to an inter-
seen, and Meng says ”there’s also national audience. So, ultimately,
a number of permutations that work what did we learn? What type of
aesthetically. If you have designed movies should we be making? Blom-
a creature within the confines of, say, kamp puts it simply: “I made this
a bipedal organism, there is a certain film because it was something that I
anatomy that makes sense for that... wanted to see. I think that’s why film-
Designers will do certain things makers make certain films because
because they look good and because it’s the kind of movie they want to
they work. They intuitively make watch” (movieretriever.com).
sense, for instance, like an inborn
language shared by everybody.” And if good, successful design in
So one would assume that only so the film industry is nothing more
many variations that would work than passion, a belief in what you
could ever be realised. are working on and something you
yourself would want to watch,
Meng goes on to say, “I also think then we should stop producing films
that as we move further into the simply on request by commissions
future, the backlog of creature de- if people won’t actually watch it. If
signs gets bigger and bigger and District 9 teaches us anything, it
there’s that much less stuff left to would be that quality filmmaking
try. Things like Giger’s Alien and does not mean safe or conventional.
Predator could only happen once. It demands risk-taking and that we
But on a brighter note, you still see should stay determined to keep
unique creations being designed writing, filming and talking about
even now. I loved the creatures in the films of our generation. A genera-
Pan’s Labyrinth, and the monster tion influenced by apartheid – but
in the Korean movie The Host . not a bi-product of that past – and
These really inspired me, especial- with a view to represent South Africa
ly how they managed to kick down and Africa as a whole is more than
walls during a time when it seems just a safari or history lesson 0
 0"* )'

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 0:* )'

Danielle Ehrlich and Ewaldi Grové recently moved to

Cape Town and begun working with DesignFaktorii, a
satellite company of TWIICE International. They are cur-
rently working on a new range of sustainable furniture
while also developing interior environments that follow
a progressive sustainability philosophy. Their work is
refreshing, quirky, exhilarating and unique with a serious
touch of cup cakes and an array of wonderlands. With
the amount of detail entailed in all of their product
designs it is surprising to see how effective they are in
anchoring sustainability in each and every aspect of
their design solutions.

These two girls are a wealth of information on sustain-

able product development. They had this to say in an
interview with ED).

ED ) Explain the uniqueness of this design duo.

Danielle ) We are two unique individuals who love to

dissect and question life and design. We do not take
anything at face value and we love to delve deeper
into superficial solutions, question them, dissect
them and re-make them in a way that makes sense to
us. Ewaldi is my soul sister, and Liv Design is the crea-
tion of our shared magic. We are able to mirror and
elevate each other to reach our potential and become
a power team.

Ewaldi ) We also keep each other in check, making

sure that we keep our integrity and that we stay well-
grounded.

ED ) Your background and training?

D ) I studied a BA Interior Design degree at the Green-

side Design Center. The course really helped me to con-
ceptualise and dream up magical and interesting spaces.

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0)* )'

However, I was always more inclined to designing helps to create a product-consumer link that auto-
for society and considering the environment and matically lessens the likelihood of landing up in a
always spinning the brief in that direction. landfill. This creates products with a longer lifespan.

After college I travelled to Israel where I was blown E ) Most contemporary designers don’t conform to
away by the ingenuity of the simple yet highly effec- any ‘isms’, yet I believe that the work that we produce
tive design of daily life, generated with very few re- fuels consumerism, an addiction to consume and
sources. Inspired by this form of thinking and fed persistently replace products and lifestyles. I am
by the Green Apprenticeship Course run by Kibbutz trained to produce desirable products but I’ve chosen
Lotan, I became motivated to create new sustainable to use this skill in a responsibly. Design is so power-
models in South Africa. Living, learning and building ful and influential. It is constantly changing the way
in an eco-village shifted my thoughts entirely towards we appear, move, perceive, think and negotiate. My
sustainable design. long-term goal is to solve the moral predicament
of the consumer-age by implementing sustainable
E ) I grew up in a home that celebrates art, music, and realistic alternatives that perhaps could lead
food and design. After school I travelled through to healthier ‘isms’.
Europe and Australia and came back to study interior
design at Greenside Design Center. I then moved ED ) In hindsight, what changes would you propose
down to Cape Town to study industrial design at to the curriculum of the design training you have re-
Cape Peninsula University of Technology. Industrial ceived and why?
design was challenging. It stimulated and fulfilled
my need to create and manifest my creativity in a D ) More emphasis should be placed on nature with
3D world. ample examples of elements that are successfully
designed. Observational skills can be better explored
ED ) What is your take on sustainability and the and developed, especially when it comes to the built
responsibility of designers as such? environment so that more sustainable techniques
and materials can be realised and used.
D ) It is a huge responsibility to be involved in socially
responsible and conscious design. The methodol- Explanation of carbon footprint and chemical impli-
ogy, materials and concept of the end product, if cations when producing materials should be better
considered in the design stage, could make a drastic explored, especially questioning the design norms
difference in the way that products are perceived and and ethics and whether they are in fact compliant
consumed. Items made from carefully considered to current best practice. Furthermore, there should
materials that are either biodegradable or able to be also be more factory visits where students can come
disassembled at the end of their lifecycle and re- in touch and are connected with the processes in-
used or recycled. I also believe that by creating prod- volved in the materials that they so casually spec
ucts with soul, stories and careful consideration, for interiors.
0!* )'

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07* )'
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E ) Sustainable studies, green technologies, eco- design, ergonomics, interior and even surface design.
logical design and other related studies need to be Tell us more about this successful combo and the
introduced into academic curricula. It can’t just be balance you strike to produce new product ranges.
taught as abstract ideas or philosophies. These
philosophies need to be considered and applied to D ) I believe in collaboration between materials,
design briefs. styles, ideas and people. Society has a funny way
of boxing, sorting and categorising things. This
ED ) Tell us about the beginnings of LIV Design leaves very little room for originality, diversity and
and describe that special moment when you both magic to happen. By testing our new design ap-
realised that ‘people get your ideas’. proaches, we open up other ideas that become
rich with the flavours of many other philosophies.
D ) It all started with an exciting journey into factory
waste bins in Jozi that resulted in a product range E ) I think it’s really important to stay in touch with
and a company which exuded uniqueness and the re- different communities and cultures. Local and inter-
thinking of all the design formulae and methodology national youth culture – ranging from fashion to
that we had been taught. For us, it remains an ever- film to music and graffiti – keeps me connected to
evolving social experiment that questions thinking the desires and needs of our contemporary world.
about design and its relevance and resonance to Youth culture is always a good source of things to
society. come in the future. The craft world, on the other hand,
keeps me grounded and humbled and it reminds me
E ) Ours is a story of shared ideology. Within four that I come from Africa. It’s like a balancing act to
weeks after us starting to work together, we created try and find a symbiotic interaction where diverse
a whole range and it only made sense to start a com- worlds and needs meet.
pany. Ten days before the Decorex Expo we requested
a stand, having no expectations or any idea what the ED ) What makes your products unique?
response to our new concept would be. We put our-
selves on a public ‘chopping board’ but never envi- D ) We like to think that our products offer an element
sioned the butterfly-ripple effect that would soon of quirkiness, sophistication, soul and originality
transpire. Decorex was an ideal platform to launch that become highly talkative and special ‘little
our company. The event inspired and motivated us to creatures’ in their own right. Every aspect of their
carry on with the work that we are so passionate creation has been specifically de signed with con-
about, allowing us to grow and learn and to continue sciousness, care, fair trade and generally good
empowering and uplifting design and craft in South vibes. They also speak a South African language
Africa. The fact that we won a couple of awards since that everyone can understand but do not fall into
then, the great media exposure and the public accept- any stereotyped brackets.
ance that we received is amazing and a great bonus.
E ) We design products with a conscience. Our ethos
ED ) You seem to have found a happy place where is aimed towards sustainable design. To us, this
you successfully combine crafts, high-end industrial means design that acknowledges human beings,

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that is sensitive towards culture and the community, E ) At varsity you are given a brief and this is followed
that makes economic sense and that considers the by research, concept development, cadding or draft-
impact it has on our planet. ing, material and manufacturing exploration and
prototyping. However, in professional practice, we
ED ) What process do you follow when selecting often find the materials or manufacturing process
materials for your new products? first, explore its potential and then design a brief or
product around it.
D ) We choose the materials based on the concept
and sometimes the materials become the product ED ) Tell us more about the crafters who you employ
brief. We have also begun looking at the qualities to produce your products.
of manufacturing, examining their attributes and
choosing them specifically based on the sustain- E ) Finding the right crafters was quite a long and
ability approach. For example, the pros and cons frustrating process. The ‘crafters on the streets’ are
of a material: how it can or cannot be reworked, re- often the sellers and not the actual craftsmen who pro-
polished or recycled, looking at it’s longevity as well duce the products that are sold. We had to dig deep
as it’s durability and deciding consciously whether into the heart of Berea, Hill brow and Troyeville in Jozi
or not we can spec it. Sustainability is definitely not to find real talent. The African informal sector is very
a straightforward equation. different to traditional Western business constructs
and it took us a while to gather a skilled and reliable

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team who could work with us and our specifications. Ghost series by taking a very traditional piece and
After much effort, we managed to source a great injection moulding it in plastic and basically, creating
team that understood the long-term vision of what tension through the unexpected. The AfroDutch col-
we are trying to achieve and they are producing lection is an African rendition and it uses the appro-
our products to spec. priate skills and material that speak the language of
our rich and exotic culture.
ED ) And the impact on their lives?
ED ) What is in stall for you in 2010?
D ) Unlike many NGOs, we allow our crafters to be
independent from us, otherwise it is not sustain- D ) Our products are in the development stage with
able. We deal from a business collaboration point DesignFaktorii, which will enable us to deliver higher
of view and encourage our crafters to be entrepre- quality products in higher quantities and distribute
neurs. We do however manage them and do strin- to more countries. We are also working on new prod-
gent quality control in order to ensure standard high- ucts specifically for DesignFaktorii that explore new
end production. and exciting design approaches and techniques as
well as sustainable interiors. In other words…
ED ) What is the philosophy behind your AfroDutch watch this space.
collection?
E ) Settling into our new Capetonian playground.
D ) This is our contemporary African interpretation I really look forward to rediscovering the magic,
of the traditional Afrikaner Ball and Claw tradition. creative influx, nature and sub-cultures that this
The pieces in the range question the excessive use beautiful city presents. It’s about system design,
of material by responding with very little material. brand placement and market research to root us
We achieved this by reducing the frame back to the firmly in local and overseas markets.
original line drawing (our wire frame). The frame is
hand crafted by skilled wire artists and the claw They say, “Let go of limitations, try with the correct
feet are finished off with beads. The wire is finished intentions and explore your own creativity.” 0
off with powder coating to protect it against rust
and wear.

E ) For us it symbolises transparency, honesty and

explores cross-cultural pollination by taking a very
traditional piece and turning it on its head and hand
crafting it from something unexpected. Phillippe
Starcke achieved a similar effect with his Louis

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We would like to think of the Shotopop brand as an delights for the likes of Computer Arts, Orange, Derrick
evolving roly-poly. We currently have a font that we gen- Santini, Asics, Chris Chameleon, Skunk Anansie and
erally use to write the name ‘Shotopop’ and an image Absolute Vodka amongst others.
of a deer’s skull that started as our email signature and
has been adapted to a few other bits and bobs (call it If we think back, the projects that really made us back-
a logo or identity signature if you want), but we don’t flip on the tightrope were probably the Skunk Anansie
want to view them as our definition because they could and Chris Chameleon music videos and the Absolute
change tomorrow depending on a whim. That’s the nice Vodka Wall in Milan. The Absolute wall was a bit of a
thing about being in the creative industry – you’re not spin-off from the Skunk Anansie stuff we’d been doing
expected to be a one- trick pony; your worth isn’t based already like their website, music video and album art-
upon your ability to add two and two and make them work. Skin, the lead singer of the band, was approached
equal four. For all we care if the sum looks prettier as by Absolute to be their official spokesperson for the
nine, then nine it is. new Rock edition bottle which is covered in black leather
and studs and she asked us to be her designers on the
We entered the ‘real world’ of design one trick at a time. project. The wall is the size of a six-storey building in
We started off by freelancing and doing a bit of Shoto- central Milan, Italy, and has become a space for Absolute
pop work on the side in every spare moment we had until to merge art and urban spaces. It was really exciting
such time when we realised that the Shotopop work was seeing our work on such a large scale and the outcome
taking up more time than freelancing and so the studio was fascinating.
was born. We now also have representation in France
through Valerie Oualid and Wizz, both who source a large Skunk Anansie as a project, has been a ‘phantasma-
percentage of our work. gorical carousel’ journey. It started with the logo revamp
which metamorphosed into the website, album artwork
We’ve been really lucky to work as the ‘illusionists’ for and music video for Because of You, their first single
various clients and being able to conjure various visual off their new album, Smashes and Trashes.

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While busy with the website we realised that the band

would soon be releasing a new music video so we asked
if we could pitch a concept. They didn’t have much of a
brief other than the visual portrayal of the new single’s
lyrics. The only limit we really had was time – very little
time!

The first step was to repeatedly listen to the song, inter-

pret the lyrics and come up with a visual concept. Initially
we had a few ideas floating around but eventually settled
on a narrative of a tragic love affair between unlikely
lovers – a bird and a balloon – with interplay between
tranquillity and turbulence. Through a cruel fate the
infatuation of the duo is also their demise as a kiss
between the lovers destroys the balloon causing the
bird’s heart to break sending it plummeting back to earth
from its astral love journey. The climax of the song sees
millions of black balloons rising from the ocean to fill the
starry night sky as they float out into space. We initially
pitched it as a predominantly animated production.

When we first pitched the idea for the video, the band
was really enthusiastic about the narrative. Their only
concern was that since it was the first single of their
comeback album, the band would need to feature more
prominently. As a result we realised the necessity for
the combination of live action with animation. As we were
not ready to let go of our animation roots, we decided
to also pitch a concept that would tightrope down the
middle and we jumped into a whole live action video.

Frighteningly, we realised that we only had one day with

the band to shoot live footage, so a lot of groundwork
had to be done. It was really important that every single
4,*&5%67%&87.71#*&9#:#'*;&<;#'#(7&0*"6=*&>(=&1*'3 shot should be planned in detail so that we would know
exactly what had to happen on the day of the shoot. We
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worked alongside a Brighton-based film company, action to flow as one and not look like a tale of two halves.
Fractured Films, who helped us out with filming and The one needed to support the other. The animation bit
production. was a mix between after effects, cell animation and 3D on
which we had a little help thanks to Stu. Once we have
We started with the outline of the narrative which devel- finalised the edit and animation we graded everything
oped into a detailed shot list and supporting animatics. shot by shot and added the effects and sparkle.
We were responsible for organising various things for
the shoot day – from make-up and wardrobe to catering, Overall we always believe that once you have a good
light and sound equipment. Once we had the rushes from design, it is so much easier to produce and get away with
the shoot, we could start to edit the first footage. We a stylised and simplified animation version. In the case of
used this edited version to set the animation ball rolling. the Skunk Anansie video, we had to deal with crazy time
By this stage the designs had already gone through a limitations so simplification was crucial. We only had one
few changes. Getting the look and feel right was the month from start to completion, which only allowed
toughest part. We needed the animation and the live for two weeks to develop and produce the animation.

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For the Chris Chameleon video for the song All of Me the guideline and to develop further ideas. However, the
brief was very open. Chris had written a basic storyline,storyboards still played a vital role, especially since we
about a worm that falls in love with a flower. The story were working on a music video. As it was really easy to
changed a bit in the execution, but everyone was happy get lost in this overwhelming creative process, the story-
with the outcome. Wizz, our animation representatives boards helped us to stay informed of the allowed time
in France, wanted to produce a Shotopop video at the for each shot. All the stages after storyboarding hap-
same time we got the brief from Chris and offered to put pened simultaneously. While we were building and
us up in Paris for a month. As a catalyst to be on their shooting sets, the 3D people were hard at work con-
structing the main protagonist – the worm. We took
directors’ roll, he also gave us a team to work with. Realis-
ing the potential for the two opportunities to coincide, some photographs of thick oil paint, which became
we had to jump – a month in Paris, a whole team of ani- the visual inspiration of the oily worm. At the same
mators, cameras and gadgets at our disposal and a high- time, we were feverishly cutting and filming. After com-
budget looking project later, we had a music video. pleting all the shots, it was time to string together the
3D bits, animations and effects. Once the entire thing
Chris allowed us visual carte blanche and Wizz’s only was animated and in a semi-understandable linear
concern was that we produce a high-production value end flow, we graded it and added the final touches.
product. We came up with a few initial boards to set the
style and tone and to give both Chris and Wizz an idea Planning is good especially if you’re directing and work-
of the direction that we were planning. We wanted to ing in a team. On the flip side, too much planning can
build a paper world and in keeping the rest of the team also make a project tedious and visually overworked.
going in the same direction, we realised the necessity We kept changing and mending as we went along,
for a storyboard. This also assisted in structuring and continuously trying new things, replacing what didn’t
developing our ideas. The next step was to build a set. work even if it took three days to build. It’s important
This became a more fluid process as we went along. Plan- to make mistakes, but even more important to pick
ning is necessary but too much sometimes spoils the fun. yourself up from your foibles and try again.
We had to strike the correct balance for the task at hand.
In essence Shotopop is the recollection of a man and the
This project was a rare opportunity, as we were trusted curiosity of a little girl animated on the dusty surfaces of
to make all the creative decisions and it was really fan- old diaries and desktops. Back then, Shotopop didn’t
tastic to have such creative freedom. The concept was necessarily imagine all the finer details of where they
never formally presented to anyone. Chris saw a few are today – but there was definitely an urge to see the
sketches and mood boards as we went along, but no- world and introduce its travelling bag of goodies to all
body seemed to mind that we just got on with it. the inquisitive folk that might want to take a look. 0'

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Contemporary designers are faced with a dilemma. We can no

longer only concern ourselves with developing trendy products.
Sustainability, environmentally sound processes, systems and
materials, as well as job creation and in many cases, social and
ethnographic sustainability should also be part and parcel of
today’s entrepreneurial pot of considerations that designers
need to deal with in daily practice.

Ironically, our past greed has now forced us to become ‘responsibly

trendy’ in the decisions that we make and the lifestyles we aspire
to and that we now advocate. Consequently, we have noticed a
paradigm shift towards producing products that are not only great
because they are trendy but also because they solve problems
and speak of social and environmental consciousness.

Today it is not enough to be an ingenious product developer or an

entrepreneur in the development of systems and workable environ-
ments that will only benefit a few. We should also have the ability
to be responsible creators who consider how every choice we make
can be life-changing for others and the environment.

How many of us can proudly say that we are responsible designers

who consider all, any or most social and environmental develop-
ment aspects in our day-today-operations and take aspects
like impact studies into account in our consulting work?

South Africa, like Brazil, India and a number of other developing

countries, is one of the special places where opportunities for such
developments are naturally presented and there are many admira-
ble examples of successful sustainable community projects that
prove the viability of the ‘homegrown sustainability approach’.
The developing world, particularly designers from Africa, know
best how to address our continent’s unique challenges and we
should stop depending on the developed world to offer solutions
to Africa’s unique problems and challenges. This is the exhilarating
part of being creative. Africa offers end less inspiration and oppor-
tunities and there is a lot we can create for ourselves and for others.

Following this philosophy, textile designer, Ronel Jordaan started

investigating the possibilities of using felt as a creative medium
26 years ago and today the Ronel Jordaan™ label is sold across
the western world, from Canada, the USA, UK, France, Germany
and The Netherlands to Italy. But part of the success of this African

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home-grown business is that its foundations remain firmly But before we get to grey water and organic foodstuff,
cemented in sustainability, social, environmental and we first need to understand a little more about the
economical development and job creation for many history of felt and the felting process.
more than only the elite that buy its products.
Felt originates from Genghis Khan’s Mongolia in the
When Jordaan started out, felting in South Africa was 13th century. These people were nomadic warriors so,
not exactly a booming industry and information about one can only imagine that for them, felt was extremely
the specialist craft sector was difficult to come by. To valuable as the fibre is warm, waterproof and very
become a master felter takes many years of precision strong. This explains why they produced shoes, blankets,
training and the consistency of the felt is vital for the clothes and even tents that could be easily transported
production of quality products. So, despite the fact from stop to stop as they migrated.
that this was not an easy business direction, Jordaan
has – through persistence and an abundance of passion These warriors discovered that when you rub wool
for her craft – managed to develop original and unique fibres together each minute follicle of the strand inter-
products that have found an immediate market. The locks. When you continue to apply the same process,
most recognisable of all her products are her felt pebbles layer upon layer, you will eventually be left with a very
and rocks. matted and dense surface. Even though this process
and production of felted sheets has been mechanised
From the word go, job creation was an integral part of in modern times, hand felting is still widely preferred
Jordaan’s business plan. This was pretty forward-thinking as the best solution for producing the highest quality
for those times and today she can say that having your product – machines can simply not produce the same
heart in the right place has definitely paid off: life and quality felt that what the human hand can produce.
business revolve around good human relations.
Jordaan’s company receives its wool from Port Elizabeth
At present, 40 previously unemployed women between in large bales and they only use wool of the highest
the ages of 19 and 40 have been trained and they can quality. They then card and dye long strands of raw wool
count themselves part of the small global community of and only when these strands are completely dry will
master felters who can certainly compete with the best it undergo a second carding process before it will be
in the world. Jordaan has also trained women at the Wes- ready for the felting process.
Randse Christelike Gemeenskap Feeding scheme in
Johannesburg to knit specifically for the Ronel Jordaan™ Biodegradable soap is then rubbed over these long
label. Then there is also a self-help co-op of women in fibres to open all the follicles, similar to the process
the Western Cape supplying the brand with felt sheeting. used by the nomadic warriors in the 13th century. Fur-
ther layers of fine strands of wool are then added and
Just outside Johannesburg in Sebokeng a small group rubbed and as soon as hot water is added, the wool
of men are also produce wire sculptures that eventu- shrinks because the follicles cling together. The re-
ally become the support of exotic felted lamps that sult is the matted and dense surface. At this stage,
for part of the brand’s extensive product range. strands of different colours are added to create a
marbleised effect and/or combined with other natu-
Nature is the main inspiration for all Jordaan’s products ral fibres like cotton and silk for more colour and tex-
and the Ronel Jordaan™ label functions in harmony ture. The result of this combination adds the magic to
with nature with all the processes implemented in the the final products.
workshop being eco-friendly.
 ):* )'

The Ronel Jordaan™ workshop is situated in down-

town Johannesburg and it has a number of containers
on the building’s roof which are used for organic food
gardening. After the felting process is completed, the
residue waste water is re-used to water the rooftop
garden. The vegetables harvested from this garden
are distributed amongst the workforce to either take
home or to resell as an extra income.

The soap used in the felting process of Ronel Jor-

daan™ products is completely biodegradable and
the dyes used, although imported from Germany, are
specifically selected because they are lead-free and
meet the European eco-standards. The products are
also completely free of harmful acids that are tradi-
tionally used to clean wool.

If you are not familiar with the extraordinary range of

tactile products, treat yourself with a visit to www.
roneljordaan.com to experience a world-class act of
textures and shapes, of leaves and flowers, webs,
thorns, hides and bark, scarves and thorny cushions
that has secured Jordaan with accolades from around
the world.

In 2006 Jordaan was awarded the Elle Magazine Dec-

oration and Design award in the soft furnishing cat-
egory; the same year she also received an Award of
Excellence in Montreal; in 2007 Visi listed Jordaan as
one of their top 10 designers; in 2008 she was a finalist
in the Best Product award in Sweden. Overall she has
managed to have had a different product for three
consecutive years that secured her a finalist position
at the Design Indaba’s South Africa’s Most Beautiful
Objects awards from 2007 up to 2009.

The Ronel Jordaan™ business is sustainable on many

levels – creating jobs and fostering good relations with
staff on various levels, highly regarded for skills develop-
ment, recycling and making environmentally friendly
decisions, while also producing high-end products
that are recognised and acknowledged not just for
their beauty, but also for their world-class quality. 0

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If someone asked me what I think about design in the year 2050 I’d
have to say the first thing that comes to mind is a super-futuristic
landscape where the balance between natural and man-made is
tilted heavily towards the artificial. I’d also think of it as a time far
into the future, yet when I take a moment to consider it, 2050 is not
so far away; in fact I shall hardly be 60 at the time. This makes it
quite a relevant topic for thought. In 2009, the member countries
and organisers of the International Council of Societies of Indus-
trial Design (Icsid) World Design Congress turned their collective
focus to this very near future and asked the question: How will the
solutions we design for our current global challenges shape our
world in 2050?

A prominent bi-annual international event focusing on the ad-

vancement of the industrial design industry, the Icsid World De-
sign Congress, held in Singapore in November 2009, extended its
focus beyond industrial design to deal with questions about ur-
ban development, healthcare, mobility, education, climate and
agriculture in 2050. While extending their focus and boundaries,
the organisers also decided not to go the conventional one-too-
many-speaker route, but to rather combine keynote speakers,
studio design leaders, as well as the congress delegates to all
interact during the congress. In a prelude to the congress, Prof.
Carlos Hinrichsen, the then Icisd president, remarked that he looked
forward to see “great design solutions arising from creative collabo-
ration that will shape our desired future”. This alluded to the main
theme, Design2050 Studios, which were structured to facilitate such
collaboration and consequently deliberate future mapping.

On day one of the congress the Design2050 Studios the principal

advisor, Arnold Wasserman, introduced the concept as being designed
with an awareness that our journey towards 2050 is one that will
require combined wisdom and dynamic networking. To this end,
the Design2050 Studios were to be led by prominent international
design leaders who would facilitate studio teams in developing
design propositions aimed to initiate a practical plan towards a
sustainable future. This meant that the studios would see interaction
between delegates and design leaders from all over the world
By Weyers Marais

during a process that would generate a roadmap to the future.

One of the streams that particularly caught my attention was Proto-

farm 2050, directed by Ravi Naidoo of Design Indaba, South Africa.
At the core of Protofarm 2050 is its definition of farming as “the
 )!* )'

sustainable cultivation of a renewable source”. The proposal con-

siders farming as one of the few renewable production systems
existing today. In an introduction to the proposal put together by
the Protofarm studio, however, facts about the influence of farming
on the global environmental tell a less positive story than this
definition would inspire. Agriculture is currently contributing to green-
house gasses in alarming quantities which are ever-increasing
due to the growth in the demand for fresh produce. This same
demand has increased the distance between farms and points of
sale to a global scale and it is not expected to decrease. While the
demand for food is on the increase along with population figures,
biofuel production is threatening to shrink the land dedicated to
food production.

Amongst these and other facts about population and climate change,
Protofarm 2050 still considers farming for food and sustenance
on a smaller scale as the basis for global sustainability. It suggests
replacing larger carbon-emitting farms with more widely dispersed,
smaller farms designed to be self-sufficient. It also proposes review-
ing existing agricultural practices and replacing them with farming
methods that could transform farms from carbon emitters into
carbon sinks.

Taking up the challenge outlined in this dark climatic picture are

five Protofarm 2050 design companies who have stepped up to
open their minds beyond predictions existing in the public domain
today and envisage scenarios that would yield the sustainable
cultivation of renewable sources in the future.

The first of these is Futurefarmers, a group of San Francisco-based

designers whose work focuses on what is most relevant to our cur-
rent context and surroundings. The Futurefarmers scenario is called
the ‘Multinational Feedback Loop’ and is a collaboration between
Amy Franceschini and Noah Murphy-Reinhertz. The Multinational
Feedback Loop is based on the concept that where there is an excess
of waste, there are new pastures for harvesting by future farmers.
This concept far surpasses recycling, because it does not speak of
mere re-using, but rather a new way of using through merging,
adapting and reassembling what would be considered obsolete.

When I was in playschool, we would arrive in class every morning 4,*&L6'6-*/.-:*-1&1$*7.-#(&#1&

and there would be a plastic sheet full of old packaging boxes, toi- $.""*;&',*&MH6"'#7.'#(7."&L**;D.$%&
let rolls, plastic containers, wooden blocks, paper, glue and paint. 9((K?3

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The task was to use your imagination and make something, any
thing, out of what you found in front of you. Today we are faced with
a very similar heap and recycling that heap is not enough – we need
to re-inhibit the heap. That is the scenario of Futurefarmers for our
world in 2050.

The Paris-based group of 5.5 Designers is made up of Vincent

Baranger, Jean-Sébastien Blanc, Anthony Lebossé and Claire Renard.
For their 2050 scenario, the 5.5 Designers considered the ever-di-
minishing relationship between humans and nature, specifically in
the context of urban living where all your so-called ‘natural produce’
is brought to you with such efficiency; you cannot even smell or see
the dirt of its origins. The product of their scenario is ‘The Guide to
Free Farming’, a project which is aimed at re-establishing the links
between us and the origins of our food. The difference, however,
between conventional farming and the ‘free farming’ is that free
farming is undertaken on an urban farm situated in a city eco-system.
The free farming guide is designed to help urban dwellers to discover
the sources of food veiled in our concrete pastures. Examples include
instructions for plucking pigeons as opposed to chickens and collect-
ing street flowers for salads. Guidelines such as these will make
The Guide to Free Farming invaluable in 2050.

London-based Dunne & Raby designed the third 2050 farming

scenario. Anthony Dunne and Flona Raby’s scenario is called ‘Designs
for an over-populated planet: No. 1 Foragers’ and is centred on a
United Nations’ estimate which suggests that over the next 40
years, there will be too many people and too little food. Dunne &
Raby’s solution to this scenario considers the possibility of modi-
fying ourselves to consume non-human foods, giving us nutrition
through sources only animals would have found in the past. This
project is also based on the premise that these types of solutions
will not come from the top down, but will rather emerge from the
bottom up where the need is mostly felt.

Echoing Dunne & Raby’s Foragers concept is Revital Cohen’s ‘Electro-

cyte Appendix’ with its concept of human-modification for adapta-
tion to 2050 scenarios. Cohen’s scenario suggests the design of 87',(7@&0677*&.7;&L"(7.&P.D@?1&
an artificial Electrocyte Appendix, inspired by electric eels, which 1$*7.-#(&#1&$.""*;&M0*1#A71&/(-&.7&
will allow humans to be self-sufficient producers and farmers of ()*-QK(K6".'*;&K".7*'R&S(3&T&L(-.A*-1?
electricity from their own bodies. Cohen suggests this scenario as a
natural progression in self-sufficiency from today’s virtual networks
which allow us to stay in contact and receive the social attention

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 )>* )'

we seek without ever leaving our homes. The artificial appendix

is a way of redesigning the human body to better sustain its pos-
sible new way of living in increasing seclusion. Although this kind
of design enables us to design our own evolution, I cannot help
but consider our holistic nature and wonder how much of its com-
plexity we can really redesign to ensure smooth transitions from
one way of being to another. This, however, is the nature of Revital
Cohen’s work as it provokes and explores scenarios of contrast
between the natural and the artificial – a subject for that could
well become a great deal more common by 2050.

The fifth and final Protofarm 2050 scenario was called ‘OOGST’,
designed by Frank Tjepkema’s studio, Tjep from The Netherlands.
Through an investigation into agricultural self-sufficiency, Tjep
started out by asking if self-sufficiency is even the answer to a more
globally sustainable world and if so, on what scale it is workable.
The result of this investigation was three design proposals for farms:
Oogst 1 for one person, Oogst 100 for a 100 people, and Oogst
1000 Wonderland, a self-sufficient farm, restaurant, hotel and
amusement park that could accommodate a 1000 people in one
day. The findings of this project were that technologically, these
scales were in fact plausible, but perhaps there is still food for
thought when we consider the idea of self-sufficiency and its vi-
ability for creating a more sustainable 2050 society.

In his keynote address on the second day of the congress, Ged

Davis from Global Energy Assessment, Austria, proposed three
different generic futures or future paradigms we could use to in-
form our thinking: one that is shaped by history and global trends,
one that we choose to envision and shape ourselves, and one that
is completely unknown to us and will surprise us.

When considering Protofarm 2050, even though it was only one

of the studios at the 2009 Icsid congress, it becomes quite clear
that employing only one of those paradigms is not enough. Per-
haps to really be equipped for 2050 and the years leading up to
it, we have to start living in complete peace with all three para-
digms presented by Davis. Perhaps we should take complete re-
sponsibility for designing our future whilst being aware of where
we have been and still leave enough space for the elements of
surprise. 0

All information and images courtesy of Design Indaba Magazine.

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By Prof. Des Laubscher

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X(F/"4"(K)%%$#"(

This magazine has been a long time in the making and it

has now finally arrived. It is hoped that this publication
will generate much needed healthy debate between
academia and the profession and ultimately between
designers and the end-users of their creations.

From a South African perspective most design institu-

tions are still stuck in the modernist era, and more
specifically are still using the Bauhaus model, a model
developed in the 1930s. Basically this means design
disciplines have their own silos and boundaries that
are very clearly defined. Everything is neatly placed in
boxes, labelled as Jewellery Design, Industrial Design,
Graphic Design, Fashion Design, Interior Design, and
more and put on the shelf. Never mix the boxes up!
 !"* )'

This is not in line with 21st-century thinking which is with the lecturer/facilitator and fellow students.
already deeply imbedded in the post-modern era. Ac- Through sharing, first assumptions are modified. The
cording to N. Katherine Hayles, in The Condition of Vir- underlying principle is that knowledge is not stable
tuality, the world is made up of permeable membranes but constructed and it is the teacher’s role to assist
rather than leak-proof barriers. This concept applies to the student in constructing new knowledge.
design practice as well as design education. In solving
design problems the boundaries between research, When design education is not focused on individual
analysis, creativity and communication are permeable. design disciplines but on the student being facilitated
In teaching design this fluidity between the key ele- to make new knowledge, we will produce designers
ments of design production is best achieved through a who will contribute to the economy of the future. It is now
constructivist learning approach. well documented that knowledge-based economies
will lead countries into the future, beyond the manu-
From the constructivist viewpoint, learning is an active facturing mentality of the past. We cannot compete
process in which the learner engages with the world
with the competitive output of the Chinese in this regard.
in order to construct meaning. The learner not only
The thinking that produces problem-solving individuals
constructs meaning but also systems of meaning.
is very unique to design disciplines. We need to blur
Thus the learner learns to learn. This viewpoint is
the boundaries to ensure our learners understand the
supported by Donald Schon who, in describing a ‘Re-
‘Big Idea’ and are not restricted to solving discipline-
flection-in-Action’ approach to learning mentions
specific problems. This is not to say design educators
learning how to learn. He states that learning involves
should produce ‘Jacks of all trades and masters of
several kinds of learning, which are interwoven.
none’. Rather than learning a specific range of unre-
These include learning to recognise and appreciate
lated skills design education should focus on the ‘Big
the qualities of design, to produce these qualities in
learning, and learning how to learn. Idea’.

A constructivist teaching approach concentrates on The ‘Big Idea’ is to produce designers who are problem
the fact that learners create meaning from interac- solvers, able to work through a seamless process to
tions with researched data, their own previous learn- produce meaningful results that impact on the end
ing and the context in which they are forming new user. Designers should be able to contribute to solving
knowledge. For example, in an educational setting, the issues of climate change, social responsible de-
which is the context, students will be asked to design sign, and many other areas related to design for hu-
a studio cum study area. Students would research manity. In fact, we know design touches all we do;
precedents both aesthetic and functional. They would from the time we wake to the time we go to sleep. Our
apply this knowledge to their own experiences in education system is not doing us justice. We need to
terms of studying/designing. In the context of the rethink, redefine and set up some kind of forum to dis-
learning environment knowledge gained is shared cuss the road ahead. I hope this is possible. 0

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The Airstream Penthouse Park is the ultimate location affordable adventure into an American apple-pie yester-
for the traveller who seeks novelty without giving up on year with a distinctly South African future.
comfort. The trailers came to rest on the roof of The
Grand Daddy Hotel only months after Jody Aufrichtig So let’s meet the trailers and their creators.
and Stefan Botha went to America to source the highly
collectable Airstreams. The Afro-Funk trailer’s earthy colours set the tone for
an African experience – minus the wildlife. Architect
The visionary owners of the much-awarded Daddy Long Carla Soudien was inspired by the street fashion of
Legs Art Hotel, Aufrichtig, Botha, Nicholas Ferguson, Cape Town and this is represented in her careful atten-
Sergio Dreyer and Francois van Binsbergen, were quick tion to texture.
to hand over their newly imported vintage Airstreams
to a talented crew of local artists and designers for a The Ballad of John & Yoko was created by fine artist
fantastical creative makeover. Tamsin Relly, textile designer Cara Rosa and Chloe
Townsend who has her own leather accessories label.
The Airstream Penthouse Park takes this artistic theme Their trailer is a tribute to peace, love and total relaxa-
to a new and playful level, resulting in a surprisingly tion with a bed that you would want to stay in. Guests

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!)* )'

also have the opportunity to spread their messages

of love and peace on the trailer’s creativity board and,
if so inspired, pick up a musical instrument to add
onboard acoustics.

The Ballad of John & Yoko has a fantastic en suite bath-

room with a shower that will have you whistling in no
time.

Sarah Pratt, a fine artist and a lecturer at Michaelis was

responsible for the sublime Dorothy Airstream.

4,*&>."".;&(/&Y(,7&E&Z(%(&8#-1'-*.:3 Dorothy has a duck-egg-blue foundation colour which

is covered with white polka dots. Some of the dots are
three-dimensional and hinged to contain mini exhibi-
tion items. Surprisingly, the dots are far from dizzying.
In fact, it’s a serene and relaxing space to return to
after a day of exploration.

Tracy Lynch used her signature colour pink as the key

inspiration for the Love of Lace Airstream which has
a feminine appeal and an intriguing seclusion that
says boudoir not bordello. Lynch invited iconic South
African women to select ‘heart-stoppingly beautiful’
lingerie, which are decoratively framed for added ef-
fect. Pop open the bubbly and lock the door, there
4,*&0(-(',@&8#-1'-*.:3 really is no reason to leave.

Goldilocks and the Three Bears is a fantasy Airstream

designed by Mark and Jo Stead which becomes the
mini set for a much-loved bedtime story about a little
blonde girl and some bears. This Airstream serves it
up in threes – just like the fairytale and even has a
bear suit and a Goldilocks outfit to inspire play. This
is the only Airstream with a bunk bed and is suited for
couples with children. Adults will appreciate the more
obscure interpretations on the old theme with gor-
geous bear art and naughty bear humour.

According to designer Liam Mooney, the Pleasantville

4,*&9()*&(/&9.$*&8#-1'-*.:3
Airstream is a trip into the 50s with Louis L’Amour novels
and plenty of Formica. It is a utopian heaven incorpo-
rating a wide variety of period colours and fabrics.
 !!* )'

Cheesy romance novels, ferns, wall ducks and blue

melamine will have you wishing for the days when
Mom hosted Tupperware parties and Dad was home by
4:30 PM for a hot cooked dinner around the family
dining table.

The Moontides Airstream, designed by Susan Wood-

ley and Brigitte Dewberry, is a dreamy, ethereal world
below the waves.

Freeworld’s Earthcote Paints collaborated with The

Grand Daddy on the project, supplying edgy coatings and
working closely with project developer Jody Aufrichtig 4,*&O(";#"($%1&.7;&',*&4,-**&>*.-1&8#-1'-*.:3
and his team of artists. Woodley and Dewberry com-
bined crushed and layered materials with Earthcote
Worn Leather in midnight blues and greens and Tidal-
cote, a coating containing bits of crushed pearlescent
marine material.

Woodley and Dewberry vinyl coated the entire bed-

room of Moontides in pitch black and then layered it
with shapes that look like luminous jellyfish. “This is
kind of like a place where love and magic collide, giv-
ing visitors a subliminal feeling of the strands and
layers that connect us,” says Dewberry.

4,*&["*.1.7')#""*&&8#-1'-*.:3
561'.#7.D"*&$(71#;*-.'#(71
Wherever possible, choices regarding materials were
governed by a regard for environmental sustainability.
All woods used in the creation of the timber decking
are FSC (Forestry Stewardship Council) approved and
the plants selected for the landscaping are entirely
indigenous and watered by a drip irrigation system.

The Park supplements its power demands with a solar

grid. The trailers are equipped with low-energy extrac-
tor units to lessen the power demand created by the
air-conditioning units.
4,*&H((7'#;*1&8#-1'-*.:3
Of course, aluminium trailers are not championed for
their biodegradable properties, but it is not anticipated

!"#$%&'()
!7* )'

Park. Liam shoves open the door of the vintage lift

and we rise to the top. I am met by big shiny silver
bubbles and canvas kites hovering above – it is as if I
have just stepped into a fantasyland. It then becomes
clear that the bubbles are trailers and the kites are
the canvas covering above the wooden deck that con-
nects all the trailers to a communal dining and per-
formance area. Each trailer has been beautifully re-
stored and placed along the perimeter of the rooftop,
complete with a quaint garden. Packing that extra
1950s punch are the letterboxes, proudly on display
and bearing a phrase that hints at the inspiration for
each of the trailers.”

AK ) Liam what led to you becoming a designer?

LM ) It was either architecture or product design, and

I went for product design. I come from a design back-
ground – my grandfather was a master craftsman, my
aunt an architect and my sister a sculptor. I applied
for a point-of-sales position after graduating, but was
turned down. I am so grateful that it happened be-
cause my career turned out for the better.

W7*&(/&',*&8#-1'-*.:1&D*#7A&"#/'*;&#7'(&K(1#'#(73
AK ) Off the top of your mind, name a few things from
which you draw inspiration.
that these old beauties will be going anywhere soon,
recycled as it were, into a new life miles away from LM ) Materials and the whole manufacturing process
their origins. are what fascinate me most; for instance, the joining
techniques of timber. Also, how to do something new
with an old material. My personal history also influences
8&D#'&:(-*&.D(6'&',*&K-(X*$'?1& me a lot; such as the pieces we had in the home when
$-*.'#)*&;#-*$'(- I was a child.

Ayesha Kamalie met up with Liam Mooney, creative AK ) Cape Town is full of interesting contrasts. How
director of Whatiftheworld and also the creative director did your idea for the Trailer Park on top of a boutique
of The Airstream Penthouse Park project. hotel come about?

Kamalie shares her first impressions: “We meet at the LM ) It was collaboration between Jody, the owner of
ground floor of the Grand Daddy in Long Street, of the hotel and myself. Initially, we wanted it to be a
which the rooftop is home to the Airstream Trailer moving hotel, kind of like the ‘Madame Zingara Tent of
 !@* )'

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Dreams’ concept, but it proved to be too tiresome in LM ) They were different for each trailer. Since we were
terms of logistics and moving/carting these 50s trailers dealing with a four-star hotel, we had a standard to
around on the road would be a mission! maintain for each of the bedrooms in the six-foot
trailers. There was minimal space, but a good quality
AK ) What part of the design process is most impor- bathroom is essential in four-star hotel. Other than
tant to you? that there was quite a bit of artistic freedom.

LM ) I was creative director of this project and the To get the trailers to the location we had to block off
biggest challenge was working with the trailers. We Long Street and had them lifted into position by
are not technicians and we knew little about trailers, crane. The entire project took about six to seven
so we had to get creative in dealing with the more months to complete, one month of crazy concepts and
technical aspects and conceal problems such as water- ideas, and one day to erect trailers by crane.
proofing and insulation.
The Airstream Penthouse Trailers is definitely a project
AK ) What were some of the challenges you faced that is testament to quality design with crazy and won-
while designing and during construction? derful ideas, and why not? 0

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 !>* )'

0*'.#"&(/&',*&D(.-;-((:&'.D"*&.7;&K('QK".7'1&(7&#7'-.)*7(61&;-#K13&

The FOXP2 office is a futuristic ‘science lab’ where bold Rotem Shachar was responsible for the spatial layout
thoughts evolve into grand ideas. Table Mountain and conceptualisation of the FOXP2 office and worked
forms the dramatic backdrop to this all white interior. on this project with FOXP2 creative director Andrew
Frameless glass partition walls separate public and Whitehouse. Together they discussed a visual aesthetic
private spaces. Bold graphics are intentionally juxta- for the interior. As Shachar is married to another fellow
posed against the surrounding white space which in FOXP2 director, Justin Gomes, she was familiar with
turn reflects light throughout. All of these elements the ethos and image of the company and the needs
were the direct result of consciously-made decisions. of the staff. Shachar described the discussion phase

4,*&D(.-;-((:&.7;&:*]].7#7*&.-*.&.7;&$-*.'#)*&(/C$*1&+#',&-*'-(Q".D&;*1%&;*1#A713

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4,*&M-.;#(&.$'#)*?&$(K#*-&-((:&*:#''#7A&#'1&A-**7&"#A,'3&

as being very low-key and relaxed with a lot of design graphic on glass dividers throughout the office. The
decisions being made over rough sketches. boardroom table is made up of a series of brightly
coloured resin-filled test tubes positioned in the
The original brief for this office was to create a space shape of the hexagon logo. These test tubes are not
that would encourage and stimulate staff to be more only a reference to the concept of a laboratory but also
creative. The agency wanted an open plan studio that to pixels which are integral to communication design.
accommodated the possibility of future expansion
with space for more staff members. Offices needed to Shachar began conceptualising by researching the
be private and a photocopy room was to be hidden in visual world of science. She did this by pouring over
order to hide unsightly office supplies. A stimulating images, visiting the University of Cape Town’s science
library, bar and boardroom needed to visually em- department and consulting with a taxidermist. She con-
body the spirit of the FOXP2 brand. tacted a laboratory glassware distributor to ensure the
authentic use of beakers for the bar. Budget proved to
be the only constraint, with Shachar having the rare
4^<&F_5`89&>P8S0_SO privilege of total creative freedom on this project.

The agency’s visual image and philosophy are mirrored The project took five months to complete with concep-
in simple, clear and clever solutions. FOXP2 derives its tualisation beginning in January and FOXP2 moving into
name from the creativity gene. This visual image led the their premises in May. Shachar was also responsible
design team to create a concept and visual language for overseeing the physical production of the project.
around a sci-fi laboratory. A hexagon forms the FOXP2 She chose sub-contractors whom she thought would be
logo and this motif is repeated to form a frosted block the most successful at producing her ideas and stresses
 7"* )'

4,*&D(.-;-((:&'.D"*&.7;&.&)#*+&/-(:&',*&$(K#*-&-((:3

the importance of giving sub-contractors clear instruc- Cape Town to study art direction at The Red & Yellow
tions – be pedantic. School of advertising. After finishing her studies, she
worked as an art director in the USA.
There were problems along the way – it took several
attempts to ensure that the correct colour ratio resulted SS ) You spent several years in New York. What were
in opaque coloured resin test tubes. A more serious
you doing there and what did you learn from living in
hitch was the need to redo the screeded concrete floor
that city?
a sum total of four times.

RS ) I was working as an art director in advertising, first

“We are all products of our enviroments. As a creative
advertising agency FoxP2 needed to both reflect its at Ogilvy and later at TBWA Chiat Day. I think that New
brand identity and inspire its staff. The space is un- York is the epicentre of the creative world. There’s a great
mistakingly a FoxP2 space and the agency has just saying that goes something like this: when it’s 1967 in
won best performing ad agency at the Loerie Awards London, it’s four o’clock in New York City. I love that city.
and awarded a Grand Prix [for the Category: Architec- It’s exciting and large and at the same time, small and
ture and Interior Design]. I guess one can say that they ‘villagey’. You have access to everything and sometimes
are inspired,” says Shachar. feel like you are nothing. This contrast and dilemma
allows you to take in so much stimulation, fill up with
8>W`4&PW4<H&5^8!^8P inspiration and reference and then spend the rest of
the time neurotic about what to do with it.
After completing a year of architecture at WITS University
in her hometown of Johannesburg, Rotem relocated to SS ) What are five sources of constant inspiration to you?

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RS ) My books. Big cities. A good meal. The problem. RS ) As an art director I learnt the importance and
Ugly spaces. strength of a good idea. As a bookshop owner I have
met many talented and interesting people. As a busi-
SS ) You’ve worked as an art director, photographer ness owner I have learnt how difficult it is to make
and now own and curate an art and design bookshop. money and to appreciate it when it comes.
What have you learnt from your experiences and what
particular skills have you developed? SS ) Your initial approach to tackle the FOXP2 office
interior?

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 7:* )'

RS ) I look at space as a 3D sheet of paper that longs SS ) Who would you like to collaborate with?
for a concept – I did the same with FOXP2.
RS ) Andy Goldsworth, Takashi Murakami, Gregory
SS ) What other projects you are currently working on? Crewdson, Maartin Baas, Herzog & De Meuron, Gregor
Jenkin and Tara Donovan. 0
RS ) A reference room for a contemporary art gallery, a
coffee shop and a wellness lounge for an investment 8""&#:.A*1&$(6-'*1@&(/&LWa[U3
company.

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“How difficult can it really be to run your own studio?” believable as it added a grungier real feel to every-
asked Claudio Pavan and Arri Reschke who had worked thing.
together for four years before opting to establish
their own little studio, Lung Animation. “The main question was how to get a good video done
in only three months with only a handful of people
These two describe their creative shop as a “no non- working on it during downtime. We came up with the
sense and humble” place where you will find a well- idea of making a stylised version of the band; the
balanced environment that ensures high quantity and band members had to be recognisable off bat by their
high quality work. Besides producing a lot of other fans but stylised enough to help them fit into the video
work, they are certainly best known for the produc- seamlessly with all the other wacky characters.
tion of music videos for The Parlotones.
“Once we knew the direction we were going to take,
In 2009 Lung won a South African Music Award for we had to shoot the background plate and the little
best music video for their production of Overexposed. kid that links our world to the animated world. We got
our friends at The African Attachment to shoot it for
Claudio explains: “We think the fact that it had funny us in one day on a shoestring budget. We also wanted
little characters that inhabit our world made it appeal- the animated characters to have the same movement
ing and unique to people watching it. We also believe as the real band members and since we didn’t have
the hand held camera motion made it a little more budget for motion capture we got the band members

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77* )'

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) !"#$%&'(&)#*+&',*&)#;*(3
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 7@* )'

to film themselves with a regular hand cam while per-

forming the song. We then took the footage and used
it as a base for our animation. We decided to push the
animation further to exaggerate it and make it feel
snappier.”

Claudio shares some more insights into the studio’s

work:

ED ) What feedback have you received from The Parlo-

tones after this production?

C ) The band is no stranger when it comes to awards

but they had never won a SAMA for a music video. Kahn
(the lead singer) and the rest of the band have always
been extremely supportive of what we do and we make
a great team.

ED ) Three years ago you started production on charac-

ters and animation for the fully animated commercial
for United Airlines, produced by the famous The Black
Heart Gang. Tell us more about this.

C ) Well, this was Lung Animation’s first job. Jannes

Hendrikz, the animation compositor and director of
Blackheart Gang and Shy the Sun used to work with
Arri and me at Blackginger studio. Arri and I had to
breathe life into the awesome characters designed by
Ree Treweek, the illustrator of Black Heart Gang. That
involved modelling and texturing, and then rigging and
animation. Once it was rendered we would pass it on
to Jannes who was responsible for compositing it and
giving it that over all feel that makes Shy the Sun. What
they do is absolutely beautiful and it was a pleasure
to work with such talented team. (View this project
on page 71)

ED ) 2007 seemed to have been a great year for Lung.

In March you won Best Animated Music Video on MK89
for The Parlotones’ Dragonflies & Astronauts and a month
later you were nominated for a South African Music
Award for the same video. In November you received an 5$*7*1&/-(:&4,*&[.-"('(7*1?&)#;*(B&0-.A(7\#*1&E&
Animation Excellence Award from Animation SA. 81'-(7.6'13

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C ) The Cape Film Commission decided it was time to ED ) Tell us about the main character in Dragonflies.
start recognising animation as a vital and growing He seems to represent a specific stereotype in society.
role player in the film industry. I think this award was
based on the very first music video I did for The Parlo- C ) The gist of the story was about this blue-collar
tones’ Dragonflies & Astronauts and to be honest, I worker that is just bored with his lifestyle and he dreams
never thought of winning any kind of award with this of more. In the subway Kahn’s character walks in and
production. In the end I don’t think the video was per- trips, with his Parlotones flyers flying all over the train.
fect but I think it was a good start and inspired me to One lands in our lead characters’ lap, which sparks
want more. off a fantasy and at this stage, we cut to his imaginary
 7>* )'

world where he is the hero fighting evil robots. From of did it as I went along. I now understand how important
then on every time the character sees something that a storyboard and structure are. If I could go back I would
has to do with The Parlotones or his dreadful life, he have planned it a little better.
fades off into his fantasy world.
ED ) What feel were you trying to create?
ED ) How long did it take to produce this production?
C ) The main feel I wanted was to create this almost
C ) It took eight months from start to finish. With Dragon- ‘Apple iPod’ feels to the interior of the spaceship while
flies & Astronauts I didn’t storyboard at all. I just kind keeping a gritty and raw feel to the outside. I wanted

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@;* )'

5$*7*1&/-(:&4,*&[.-"('(7*1?&1((7&'(&D*&".67$,*;&)#;*(B&5'.-1&/.""&;(+73

the interior well lit and peaceful. The kind of space Lung earlier last year helped me design and create the
that would be relaxing and non-invasive. My friend robot – I love the work he has done on her.
and colleague, Jason Stapleton, has an amazing eye
for architecture and helped me get just the right look ED ) Lastly, tell us a little about the latest music video.
for the interior. Once that was done I noticed that we have What can The Parlotones fans expect?
a bunch of guys on a ship and it was seriously missing
a female presence, so I decided to add a female looking C ) The video is for the single, Stars fall down, which will
robot just to soften it a little more – after all what is a soon be released. I hope it will be a clean sci-fi styled
spaceship without AI? Marcelle Maris who has joined video with some eye candy for the person watching. The
 @"* )'

overall concept explains that Kahn and the band have

somehow left earth since it is dying or pretty much ) !"#$%&'(&)#*+&',*&'-.#"*-&(/&5'.-1&/.""&;(+73

dead already. There is also a last goldfish and the last

plant. Throughout the video the plant starts growing
and taking over the entire ship (in a non-violent way). I
) !"#$%&'(&)#*+&',*&M:.%#7A&(/?&5'.-1&/.""&;(+73

)
guess in a way I think nature will find a way to survive, !"#$%&'(&)#*+&:(-*&(/&',*&M:.%#7A&(/?&5'.-1&/.""&
with or without us. 0 ;(+73

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 @:* )'

ED ) Tell us more about the beginnings of Shy the Sun? us, as well as traditional art from all over – Mayan, Indo-
nesian, African, Indian, Medieval and much more.
StS ) Shy the Sun’s history starts a while before it actu-
ally opened its doors. It was found because of a short ED ) How would you explain your work?
film, The Tale of How, created by The Blackheart Gang.
The short film created a huge uproar at film festivals, StS ) We consider ourselves to be artists, crafting
leading to the gang being approached by different each spot to perfection. With each spot we try to do
production companies and agencies to do commercial something completely different, pushing our own
work. Jannes and Ree, two of the three members of The boundaries, trying things we’ve never done before.
Blackheart Gang (BHG), then realised that they did not
want to associate the BHG with other people’s concepts People react very well to our work. Fantasy provides
and brands, so we, together with producer Nina, started an escape from the mundane and it seems that people
up a separate commercial company, called Shy the Sun. in general want to be taken to places they’ve never
been. We take all the pain of the world on our shoul-
We were approached by Duck Studios in Los Angeles ders when creating these portholes for the human
and signed up with them. We then signed up with Pas- race. One minute of happiness and then it’s all gone.
sion Pictures and also form part of their list of directors
for Strange Beast who represents us in Europe. Our first ED ) How did you came up with the company’s unique
job, United Airlines, kick started the company in Septem- name?
ber 2007. It was a unique project because we were
given an open brief to do what we wished with enough StS ) The name had to be epic, like a title of a storybook.
time to craft it to perfection. After weeks of thinking and searching we decided to
phone Markus, the third member of The Blackheart Gang.
We’ve been working on fun campaigns with creative As a last resort, he read us some poems and stories
freedom in terms of styling and concepts ever since. that he had written. Then, as if a beam of light shone
upon us, he read: “To slip from sight | to shy the sun |
ED ) What inspires you and what really stimulates So sleeping eyes | shall see no one | I am the slight |
your creative juices? of hand in spell | I leave no footprints | where I dwell.”

StS ) People that inspire us: Todd Schoor, Patrick Wood- Ree and Jannes then created the look and feel on a
roff, Ernest Hackle and Jim Woodwring. Travelling inspires happy day.
5,@&',*&567?1&1'6;#(&#7&!.K*&4(+73

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ED ) Tell us more about the creation of your ground- ED )'Looking at the Bakers commercial?
breaking commercial for the United Airlines.
StS ) Ogilvy Johannesburg briefed us to create nursery
StS ) The agency, Barrie D’Rozario Murphy, came up rhyme characters scrambling for biscuits.
with a special one-line brief: Sea creatures serenade
a passing plane. We were given a basic brief/script with the freedom to
interpret it in our own way and come up with our own
Our story goes like this: We open on a bird/fish sitting creative solutions. We had a very good relationship
on his lookout post. He spots a glint in the far away with the agency right from the start. Trust and open
background and he blows a signal. Suddenly a huge communication played a big role, enabling us all to get
structure, sitting on the back of a huge sea turtle, rises as much out of the project as possible.
from the deep revealing an orchestra. Our conductor
sets his orchestra in motion. We are introduced to our We went wild in our interpretation of the brief. First we
string section, then brass and then percussion. We chose our favourite characters, gave them all person-
cut to a few close-ups and then cut to a wide where we alities and then devised ways for then to interact with
reveal the shadow of an airplane entering the frame. one another. We decided to hold a grand tea party in a
forest clearing to tie them all together, making it seem
ED ) Talk us through some of the challenges during that the magical arrival of Bakers Biscuits is the event
the design and production of this commercial. on which this entire environment is built.

StS ) The most challenging part was setting up the com- Casting the characters was difficult. Nursery rhyme
pany while beginning this job. We bought a whole lot characters all come with baggage. We’ve all heard the
of new equipment in preparation. story of the three blind mice and the carving knife...that
sort of thing happens over and over in this industry.
The trickiest part of the production process was synch- Trying to fit all of our creative ideas and sub-plots into
ing animation to music. Gershwin’s track is 13 minutes a 60 second commercial was a challenge. Peter Pumpkin
long. The big challenge was to pick the best part, com- Eater was always trying to chat up Polly whose really
pressing it into a minute to tell our story. We created dating the Gingerbread man. It created a lot of tension on
an initial base track that accompanied our animatic. set. The mice constantly came to work drunk and some-
That was then given to Trivers & Myers Music who was times the big red ‘make-it-look-good’ button got stuck.
the composers; they then supplied us with a closer to
final track to animate to. Finally a recording was made Cape Town’s unpredictable weather caused problems
as the orchestra played live to our final animation. during the live action shoot with CAB films, resulting in
damaged sets and massive continuity problems. Nearly
Barrie D’Rozario Murphy understands the dynamics all the plates were reconstructed, roto-scoping the
of working with artists. The agency is professional, children off every shot, adding more trees, plants and
always progressive and constructive. Throughout the rocks and enhancing each background plate of the
process we made suggestions. They were happy as commercial with matte paintings.
long as we stayed true to the original concept of sea
creatures serenading a passing plane. This made it Our clients were great, they really trusted in our process,
possible for us to concentrate on our strengths. and us even though for much of the project they had to
 @!* )'

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Two weeks before the shoot the rough shapes were
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modelled to depict each character, allowing the team to
set up the shots. By taking photographic reference on As the daughter of an artist it was no surprise that Nina
location before the shoot we were able to reconstruct the developed a love for the taste of paint but her parents were
layout of the forest. The area where the action would be astonished to discover Nina’s first words when she point-
taking place was modelled and used for blocking the ed at a chandelier and said “symmetrical arrangement”.
shots before any camera was turned. Using those rough Over the next few years Nina stopped eating paint but
shapes as scale guides, Blackginger’s modelling team continued to surprise her parents with her ability to
continued to build the characters and add detail. Once arrange, organise and conduct activity in her room.
the characters were 75% complete they were sent to Nina studied Visual Communication and eventually
rigging, any stage later and we would not have com- arrived at the logical stage of producer.
pleted Bakers on time.
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During the last weeks of the production character ani-
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mation and compositing happened simultaneously, get-
ting more and more detailed as the days went on. A lot
Brought up by Zulu warriors, Jannes is an artisan with a
of effort was put into making the 3D blend perfectly with
driving lust for life. He found that his interest in moving
the real life elements used.
pictures and music offered great artistic satisfaction.
Completely self-taught, he set out vigorously on a
ED ) What’s in stall for the gang in the near future?
mission from which he would never return.

StS ) The Blackheart Gang just published The Tale of How

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coffee table book. There’s talk of translating The Tale of
7,8,%)>,+^
How into a puppet show next year. Yes, we are in pre-pro-
duction for The Tale of Then, as well as developing con-
Ree grew up on a farm near Kokstad, on the Transkei
cepts for future projects...the trick is finding a way to fit
Border. It was here that she received her real education
them all together.
being surrounded by stories, both mythical and histori-
cal. As most farm girls do in that area, she was sent off
ED ) Some words of wisdom?
to boarding school in Pietermaritzburg where she
spent most her time in the art room. Ree went on to study
StS ) Follow your passion – working in this industry
Fine Arts in Durban. At that time she focused mostly on
consumes your life – sometimes totally. If you don’t
street art, creating miniature fantasy worlds to hide
love what you do, it’ll squeeze you dry!
in the cracks and paths of the streets. She then went
travelling for two years where she was inspired by In-
donesian craft and architecture and the stories sur-
rounding them. She has spent the last seven years

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Hilton Tennant, founder and partner in the company Tennant McKay, knows a
lot about storytelling. Based in Johannesburg and represented by The Ebeling
Group in the USA, their projects range from illustrations, promos, programme and
channel identities, to animated and live action commercials. According to Hilton
it is really difficult to offer a single descriptor for what they do. He says: “The
most inclusive title would most likely be Communication Design and Commercial
Direction.”

Working with many established brands from around the globe, Hilton shares his
story, as a designer and as a storyteller from Africa.
 B"* )'

Our company was formed in Johan- their children tales of the monsters in the process, dressed themselves
nesburg 2003 and because of our that lived in the flames, monsters in local costume, becoming part of
representation in North America we who would reach out and hurt them the widely differing cultures we see
also have access to a global network if they got too close. Their fathers, on today (Rob Parkinson).
of clients. The one element that over- returning home after an unsuccess-
laps in the majority of our projects is ful hunt, would fabricate elaborate Different stories and the different
the inclusion of stories. From logos tales of creatures that almost killed ways of telling the same story did
to commercials and even in the case them while in pursuit of their dinner shape distinct cultures. People’s
of non-narrative communications and how they barely escaped if it stories are often similar to those
there is always a story evoked. wasn’t for their stealth and vigour. of other cultures, but distinct in
themselves. A culture’s stories be-
South Africa is a place of stories . These two examples constitute two come part of their self-identity (Jamie
Stories of suffering, stories of hope, primary themes of all stories through- Wilson).
stories of injustices and stories of out history, either individually or in
reconciliation. These all inspire us. combination. These are stories of It is plausible to suggest that all
warning (based on fears) and stories culture is rooted in stories. When we
Before I get into discussing some of created by virtue of human vanity. invented stories, we invented gods,
our work and processes, I would like heroes, villains, and magic. The roots
to first take you through a brief his- People in these times travelled far of psychology, of teaching, of reli-
tory of the story. more than you would imagine, gion, all lie within stories. But to
spreading their stories as they primitive man, storytelling was magic.
Since prehistoric times storytelling moved, leaving their imprint on the Cave paintings are our first storytell-
has been part of human nature. Moth- minds of their new audience. These ing art, but also our first visual art, our
ers would sit around the fire and tell stories were told and re-told, and first cartoon, and our first narrated

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B0* )'

slide show. The technologies we use

today are new, but the methods for
storytelling are ancient.

Our world is shaped far more by the

stories we tell and repeat than we
like to acknowledge, something that
is as true today in our media-dominat-
ed world as it was a thousand years
ago. Stories show life as it might be,
should be, shouldn’t be and never
could be. Basic social values, skills,
wisdoms and just about everything
you can dream of show reveals itself
in stories.

Storytelling has evolved drastically.

The oral traditions of folk legends
made way for the printing press,
allowing stories to travel far and wide,
and allowing artists to mix words
with images to further convey their
thoughts, ideas, and experiences.
Today storytelling is an integral part
of our lives – from the daily papers
and novels that we read, what we
see on television to all the millions of
stories transmitted globally via the
Internet. Good storytelling has the
ability to transcend all these medi-
ums, help people relate to a theme
and (most importantly for us design-
ers) cohesively combine content with
communication.

Not everything has to have narrative

to tell a story. Take logos, for example,
and their use of semiotics. When I first
started working I never fully appre-
F.-#(61&1'.A*1&(/&',*&$,.-.$'*-&;*)*"(K:*7'&(/&',*&.7#:.'*;&
1K(%*1K*-1(7&/(-&^('*"13$(:3 ciated the importance of pitching or
presenting an idea, but over the years
 B:* )'

I have come to realise it is probably the correct character, it is still para- animation and lighting to make it
the most crucial skill to master. mount to find the perfect personality successful.
for the role. Of course, the only differ-
I plan to give you an insight into not ence is that these guys take a little O38(03"#40
only how we employ stories in com- more time to produce than just a call
mercial communications but also to book a casting session with a
Ytv is a Canadian youth TV channel
how various disciplines like graphic model agency.
that approached us to develop 12
design, illustration, drawing and
5-second channel branding stings.
photography all contribute and From this point we select the char-
combine to create a cohesive final acter we feel best suits the tone of
product. the brand and his required communi-
cation before developing any sec-
Similarly our approach to animation ondary characters. While the char-
hardly ever sees us utilising a single acters are being developed we will
technique of animation in isolation. do colour explorations based on the
The desired tone of the final product client’s identity system. We are gen-
generally dictates the techniques we erally looking to see how far we can
use but more often than not a com- push the combinations of the accent
bination of 2D, 3D, stop frame and cell colours before it stops resembling
animation are all combined in varying the client’s identity.
degrees to achieve the desired
treatment and outcome. The physical appearance and treat-
ment of characters ‘in the real world’
For the Hotels.com project the client influence the way the audience re-
required a spokesperson to be devel- lates to them but most importantly
oped which would be able to trans- it defines a set of expectations: The
late across any media platform. He further we move the character away
needed to be accessible, smart and from the simplicity of the one on the
appeal to the average American busi- left, (see the central panel on the fac-
nessman. First, we started with what ing page) the greater the audiences
we call a ‘character exploration’, expectation will be of him – judging
which looks at various visual nuances him more closely on the physics of the
within a character theme. Here we scientific world where the physical
knew the spokesperson should be attributes of nature and of reality is
a businessman, that he should not used as a reference point of how we
look too young – still you can see for expect these characters to behave.
yourself by looking at the characters
that the slightest change of propor- The one on the left relies heavily on
tion or hairstyle alters his visual the theory of Gestalt which describes
personality dramatically. the brains capacity to fill in the
missing detail so the animation is a 8&1*"*$'#(7&(/&$,.-.$'*-&
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As we all know, most often simple

animated logos are used to tell us
which TV channel we are watching.
For Ytv, we decided instead to write
stories and introduce the logos
through short narratives. By doing
so, we hoped to attach associa-
tions of creativity, fantasy and im-
agination to the Ytv brand.

Featured here are some of the char-

acters we have developed for the use
in the different narratives.
4,*&$,.-.$'*-&1*'&;*)*"(K*;&/(-&Z')3
Finally, after a couple more weeks of
animation rendering and composit-
ing, we managed to deliver a number
of short narratives.

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Five directors, one from each conti-

nent were asked by Coke to create
individual short stories to visually
explain their unique interpretation of
‘BetterWorld Optimism’. These short
stories came to life as music videos
– each set to music tracks from differ-
ent indie musicians.

It was important for us to capture

something uniquely African without
utilising any clichés, both in concept
and visual execution. Because each
campaign was being made acces-
sible to audiences all over the world,
it needed to have international ap-
5$-**7&A-.D1&(/&1(:*&(/&',*&Z')&1'#7A13 peal, and more importantly, because
 B!* )'

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it was targeted specifically at the itself as carved figures so this be- the perfect soundtrack to our inter-
youth market, the design solution came a stylistic inspiration for our pretation of ‘BetterWorld Optimism’,
needed to resonate with them too. character who is based on an East and became an inspiration in itself
African spirit called Malaika, which for the visual tone of the whole
When conceptualising our short story, is said to be sent from heaven to help campaign.
we drew inspiration from the African people in a time of turmoil.
myths, legends, fables, songs and Having created the story we proceed-
proverbs that define the birthplace Selecting the right track to create a ed to extend the design language into
of mankind. We found that they had music video was quite challenging as print and various other merchandis-
striking similarities with so many there were a lot of great choices from ing solutions. Drawing inspiration
cultures that have developed in op- some amazing independent musi- from the animation we designed the
posite corners of the world. African cians. In the end, though, Fischer- label for a collectors’ edition alumin-
mythology most often manifests spooner’s track All We Are felt like ium Coke bottle.

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These were printed using seven spot the bottle, instead they left space Finally we developed posters to be
colours including two fluorescent in the bottle to be filled by a choice used at the launch of the project
inks which allowed the bottle to glow of spirits without having to decant it. around the world. 0
in night clubs and bars. Because
the project was aimed at the youth The merchandising extended into
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More than a year after the Olympics, Beijing, with its bright lights and
Beijing was host to another mile- ubiquitous cultural history, also
stone event: the Icograda World proved to be an interesting backdrop
Design Congress 2009 and the for the international event which saw
first ever Beijing Design Week. The over 2 000 design practitioners,
World Design Congress that ran from educators and students attend.
26 to 30 October is a bi-annual event
held by the International Council On the first day of the congress,
after many a hand signal and sketch
of Graphic Design Associations
(owing to our foreign vocabulary
(Icograda). Founded in 1963, Ico-
void), my colleague and I managed
grada is a design body that is active-
to make our way from our hotel to
ly engaged in promoting commu-
the cultural and political hub of
nication design and encouraging
the city for the opening ceremony. It
cross-disciplinary design dialogue. In
was held at the National Centre for
keeping with these aims, the Icograda the Performing Arts, an impressive
World Design Congress 2009 was futuristic structure. The centre is an
a simmering hot pot fuelled by icon of modern Beijing and stands in
pressing issues and contemporary stark contrast to the surroundings,
design challenges. including Tiananmen Square and the
Great Hall of the People, as well as
the Forbidden City.
 B>* )'

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Inside, the centre was teeming with The day’s proceedings began with central idea of China moving from a
people, eager to listen to the keynote speeches from officials and keynote manufacturing economy into a crea-
speakers. The theme of this year’s speakers. It was encouraging to tive economy and the role of design
conference was based on the Chinese see that the mayor of Beijing and within this changing environment.
word Xin – literally translated as other high-ranking government min- In his address, Long Youngtu, the
message or letter and signifying isters were present to lend China’s Secretary General of the Boao Fo-
human communication. In keeping support to the event. Don Ryun rum for Asia, also spoke about this
with the conference theme and the Chang, Icograda president, also transition and maintained “a coun-
meaning of the word Xin, the visual acknowledged this when he stated, try without a design industry is a
identity of the conference was “design is an integral force fostering country without a future”.
made up of black and white over- socio-economic growth, innovation
lapping envelopes. I felt that the and sustainable development for The rest of the day saw an impres-
organisers really pushed the enve- many countries and communities. sive line-up of speakers including
lope in this instance by cleverly The support of the Beijing Munici- the influential Dutch designer Jan
applying the identity on all the col- pal People’s Government, the Min- van Toorn and American designer Sol
lateral for the event, ranging from istry of Culture and the Ministry of Sender, to name a few. Sender’s pres-
the innovative conference bag to the Education is a testament to the entation entitled Designing for
event signage. The title sequence value that China places on design”. Change was about the conception
that was designed especially for and evolution of the branding for
the opening ceremony was partic- The content and theme of the open- Barack Obama’s presidential cam-
ularly impressive. ing ceremony focused largely on the paign. He spoke about the complexity

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of identity and symbolism and trans- Lenovo China (the multi-national design is no longer considered an end
formative design strategies for so- technology corporation) began with in itself but rather as a strategic way
ciety. only one designer in their in-house of thinking which is employed as a
design office three years ago and means of creating value and pro-
In light of Sender’s call for designers that number has subsequently in- viding meaningful change. In con-
to “architect and implement solutions creased to 150. clusion to his presentation, Kester
that can realise a better today”, the urged the audience to pursue new
highlight of the day for me was the Kester also reflected on innovative ways of thinking by saying that “if
memorable David Kester, the chief design strategies in the United we tap into creativity and if we tap
executive of the British Design Kingdom. In particular, he referred into design and if we collaborate
Council. Kester continued with the to service delivery and innovation together with technologists and
topic of China’s growth in the crea- within the healthcare industry. All manufacturers we can be part of
tive industries and the inherent his examples pointed to design at solving some of the big problems
role of design. He mentioned that the front end of innovation where that we face today in our world”.
 >"* )'

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The focus on the increasing power very promising with their own list on the idea that designers today are
and current responsibility of design- of influential speakers. engaged in “politics of survival” as
ers recurred throughout the subse- opposed to “politics of protest”.
quent two days of the congress which The ‘balance’ stream covered top-
was held at Beijing’s Central Acade- ics such as design dialogue and David Berman, author of the book
my of Fine Arts (CAFA), also one of collaboration between East and Do Good Design also advocated the
the organisers of the event. Once West, sustainability and design re- importance of designers to take
again, the signage and wayfinding sponsibility as well as ecological responsibility and action in making
system at this venue was superb. policy making. The ‘access’ stream design more accessible for the
The banners that hung from the cam- complimented the ‘balance’ masses. Much of what Berman said
pus buildings and the well-marked stream rather well as it focused on was in response to Bruce Mau’s well-
venues were not only a visual feast the accessibility of and within con- known question: “Now that we can
but also facilitated the delegates’ temporary design practice. Topics do anything, what will we do?”
route from one stream to another such as designing life in urban
without any frantic nods or flailing spaces, proactive intellectual Both Margolin’s and Berman’s com-
hand gestures. Eager CAFA students property rights policies in design, mitment to their subject matter was
were also always on hand to an- and communication design for in- admirable and, surprisingly, their
swer any questions. formation environments were cen- presentations were the first and
tral to this theme. the very last presentation which I
Using the theme of Xin as a point of attended. In a way they stood tall as
departure, the conference explored Two noteworthy presentations were bookends, which enclosed many
four overarching issues, namely that of Victor Margolin and David interesting titles between them
‘access, balance, communicate Berman. Margolin is the Professor over the second and third days of
and define’, and their influence on Emeritus of Design History at the the conference.
contemporary communication de- University of Illinois, Chicago. He is
sign. Each issue was presented as a founding editor and now co-edi- It was apparent that the presenters
a separate stream, which ran par- tor of the seminal academic design were not there to play a game of
allel to one another. Although the journal Design Issues. In his presen- Chinese whispers. The message was
parallel streams spoilt the dele- tation, Building a Sustainable World: loud and clear: Design can make a
gates for choice, it was quite a What We Need to Know, Margolin pre- difference. 0
challenge deciding which streams sented an overview of changing de-
to attend because they all sounded sign practice and focused specifically
 >:* )'

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>)* )'

/(8*,'2*'.*,%0,'!D*
By Suné Stassen

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What can be bigger than our world’s blonde, busty Barbie?

In many fields it is probably not really a challenge but in the
global consumer market this is an enormous task. Last
year saw the world celebrating the 50th birthday of this
iconic figure. For most this was a great celebration and
bags filled with nostalgic moments but within the context
of poverty, HIV/AIDS, war and economic downfalls, not
really a celebration with a lot of heart and added value.

Deep down south on the African continent you can find a

community project with humble beginnings that is adamant
to become bigger than one of the world’s most recognisable
stereotypes. You have to hand it to them – this is a pretty
hearty and hefty goal but this one has soul. Some might say
they are setting themselves up for failure and others, present
company included, are still admiring them for the shear
magnitude of their aspirations. “There’s so much product
out there in the world, but there’s so little product that
makes a difference. Monkeybiz makes a difference,” says
Donna Karan from the fashion world of New York.

The original task they set themselves was already a hefty

one but the women behind the Monkeybiz project do have
their hearts in the right place. And this makes all the dif-
ference. “We want to alleviate poverty to uplift the people,
empower them and provide them with skills,” says Jack-
son. As a true blood Capetonian I can, like so many others,
testify that Monkeybiz is iconic to our creative city. It is a
well-driven and successful project that is truly making
 >!* )'

inroads into changing the lives of many – not

just the needy, but their products continue to
put a smile and new zest for life in the hearts
and homes of everyone that owns a ‘monkey’
of this nature.

It was in 2002 when Tina Davis, director/pro-

ducer of Bigger than Barbie, first spotted these
funky creatures at a friend’s house in Nor-
way. “I got completely enchanted by them, I
thought they had great expression, I loved
the colours and kind of crazy quirkiness they
have,” says Tina.

Not knowing the origin of these beautifully

crafted beaded dolls; it was love at first
sight. “Three months later I saw them in a shop
window in Oslo and bought a couple of dolls,”
Tina continues. “And only with my second
visit to the same shop did the lady who works
there fill me in on this amazing project in
Cape Town and its philosophy of empower-
ing women.” Tina then decided that it could
be interesting and viable to check it out.

“My first visit to Monkeybiz and meeting

with the women behind the project was a life
changing experience. I saw how they were
working in the office in Cape Town but also
how these women were working in their
homes in the township. At that stage I al-
ready knew it was a project that really de-
served more attention but I also liked the
story behind the project. I wanted to show
how these women, somehow against all

!"#$%&'()
>7* )'

odds, were doing something so positive, so creative and also making

beautiful art using a great South African tradition like the craft of
beading to create these beautiful dolls. This tradition was dead
because of apartheid but Monkeybiz rekindled it, which is great!”

In the documentary Bigger than Barbie we have the opportunity to

meet the special women behind Monkeybiz and how, through crea-
tivity, they learn to fight against HIV/AIDS and overcome poverty.

In dealing with such heart-felt and heavy topics like HIV/AIDS, it

is quiet challenging to produce a piece of filmmaking that reflects
positivism, hope, love, valuable friendships, support, dearness and
strong human relations. Yet this documentary is a shining example
of positive energy. “When I see these dolls they are like a symbol of
hope,” says the iconic singer/superstar and activist, Annie Lennox.

It is a fun and informative documentary that will educate the world

using the honest and sincere portraits of the women behind this
project as a very valuable vehicle to communicate to the world. We
also meet the dolls as the movie’s leading characters, taking us on
their exciting journey from the dusty roads of Khayelitsha township
to Donna Karan’s high fashion store on Madison Avenue, New
York, to the Mandela concert for HIV/AIDS in Norway. And this was
all done in the spirit and belief that they can become Bigger than
Barbie while making a real difference in the lives of so many.

Monkeybiz supplies colourful beads, thread, cotton and skills to

the women. On delivering the final product, the women are paid
according to the merit of their work. It is then the responsibility of
Monkeybiz to market their creations in galleries and in a number
of shops worldwide.

This project also has a Wellness Centre that provides nutrition, yoga
classes and healthcare to the women who live with HIV/AIDS.
Today the Monkeybiz community of women is about 450 strong.

Monkeybiz is big on economic development and invests about R1, 4

million annually through paying the women for the beaded dolls they
produce. Monkeybiz is also a non-profit organisation and all the pro-
ceeds from sales go directly back into the community. As one can
only imagine, for the women it is a great help to work from home,
as they are now able to look after their children while not spend-
ing a cent on transport to get to work. Their production line also
 >@* )'

reflects a sustainable and environmental

friendly way as they use leftover and dis-
carded off-cuts for the fillers of their dolls.

“Monkeybiz help the people to help them-

selves,” says Desmond Tutu.

Director Tina Davis and co-producer, Thomas

Robsahm from Speranza Film manage to
engage the viewer and give a powerful
insight into the lives of some of these wom-
en and into the business context of this
project, while highlighting their victories,
great and small and one step at a time.

To work between two very distant continents,

with Monkeybiz situated in Cape Town, and
with the team living in Norway, created its
own challenges. It took them four long
years to complete this documentary.

The film includes special appearances from

Desmond Tutu, Donna Karan, Annie Lennox
and Nelson Mandela.

Up to now this documentary has been

screened in 20 countries on television and
at film festivals in Turkey, Germany, Sweden,
Norway, France, the Ukraine and Taiwan, to
mention just a few. Because of the educa-
tional value, Bigger than Barbie has also
been screened at many educational insti-
tutions such as Harvard University in the
USA and Brighton University in the UK. 0

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2/3("0("#4,#/"3&(3;,(0$*,($0(7,0"4#Z(
+0("#$&* The word ‘ingenious’ means clever at inventing, con-

"!.'2)!0.
structing or organising. It also means skilful and re-
sourceful. South Africans have always been resourceful
to survive in a harsh and unforgiving environment,
but can they take their ingenious plans to compete
on the international market? It is here that design
can make the difference.

For the past 40 years the SABS Design Institute has been
passionately involved with design – product design
in particular. Over four decades more than 600 out-
standingly designed South African products have re-
ceived SABS Design Excellence Awards. Some of
these products have gone on to make a huge impact
on world markets.
 >>* )'

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K-(;6$'&;*1#A7*- A((;&;*1#A7
What characteristics should one have to become a prod- World-renowned German industrial designer, Dieter
uct designer? The Princeton Review, a reputable source Rams, whose Less and More – the Design Ethos of
when it comes to tertiary training in the USA, explains it Dieter Rams exhibition is on at the Design Museum in
as follows: “A product designer combines a talent for London from 18 November 2009 to 7 March 2010, of-
design with an understanding of the production and fers his ten commandments of good design. These
marketing of consumer goods.” should be intrinsically part of the thinking of every
potential product designer.
The Review continues: “It’s important that the prospec-
1. Good design is innovative.
tive designer be able to work as part of this team, which
means understanding that his personal preferences 2. Good design makes a product useful.
may not be chosen. Besides the time spent actually 3. Good design is aesthetic.
working on designs, the remainder of his time is spent
4. Good design makes a product understandable.
working with graphic designers and cost estimators in
order to coordinate the production of potential product 5. Good design is unobtrusive.
lines. Because of the collaborative nature of the process,
6. Good design is honest.
this job requires strong interpersonal skills. … While
aesthetic skills are obviously critical to product design- 7. Good design is long-lasting
ers, business savvy is just as important. Successful 8. Good design is thorough down to the last detail.
product designers are equally comfortable producing
9. Good design is environmentally friendly.
three-dimensional models of their designs and provid-
ing cost estimates to production executives.” 10. Good design is as little design as possible.

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";;* )'

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Design education has always been high up on the agenda The Design Institute was also responsible for initiating
of the SABS Design Institute. The Institute has been the Joint Standing Committee on Design Education which
instrumental in promoting leadership amongst young was the forerunner of the Design Education Forum of
designers for more than 20 years. Back in 1987 the Southern Africa (DEFSA), a professional organisation
Design Achievers Award was born of the belief that of design educators. The main aim of the forum is to
opportunities should be created for young designers foster design education in the southern African region
to define the future and to prove that South Africa is and to host annual conferences to bring design educa-
a country with great creative potential. This initiative tors together under one umbrella, offering academics
is based on the assumption that design leadership is the opportunity to present academic papers towards
imperative for momentum to grow the industry. accreditation.

Design Achievers is a unique award scheme insofar The Guide on Design Education, with information on
as it not only recognises design talent, but also seeks design career options and study opportunities, has
out and awards leadership in design and entrepre- been published since the early 80s at regular intervals
neurial potential. to keep potential design students informed of possible
educational avenues they would like to pursue.
 ";"* )'

4,*&"#/*"#7*R&[-('('@K*&_7#'#.'#)*

In an attempt to support new product development, Consultations are confidential and applicants can be
the SABS Design Institute assists product designers sure to receive expert advice and opinions. The con-
with working prototype models to get their proto- sultation sessions are held in major centres in South
types out of the garage and on their way to produc- Africa and by entering their prototypes, designers
tion through the revamped Prototype Initiative that also become eligible to attend the Idea to Product
started in 2008. seminars presented at these centres, free of charge.
These seminars deal with common problems experi-
The Prototype Initiative includes a free consultation enced by product developers.
with design experts, a patent attorney and a fund
manager. The design expert advises product designers A total of 44 aspirant designers benefited from the
on the design aspect of the prototype, the patent attor- 2009 Prototype Initiative consultations.
ney explains how to protect the intellectual property of
the designer, whereas the fund manager looks at the For more information on the SABS Design Institute, to
viability of the product and the chances of acquiring view products that won Design Excellence Awards in the
funding for further development. past ten years, to find out more about the Prototype
Initiative and design careers and training institutions,
visit www.sabs.co.za and click on Design Institute. 0

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By Adrian Madlener

What makes Dutch design Dutch? Every October the city

of Eindhoven is partially transformed by the Dutch
Design Week into a mecca of creative thought and
exchange. Needless to say it makes for Eindhoven’s
bread and butter. For students, this non-commercial
fair that spans over 200 locations and over a hundred
events, provides the perfect exposure to the current
design climate.

Sceptics say that Dutch design can’t weather the current

global economic storm. Yet, during the opening speech
the trend forecaster and design guru, Li Edelkoort said
that designers should embrace the economic downturn
as a means for allowing creativity to flourish. For students
there is no better time to be studying design.

Everywhere you went during this week, you were pre-

sented with the theme of change or at least the attempt
to change.
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The main locations during the Design Week centred on

three hubs. The first hub was the Witte Dame (White
Lady); the old turn of the century Phillips light bulb fac-
tory, which has been transformed into a multi-purpose
building with shops, design bureaus, and most impor-
tantly, the famous Design Academy, Eindhoven. The
academy’s graduation show generally sets the tone
for the entire week. It is a view into the future as the
graduates prepare to move into the design and busi-
ness worlds, ready to make their mark. The graduation
projects are less professional but rather on the haute
couture end of what’s on show around town.

In this area there were also exhibitions like Paper Zoo

at the MU gallery and Happy Living, a small show pre-
sented by the local technological industry authority,
Brainpoort Design Point.

The next major hub was the Strijp S where the more
commercial portion of the Dutch Design Week featured
a huge number of company and school exhibitions.

The last hub was the Stadhuisplein (Town Hall Square)

with the Designhuis’ European Talent exhibition, the
Dutch Design Awards pavilion and a few other shows
in the actual Stadhuis. The world-renowned Van Abbe
Museum hosted most of the lectures and debates
throughout the ten days.

There were also many other hubs or clusters of exhi-

bitions which tended to be more focussed but no less
interesting, like the Technical University, Eindhoven,
which showcased its industrial design department
graduation projects as well as the architectural depart-
ment’s latest work.

It was also worthwhile to venture outside of these main

hubs where one could find other pleasant surprises. It
seems like anybody with the smallest affiliation to
creativity or commerce gets involved or at least tries to
get a piece of the Dutch Design Week’s action.
 ";!* )'

In October the Strijp S was expanded to include the

Strijp X, where the studio of Kiki van Eijk and Joost van
Bleiswijk was open to the public, a pleasant look into the
workshop of an emerging Dutch design label that calls
Eindhoven home. Next-door is the collective Atelie-
dorp’s Chaos/Order half-store, half-showcase of highly
conceptual design. The original Strijp S also changed
things a bit, adding a purely automotive design section
and a material production portion. This place can be
somewhat of a whirlwind – it was jam-packed and a
whole afternoon or even day was necessary to experi-
ence everything. The crowd of 100 000 people over
the entire week did not make it any easier.

Eindhoven takes on a new hue during the Dutch Design

Week and provides us with what is lacking during the
rest of the year. Many doors open and inspiration flows.
Certain themes and practices become evident as trends,
helping along the understanding of what is to come
in the future.

In 2009, paper in all of its forms and properties seemed

to be popular, as was the theme of death and rebirth.
The state of design is changing but it seems that what
was shown during this week was an attempt at holding
on to a type of Dutch design which is only accessible to
a few. I was surprised by the fact that many of the exhib-
its did not address the need to be sustainable or so-
cially responsible – obviously, there were exceptions.

No doubt, the 2009 Dutch Design Week was invaluable

for students looking at new trends in materials, colour,
processes and conceptual frameworks. It created the
basis for discussion but also personal development
in intellect and practice. 0

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With our brains divided into two search they realised the need for it’s a fun way for parents and chil-
hemispheres, development of both this kind of activity as amusement dren to connect by being innovative
is necessary to process information. and distraction from everyday stress. together and to express what can’t
Reading, writing, arithmetic and always be translated into words.
science are activities that are primarily Whether it’s playing, painting,
controlled by the left hemisphere of sponging or spraying, Artjamming™ Artjammers are provided with a
the brain. The right hemisphere con- is about putting on an apron to face menu of 12 differently sized canvas-
trols imagination, visual and spatial a blank canvas and unleashing your es, easels, a choice of non-toxic
perception. However, right brain own individual creativity. It allows acrylic paints on tap, brushes and
activities are often neglected and you to create your very own unique tools to freely express themselves.
seen as less important when, in fact, full-colour art piece by fusing crea-
it should be a no-brainer to realise tivity and colour to a chill out beat Participants are not given instruc-
the benefits of engaging in creative and is dubbed the most fun you can tions or classes, and no drawing or
activities. Research has shown that have with a paintbrush. painting skills are required, but for
it enhances problem-solving skills, those who would like a helping
assists in thinking out of the box and According to Paul Lee, founder of hand or some inspiration, there
develops a sense of individuality. UniqArts and Technologies over- are qualified artists at the studios
seas, five or six is an ideal age for to assist and give guidance.
These are some of the reasons why children to develop creativity and
Artjamming™ has become increas- artistry as they are not conditioned The Israels decided to bring Art-
ingly popular. Already a hugely suc- in logical thinking at this stage and jamming™ to Cape Town first and
cessful worldwide phenomenon, their fine motors skills are devel- have also acquired the sole rights
Artjamming™ was launched end of oping fast. Of course, it is never too for South Africa. The first studio was
July 2008 in South Africa by local late for any child to be exposed or opened at the trendy Wembley
fashion and textile importers and trained. Even adults can re-learn Square Shopping Mall in Gardens,
distributors, Ralph Israel and his these free-thinking artistic and Cape Town, and since then it has
daughter Leora. After extensive re- creative abilities. The best part is that become so popular that another
 ";@* )'

studio opened in November 2009

at the unique lifestyle shopping
centre, the Cape Quarter. The first
Gauteng studio will open on 1 Feb-
ruary 2010 at the Blubird destination
shopping centre in Birnam, Illovo.

On average the two Cape Town

studios host 70 birthday parties,
team building exercises and cor-
porate events per month.

For young artists, design students

and art enthusiasts Artjamming™
is a great resource with various
professional art materials, brushes,
sketchpads and top quality brands
including Gouache from Australia
on sale in store. Student discounts
are given and the Wembley Square
studio is situated in the middle of
the student buzz and close to various
design schools.

For as little as R95 you can create

your own artwork without having to
carry the cost of buying expensive

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materials needed for projects, ex- of the world’s most accomplished Mak1one and Senyol, created rare
ams or portfolio examples. With 45 tattoo artists, including Paul Booth, works of art which were auctioned
colours to choose from, a variety of worked together on three extra large to raise funds for Write on Africa,
drawing materials, different tools, canvasses. The canvasses, donated an organisation that aims to create
paint brushes in all sizes and even by Artjamming™, was auctioned inspiration in the form of murals
a hairdryer to create special effects off at the convention and the pro- for the youth to encourage social
or speed up the drying process, Art- ceeds were donated to MaAfrika upliftment within underprivileged
jamming™ can also become your Tikkun, a non-governmental non- communities.
own studio in an environment which profit organisation that works to-
oozes creativity. ward the transformation of South In July 2009 they facilitated a team-
African communities by caring for building session for the BestCities
Artjamming™ has been involved vulnerable children and orphans in Client Imbizo, hosted by the Cape
with many innovative projects such townships. Town & Western Cape Convention
as hosting the first ArtFusion Ex- Bureau (Cape Town Routes Unlim-
periment (AFE) in South Africa in Another event, in which they were ited), an important platform that
January 2009 as part of the Southern involved in April 2009, was the Urban converged significant meetings of
Ink Xposure International Tattoo Art Write on Africa Mural Fund representatives, managers and sales
Convention, the biggest tattoo event campaign. Six of South Africa’s top officials from the BestCities Global
held on African soil and in the south- local urban artists (the new PC Alliance of convention bureaux with
ern hemisphere. The AFE is a collabo- term for graffiti artists), including representatives from cities including
rative art demonstration where some internationally recognised Faith47, Copenhagen, Dubai, Edinburgh,
 ";>* )'

Melbourne, San Juan, Singapore

and Vancouver.

Artjamming™ was featured in Top

Billing’s “Artist Workshop” in No-
vember 2009 as the hosting studio
for up-and-coming Cape Town art-
ist, Daniel Popper, who presented a
workshop to 20 children on creat-
ing puppets from canvasses, lycra,
wood, buttons and sequences.

Even KykNet’s “Boer soek ‘n vrou”

found Artjamming™ to be a fun
event for the ‘boer’ and his ladies-
in-waiting to explore their inner
artist and show their true colours.

Artjamming™ also presents drawing

classes, different medium work-
shops and hosts exhibitions. 0

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By Lucilla Booysen

Few fashionistas would dare to match their

knowledge of the South African fashion design
industry with that of Lucilla Booysen, one of
the grand dames of the African fashion industry
and founder of the SA Fashion Weeks.

ED) asked Booysen to review the 2010 Sum-

mer and Winter collections presented at SA
Fashion Weeks in 2009 and show what and
who’s hot and fashionable this year.

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We have seen more collaboration between
master crafter and designer. Designers are
using craft to create their own identity.

Romantic, soft fabrics combined with wool,

knits and leather create a very individual
look for the different labels.

One can see the focus on detail within

the design and the use of certain fabrics
to enhance the same detail.

The long day dress, as well as the full-length

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evening dress is back in fashion.

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The overcoat featured in most collections

and is suggested to be a lighter in-between
season overcoat.
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Print detail on fabric develops the individual

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Variations of long and short pants were
features in the 2010 Winter Collections.
There is most definitely a move away from
the very tight to a more loose and comfort-
able look. Jumpsuits and bodysuits will
follow this look.

Bodices and dresses that leave the shoul-

ders uncovered. This style should not be
confused with the bustier that includes
the lace-up at the back we had in the past.

Masses of sheer came through strongly

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and this romantic look will be huge in the

next season.
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the romantic look.
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Staggered hemlines and the overlap of

layers are creating a very interesting look.

Bits and pieces of leather came through.

This might get bigger for the next winter
season.

Knits should be much bigger in South Africa,

so maybe this will come through stronger
next winter.

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Designers were using jewel-like colours
to create colour highlights throughout
their collections.

Men’s suits will have a lot of detail. We can

see that Lunar showed a more relaxed ver-
sion of the suit while Clive added his detail
through print on women’s suits.
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We have not seen the cardigan for a long

time. It is making a strong comeback, es-
pecially since Michelle Obama wore a car-
digan when she met the British Queen
recently.

There is a lot of focus on comfort and lux-

ury. Consumers want to feel comfortable
and luxurious in their designer outfits.
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T U g

l N n

Emerging creatives to watch are:

1. Anisa Mpungwe

2. Marize Malan

3. Megan Perks

4. Elme Bekker
Black is still playing for the A-team.
5. Amber Jones
We found more detail in the shoulder de-
6. Celeste-Lee Arendse
sign, which emphasises bigger shoulders.
7. Liza Benson

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By Angie Hattingh
Reprinted with permission from (iFashion
www.ifashion.co.za)
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BACK TO THE FUTURE )

A new beginning showing optimism and progress.

Technology becomes playful in a sweet way. A new
positive high-tech is restarting with references to
the naivety of the 50s.

COLOURS )

Fresh, acidic tints that evoke chemical elixirs and

experimental emulsions. The flashy, slightly pop
colours of vitamin-charged smoothies: green, pink,
turquoise, yellow and acidic orange. They are ac-
companied by a second range of more faded and
somewhat veiled, greyed tints.

SILHOUETTE )

A blend of functional, resolutely modern strictness

in 60s structured shapes. We see clean appeal,
sharp-cut lab coats or absolutely simple basics re-
worked in luxurious, technical fabrics. References
to medical bandages and an 80s sporty mood in
fitted pieces are also forthcoming.

MEN )

A very clean style in fresh colours. This simplicity

enables experimenting with new associations and
new manners of wearing garments.

FABRICS )

Taffeta, coated canvas, cotton, jacquard and thick

linen – textured surfaces with miniature motifs in
clean, precise graphics. Elsewhere, a futurist mood
is illustrated by synthetic, compact, girdling fabrics
with technical finishes. Transparent harmonies and
layering are more refined.

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AN HOMAGE TO NATURE )

Modern ceremonies, half-pagan, half-religious, which evoke the god-

desses and vestal virgins of antiquity, pre-Raphaelite paintings and
symbolism. A romantic, spiritual, poetic appeal.

COLOURS )

A soft, serene palette with kaolin accents. Chalky, light, faded, powder
and talcum colours are accompanied by more intense shades of taupy
beige and mauve. A range of dynamic, springtime pastels is added to
this base: pink, greenish yellow, orange, vibrant green.

SILHOUETTE )

It is stretched in length to emphasize vertical structure for skirts,

dresses, tunics or fluid, vapoury pants. The antique toga inspires one-
piece garments like cover-up or T-shirt dresses and jumpsuits, but
also details such as random drapings, drawstring shapes, twisted
effects, knots or braids. The accent is on elegant ease: pants adopt
the suppleness of pyjamas while fluid jerseys soften a tailoring mood.

MEN )

A nonchalant look, minimal, elegant and sober treated in a supple,

almost homewear style: limp volumes, large comfortable shapes,
naturally crinkled aspects, rolled hems and finishes.

FABRICS )

They are light and fluid: crepe, crepon, voile, gauze or fine tulle are
worked alone or in layers for a young, romantic mood. In a natural
atmosphere, we see refined, rustic effects: muslins or silk shantung
worked in light weaves. In complement, vegetation or natural motifs
are sometimes blurry or undefined.

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ALTERNATIVELY CHIC AND MORE WILD )

A woman-child with a retro look set in a Twin-Peaks universe. She

looks like Mom and he looks like Granddad. A playful, girly mood
juggling vintage patterns and faded 60s and 70s Americans colours
creates a mundane atmosphere with a twisted angel.

COLOURS )

A cheerful, yet slightly faded range evoking 70s colours, which seem
to have been softened in the washing machine. Muffled tones: pale
blue, faded beige, soft khaki. A range completed by more intense
hues of yellow or violet with stronger accents of red or sky blue.

SILHOUETTES )

A blend of retro elegance à la Jackie O reworked more romantically

with fitted, high-waisted, slim-bust jackets and tops with jewel-like
embroidery worn with mid-knee length, slim pencil skirts or Capri
pants … and the campus inspiration of worn denim mini blousons and
high school tops paired with tulle tutus.

MEN )

70s style, composed of bellbottom trousers, floral shirts and fitted

jackets. A rock vintage spirit with military jackets and boot-cut jeans.
Retro campus style with a polyamide blouson worn with a baseball
T-shirt and bleached snow-coloured jeans.

FABRICS )

They cultivate a vintage mood with cottons and wool being worked
to seem used, faded, softer and suppler. In a 70s, sporty mood, a range
of relaxed fabrics: supple denims, thick canvases, casual fleece,
washed out, checked yarn-dyes. A more sophisticated, Halston-style
of chiffons, crepes and satins for a femme fatale look.

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WE HEAD TO SOUTH AMERICA )

A creative melting pot in a mix of influences and civilizations. From

this universe, we rediscover both the appealing glamour of seductive
movie actresses like Maria Felix and the humble elegance of tradi-
tional folklore outfits.

COLOURS )

Vibrant, joyous party tints in splashes of colour. Blazing red and deep
violet blend with more neutral shades evoking dry, South American
landscapes: ochres, clays, beiges, cactus greens.

SILHOUETTES )

They take into account Latin America’s diversity. A military uniform

mood reworked with a city attitude. Big, rustic shapes inspired by
Indians and ornaments, which take their cue from Aztec motifs. But
also: defined waists, the tapered, chic lines of gauchos, 50s seductive
women and tango artists.

MEN )

The silhouette is inspired by retro-Hispanic elegance, black-trimmed

jacket and floral shirt. The preppy look in a bad boy version from the
Latino districts – full of fantasy. The ‘resort’ style nylon jacket is sportier
and more modern calling on the comeback of boat shoes.

FABRICS )

A folklore inspiration: rough looks, rustic weaves, fresh cottons resem-

bling household linens. On a more refined note: laces and macramés. A
more precious inspiration with fabrics decorated by opulent ornaments,
embroideries and appliqués. 0

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By Suné Stassen

To compete for a $10 000 grant in an international design challenge

is not too shabby for a student. Originally about 450 students
from 28 countries competed for this prestigious prize. An inter-
national jury selected seven finalists that eventually competed
for the INDEX: AIGA Aspen Design College Challenge, Designing
Water’s Future.

The Aspen Design Challenge is a joint project developed by AIGA

and INDEX: with the purpose of engaging the millennial generation
in solving an emerging set of global issues. The idea for Designing
Water’s Future grew out of discussions at the World Economic
Forum in Davos, Switzerland, led by Brian Collins, chairman of
Collins, a New York-based communications and design firm, and
journalist J. Carl Ganter, co-founder of Circle of Blue, the inter-
national network of journalists, scientists and communications
designers that reports on the global fresh water crisis.

The finalists attended a three-day workshop where they met

design and business experts who helped them to refine their
products. These experts taught them how to develop a business
plan and how to emphasise their focus whilst presenting the
product and business plan.

According to Richard Grefe, the executive director of AIGA, the

idea was to take these concepts, work with the students and
help them to develop their ideas into viable realities, but also
to guide them in finding the correct partners that would assist
in executing and distributing their new product.
 ":"* )'

Troels Lund Poulsen, Danish minister of environment, a woman from a non-English speaking background.
said at the award ceremony that the collaboration With the freedom to explore my passion I found design,
between high-end design products and green tech- more specifically social design and environmental
nology is something to celebrate and to explore as a sustainability because they are avenues for change.
viable option for the industry.
ED ) In your portfolio you showcase stunning free-
Jo, who won the 2009 INDEX: AIGA Aspen Design College flowing visuals that are more graphic than just the tra-
Challenge with her Veggie Patch project recently ditional technical feel of endless perspective drawings.
moved from Australia to the Netherlands to join the
Masters’ course at the Design Academy in Eindhoven. JS ) I’m not too sure what a real industrial design
portfolio should look like, but I think most of what I
ED ) Who is Jo? produce reflect what is going on in my mind. I tend to
have a need to organise thoughts and processes in
JS ) My name is Joanna Szczepanska and as an adopt- the hope that it can help others if they come up
ed Australian, I’m generally just known as Jo. I gradu- against the same problem or issue. I enjoy sharing
ated in Industrial Design from Monash University with my findings and research. For that to be communi-
Honours and I’ve also dabbled in multimedia design, cated well, I need to use graphics and imagery. I’ve
collage and set design but nothing too formal. never really studied graphic design, even in high
school I opted for fine art and woodwork instead, but
I was born in Poland to two Solidarity activists who I think designers have that knowledge instinctively,
felt they needed offspring to carry on the fight once which is why they are designers. Being able to com-
they were jailed for ‘crimes against the state’ under municate your work and being proud of your process
the martial law imposed in Poland during the early is an important part in your design evolution.
1980s. After my birth my mother and I were under
house arrest for three years until, through the peti- ED ) You seem to have projects and interests that are
tioning of Amnesty International, we were given the clearly diverse.
opportunity to leave to the country of our choice.
JS ) A lot of the projects I have on my portfolio are
My mother was both highly idealistic and practical, a real quite conceptual and they arise from a range of
survivor at heart. I can attribute my ability to empathise briefs. I guess their range of diversity reflects on what
to being the child of a migrant, a single mother, and I found captivating at the time. I think each project is

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a fantastic opportunity to explore new things and push was demanding, but it was a very successful project
yourself as a designer. For the Zirh bra, for example, and I think it made an impact.
the brief was sporting goods, and I concentrated on
the aspect of protective products, and it just so hap- ED ) Explain why you decided to do your thesis on
pened to lead to the gap in the market for women the Veggie Patch.
who play contact sports.
JS ) The core of my project developed from the topic
Then I have also worked on toys, interfaces, packaging of food and sustainability. I had many different solu-
and educational products and my most recent full-time tions, but in order to make the most impact you really
job was working for Victoria Police, in crime scene re- have to ‘grow’ your own food whether they are meat
constructions. I find designs that are centred on the or vegetables. By doing so you reduce food miles,
user tend to bring about greater personal outcomes you can control chemicals, you have no packaging,
and some interesting deviation and discoveries. things are fresh, and you use a lot less water. And if
you include composting at the end of the food cycle,
Veggie Patch has been my longest running project, you produce less rubbish. Composting your own food
but in terms of which project I am most proud of to scraps also reduces the likelihood of toxins from the
date, I would have to say Refugee Realities. It was a rubbish leaching into the water supplies and contam-
project run through Oxfam Australia where we built a ination, and most importantly, growing your own food
refugee camp in the middle of the city. My role was makes you value it.
that of creative assistant, but it meant overseeing all
the design in the project, from the set design, to a ED ) How did you end up in Copenhagen?
website, advertisements, movies and a range of edu-
cational materials, all of which aimed to raise the JS ) I ended up in Copenhagen, and Aspen thanks to
awareness of refugee issues among schoolchildren the INDEX: Aspen Design Challenge. The topic for last
and the wider community. For me as a refugee it was year’s competition was water conservation and among
very close to home, and it was great to be able to use other features Veggie Patch reduced water consump-
my design skills to give something back. Physically it tion when compared to mainstream agriculture. Growing
 "::* )'

your own vegetables at home has been shown to use Netherlands. The Design Academy has a totally differ-
half of the water used by commercial growers. ent approach to teaching design in general and I can
only hope I learn as much as I can so that I can become
I met many inspiring and intelligent people, from dif- a well-rounded designer. I am really excited about the
ferent fields, who not only listened to what I had to prospect of designing practically in the field as part of
say, but gave me invaluable feedback and advice on the course. This degree is not just for the sake of get-
how to ‘sell’ my idea and further develop my product. ting another piece of paper with a stamp on it, but it’s
Although they were all very encouraging, they defi- about having the experience of living far away from
nitely didn’t hold back with their opinions, and, when home, exploring Europe, and immersing myself in de-
they needed to, they were brutally honest. sign. After that I’m still not too sure. Going home and
enjoying the sun is definitely on my list, though.
Winning the award was fantastic, and overwhelming
at once. I was so amazed that all these other people from ED ) Any tips for aspiring designers?
across the world believed in my idea as much as I did. I
also made many contacts with entrepreneurs and human- JS ) I guess my tip for aspiring designers is to take
itarian agencies who are continuing to assist me in every opportunity, to give things a shot. I think, as
making this product a reality. $10 000 dollars isn’t re- designers, we are very self-critical and we censor and
ally enough for me to start a large scale production of choose not to share our work and ideas. It is impor-
the Veggie Patch but it is enough for me to create new tant to remember that none of us are perfect, we are
prototypes and distribute them for testing. It also gives all learning constantly and that it is only from external
me the ability to recruit help to create an educational feedback we can make great ideas happen.
kit with Veggie Patch which I am very excited about.
I would like to invite other young designers and stu-
ED ) What is in stall for Jo? dents to join me on my blog that I am currently running
for my Master’s programme http://sites.google.com/
JS Right now I’m taking baby steps into a totally
) site/joszczepanska/ 0
new environment. I just moved to Eindhoven in the

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By Sarah Stewart

As a designer you have a social re- 4,*&1#'6.'#(7 medical needs in developing coun-
sponsibility to the people for whom tries. Freeplay Energy’s company’s
you are designing. Being aware of In 2005, 500 000 women died in goal is to make energy available to
what is going on around you can childbirth – 99% of these deaths everyone all of the time. They de-
be the starting point to creating occurred in South Asia and Africa. sign and manufacture products
the next life-changing solution. The absence of basic healthcare that empower the user to be self-
John Hutchinson (chief technology was the primary cause of their sufficient.
officer), Philip Goodwin (industrial deaths, meaning that with the
designer) and Stefan Zwahlen medical technology available today African clinics are littered with
(electronics designer) and their these deaths were preventable. In remnants of western medical
collaborators are individuals sub-Saharan Africa, a woman’s risk equipment that is either broken
whose designs do change lives and, of dying from complications in from harsh use or discarded
in fact, save them. The Freeplay childbirth is 1 in 22, in comparison through a lack of electricity. Hutch-
Energy team are individuals who to the risk of 1 in 7 300 of women in inson and his team work closely
are actively aware, they are con- developed areas. with the NGOs that use Freeplay
stantly investigating, and they en- Energy products and are thus
courage discussion amongst Four out of five maternal deaths more aware of this problem. After
themselves and enthusiastically are the direct result of obstetric conducting research of their own,
seek collaboration with others. complications and could be avoid- the team became aware of the
Their efforts have not gone unre- ed with the presence of skilled drastic infant and maternal mortality
warded. Their latest design is the healthcare workers and basic rate in Africa and South Asia. The
INDEX: award-winning Freeplay medical equipment. The Cape Town- team felt pressed to use their re-
Fetal Heart Rate Monitor that is self- based Freeplay Energy team wanted silient designs and self-powering
powered by a hand crank. INDEX: to do something about this situation. hand crank technology in developing
is the largest monetary design award medical devices.
in the world and is dedicated to Freeplay Energy is a consumer elec-
change global mindsets by show- tronics company that balances profit
ing and exploring how design can with humanitarian need by design-
improve life. ing and developing camping gear
while also providing NGOs with
products that meet educational and
 ":!* )'

4,*&;*1#A7&K-($*11&
D*A#71&+#',&-*1*.-$,
Freeplay Energy design team begin
the process by having vibrant dis-
cussions. They put down on paper
what they want the proposed prod-
uct to be able to do and develop a
‘want list’ and a ‘need list’. Hutchin-
son explains that the need deter-
mines the design and that by ask-
ing questions, possible problems
that could arise can be dealt with
before they do. Hutchinson stress-
es that the success of a product is
determined by fine-tuning the rel-
evant issues of cost, production
volumes and quality. The product is
doomed to fail unless each of these
three issues is deliberately consid-
ered regardless of how relevant the
product might be.

The second issue is the design it-

self. Hutchinson and his team felt
that designing a fetal heart rate mon-
itor would be relevant and could
possibly be the first step to making
a significant difference in dropping
infant and maternal mortality rates.
If a mother’s blood supply to the

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":7* )'

placenta is inadequate the baby

reduces its oxygen requirement and
subsequently slows its heart rate.
This is a sign that the baby is stressed
and not coping. A fetal heart rate
monitor will not prevent an emer-
gency but it will inform the medical
worker of the problematic situation
and then can either delay the deliv-
ery or seek more specialised help.

The device needed to be hardy and

resilient to dust and frequent use.
Zwahlen was responsible for the
design and the positioning of the
electronic hand crank. The wind-
ing of the external crank turns sev- 4,*&L-**K".@&'*.:&-*$*#)#7A&',*#-&_S0<aR&8+.-;&#7&!(K*7,.A*73

)
eral internal gears which in turn
charge a rechargeable battery. One !"#$%&'(&)#*+&.&$"#K&(/&',*&UVV2&_S0<aR&8+.-;&$*-*:(7@3&

minute of turning the crank by

hand will result in ten minutes of
operation time. The hand crank
) !"#$%&'(&)#*+&.&$"#K&/*.'6-#7A&',*&;*)*"(K:*7'&.7;&+(-%#7A1&
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has been designed for the cadence

of a human arm which means that
the gears have been optimised to
make the turning of the crank easy
to wind at a fast pace. An On/Off
button allows the energy to be
stored and saved for time of need.

A numerical display shows symbols

to indicate the cardiac response of
the heartbeat and an audio compo-
nent amplifies the heart beat. The
Cape Town team lacked experience
 ":@* )'

and CE accreditation to design and The medical fraternity is known to This product was conceptualised
produce the medical Doppler ul- be highly conservative, electing and put into production because
trasound technology responsible to only work with and endorse it is socially relevant and will
for tracking the cardiac response. products that they know well. A make a positive impact.
For this device, they sent their development that proved to be
product to Welsh company Ul- highly beneficial to Hutchinson In an age where natural resources
trasound Technology to install and the team was the involvement are becoming depleted at a rap-
the ultrasound component. of John Wyatt, a professor of neona- id rate and where user consump-
tology at the University College tion is at an all around high, this
of London Hospital. Wyatt was self powered medical device will
4*1'#7A&.&+(-%#7A& eager to help and give the monitor be beneficial to all in both devel-
K-('('@K* his vote of confidence. Wyatt oping and developed regions.
was able to acquire funding from This fetal heart rate monitor is
The next step for the team was
the Sir Halley Stewart Trust to an example of design that has
to start testing the product. The
financially assist the monitor’s triumphed. 0
heart rate monitor was sent to
development.
the Elsies River Community Health
Centre in Cape Town. This test-
ing centre was close by, and, as L(-:&.7;&$(7'*='
Hutchinson says, one does not
have to go far away from home The process of researching, de-
to help people. Hutchinson made signing and testing the Freeplay
contact with Dr David Woods at Energy Heart Rate Monitor took
the University of Cape Town who nine years to perfect. What the
put the team in contact with Mé- team is left with is a thoroughly
decins Sans Frontières (Doctors considered design. Its form was
without Borders) who also test- deliberately bulky in order to
ed the monitors in the Philip- withstand constant and vigorous
pines. The feedback was highly use. It has a universal plug point
positive with the Elsies River if electricity is available, but the
midwives not wanting to return sturdy hand crank has been de-
the product and Médecins Sans signed to be reliable at any time
Frontières reporting that they and in any condition.
also experienced success with
the product.

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By Olivia De Gouveia

The Chulha, a low-tech stove designed to limit the taking both social and cultural factors into account.
dangerous health conditions caused by the traditions This is an example of where it can become difficult as
of indoor cooking in rural areas of the developing a designer to create solutions to problems one is un-
world, is truly an award winning solution, which could familiar with and where using a process like co-creation
only have been made possible by including co-creation can be most beneficial.
in the design process.
The design brief specifically required the designers to
Philips’ Philanthropy by Design programme was question how their product could reduce indoor pollu-
launched with the generous idea of donating creativity tion and as a result, minimise health-related diseases.
to design meaningful solutions and the Chulha is its They also needed to research how they could respectfully
founding project. Through this proposal Philips Design consider local culinary habits and cooking behaviours
made a significant attempt to support the work of NGOs in order to model a solution that would be appropriate
in order to explore opportunities to create innovative to users’ daily routine and dietary requirements.
humanitarian propositions and in turn, enable better
living conditions for low-earning end users. Chulha users say: “The house used to be full of smoke
but now it is much clearer because most of the smoke
“For many women in rural India it is normal spending goes out of the house.”
several hours a day cooking over an indoor open
stove. What these women fail to realise is that there The designers not only paid attention to an easily acces-
is an invisible killer in their kitchen: burning biomass sible product, but also had to ensure that it was easy
fuels causes almost 500 000 deaths every year in India to use and maintain. And on top of everything they
alone,” states a report by the World Health Organisa- needed to construct an intelligent production process
tion in 2009. that would allow it to be manufactured at low cost,
ensuring its spread into the marketplace.
Initially the Philips Design team was challenged to
come up with a solution for healthy and safe cooking The designers obviously needed all the help they
with a minimum smoke output. Secondary to that, and could get, and a set of ‘personas’ were created to get
even more importantly, the result had to be designed them to try and understand the end-users’ circum-
to suit the local context of rural and semi-urban India, stances. These ‘fictional characters’ provided insights
 ":>* )'

into a day in the life of the targeted communities. not only studying all the family members, their behav-
Case studies, testimonials, as well as individual and ioural patterns and routine but, most importantly, the
collective stories, which reflected people’s require- role of the women who were in charge of the cooking
ments and ambitions, were used to investigate their activities. These rather informal interviews were conducted
interactions with certain products and services. in the local language, Marathi, to ensure that the indi-
viduals would be able to express themselves clearly.
An intuitive understanding of these people gathered
from both statistical data as well as subjective infor- After an intensive research phase and personal inter-
mation were then used as design tools to help create action, it became clear that there were a number of
a human-focused design. Emerging opportunities important things to consider when designing the
and context-specific technological challenges were stove. It had to be adaptable to different biomass fuels,
also mapped out from this research. However, with- for example, the most commonly used are cow-dung
out personal interaction with the users or first-hand or wood but they are only available either seasonally
experience, the designers still lacked a complete un- or geographically. The stove needed to be able to accom-
derstanding of the context in which their product modate the non-standard sizes of cooking pots that
would exist. In order to design a truly effective solu- are used in the rural areas, as well as be flexible for the
tion they needed to get to the heart of the problem cooking of different kinds of meals, for example,
– rural India. This is where the most holistic part of steaming rice, boiling water or preparing chapatti
the experience came in – co-creation. (bread).

Together with an organisation called Green Earth, a Chulha users continue to say: “The second pot is very
local sustainable development agency that dealt with helpful for boiling water or milk and the stove is es-
grass root behaviours and social studies, they were pecially good for cooking regular meals.”
able to gather more specific insights into the com-
munity. An introductory visit with people from the vil- Major design innovations were proposed by the de-
lages of Kerwadi, Phaltan, Maltan and Karad, in the sign team as the next step. They needed to create a
state of Maharashtra, was followed by a week of observa- modular design to make the stove easier to trans-
tion and extensive interviews, which were focused on port, distribute, install and repair. Ensuring the chim-
four rural and two semi-urban families. This included ney could be cleaned easily and safely was another

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important aspect, as well as considering more variety The designers faced particular challenges from the
in terms of use such as roasting and steaming. outset. More intensive one-on-one research and incor-
porating collaboration into their process definitely
These alterations were integrated in the ‘Sampoorna’ helped them to make informed design decisions but
and ‘Saral’ models of the Chulha. The ‘Saral’, a dou- also resulted in the task of trying to build community
ble oven with a hotbox, is priced at around !11/±R122, trust and engage with the inhabitants to communi-
while the more sophisticated ‘Sampoorna’ which in- cate the stove’s value and possible benefits.
cludes a steamer, is priced around !15/±R166. These
stove solutions and their chimneys are constructed Difficulties weren’t only present at the beginning of
mainly of concrete modular units which have been the project, but also during important decision-making
covered with clay. This system, which makes use of during the development stage. By giving a voice to
smaller components, allows for the easy replacement the rural and semi-urban individuals who would use
of parts over time that could require repair, as well as the end product, the team had to represent their
more economical transportation. By cleverly utilising viewpoints in the discussion with the project’s stake-
the waste by-products of agricultural storage, the holders. This part of the co-creation process proved
stoves are packed in recycled woven polypropylene to be problematic to ensure that all opinions were
bags to complete the cycle of sustainable thinking. taken into account for the final designs and resulted
in a prolonged process that required patience and
The next most important part of the process was to diligence. However, the hardworking team perse-
do a technical assessment of the stove in a labora- vered and in the end, the product speaks for itself.
tory. Heating efficiency, rate of cooling, soot reten-
tion, as well as time and fuel required to boil a litre of According to Dr P Karve, Chulha has a better chance
water were all tested. Tests showed that equal heat of succeeding than other concrete smokeless stoves
distribution resulted in faster boiling/cooking, reduc- because it is more attractive, and has improved func-
ing the overall time by three minutes in comparison tional features.
to standard stoves.
Currently Philips intends to go beyond only a scien-
By installing a soot collector the amount of soot that tific evaluation of their stoves’ performance, but also
actually reached the chimney was reduced and resulted to assess their long-term economic and social accom-
in cleaner air. Other benefits included reduced pipe plishments.
obstruction due to soot build-up as well as a decrease
in the time it would take to repair the chimney. In the meantime, they can bask in the acknowledge-
ment they received through winning an INDEX: Award
Conventional chimneys are known to be hard to in the Home category. This is the biggest global design
clean. One of the earlier designs featured a chimney award scheme and supports the INDEX mission to
that was split into three separate parts that would generate design that improve the quality of life glo-
allow it to be cleaned from the inside but this posed bally. The Chulha stove received top honours because
problems too, as soot had more opportunities to fall of its ability to burn biomass fuel efficiently and direct
in the surrounding area of the stove. Adding a chim- cleaned smoke out of the house through a chimney,
ney connector with a connective joint closer to the as well as the open-source business model for the
top of the pipe ensured easier cleaning and ensuring distribution of the design. 0
that any escaping soot would be directed to fall back
conveniently inside the Chulha.
 ")"* )'

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By Marieke Adams

What do a bullet, a porcelain deer, a cardiac valve and yellow tag. This simple cover, with a copy of the yel-
bubblegum have in common? They are four of the 186 low ear-tag that the original pig wore, compliments
products that came from one pig. Dutch designer, the relatively simple idea it stands for. However, this
Christien Meindertsma is the designer behind the project, simple starting point stands in stark contrast with the
PIG 05049, where a real pig was followed, from a Dutch unexpectedly complicated information that it led to.
farm, through slaughter, and on to the production of
over 186 different products all around the world. The book is filled with one-to-one scaled photo-
graphs of all of the products resulting from the pig in
Meindertsma conducted this three-year-long project
question, while simple diagrams are included, illus-
to communicate and create an awareness of the products
trating which parts of the pig were used for which
that we consume and the materials they are made of
products. Divided into the chapters Skin, Bones,
and won a prestigious INDEX: Award last year. The intent
was to “help people in a highly mechanised and ‘pack- Muscles, Blood, Internal intestines, Fat and Other, the
aged’ world understand how things are made and book visually documents all of the resulting products
where they come from so that the resources involved that came about, either directly, or via production
can be cared for by enlightened, informed people.” methods, from this one pig. With such a subject mat-
ter, the book could justifiably tend towards a critical
Some of the particularly unusual or unknown out- or moral commentary about the treatment and condi-
comes discovered by Meindertsma include a production tions of animals, or the unspecified use of pig parts
process with gelatine, where it is used to inject gunpowder in cosmetic creams or food substances, which could
smoothly into the bullets. Yet another is the use of raise religious concerns for some. But this is not its
pig-related components in food items. Gelatine, pro- aim. Instead, it provides an informative and non-
duced from this particular pig, was used in confec- judgmental approach, with the sole purpose of com-
tioneries, gums and desserts, while protein from the
municating interesting information.
pig’s hair was used to make bread soft. Bone ashes
were used in the production of bone china and porce-
As winner of the INDEX: Play category, Meindertsma
lain. Pork fat was also found in an array of cosmetics,
received !100 000 with which she plans to continue
such as anti-wrinkle creams, make-up and shampoo.
with similar communication design projects. Her next
And these diverse and unusual outcomes are but a
few of the 186 products documented in the book PIG project also stems from the farm. She is working on a
05049 that highlight the general alienation of final series of colouring books that each revolve around a
products from their origins and their raw materials. different type of farm, using yet another approach to
communicate, inform and create awareness in society
The extensive three-year research project culminated where so much gets lost and where there is a lack of
in a clean and understated brown covered book with understanding that often leads to ignorance. 0
 "):* )'

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By Suné Stassen

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At first glance, Street Swags is a bed and a bag designed to provide more
comfort, warmth and protection from weather for people living on the
streets. But, Street Swags is much more than just a well-designed product
that addresses the immediate needs of a minority group who are often
sidelined by society. It is an integrated concept that engages many
stakeholders in addressing the multiple and complex issues of being
homeless in contemporary urban society.

The Australian social entrepreneur and creator of the Street Swags

project, Jean Madden, who won the coveted INDEX: People’s Choice
Award 2009, shares some insights into the project and her views on life
and design in an interview with ED).

ED ) Who is Jean Madden and what do you value?

JM )' I was brought up in a big Catholic family where doing charity work
and helping out in the community was a very normal thing. At university I
studied to be a school teacher whilst completing a second degree in fine
arts and music. I then went on to complete a Masters in Theology, special-
ising in Eco-feminist Theology. I still teach religions and ethics part-time.

ED ) What was the original thinking behind the Street Swags concept
and how did this grow into the product we see today?

JM )'To me the world is a single organism with all components reliant on

each other for their existence. It’s like playing with a ball of Plasticine,
when one part is raised another part must go down. Wealth and status
always develop at the expense of others. The earth will not be able to run
smoothly if it continues to be pulled out of kilter.

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As a teenager I had worked with mother then made the first full size Disadvantaged indigenous com-
the local homeless for many years model. Mum and I love the benefits munities gain from government
and I had seen their situation dete- of natural fabric so we went look- employment, home industry skills
riorating. The numbers were increas- ing for cotton canvas and we found and their finished product for their
ing and local authorities were a wholesaler who sold a very spe- families. School children roll and
making things even harder for cialised super-light weight, water- package Street Swags with blankets,
them. It was up to the community proofed canvas. He helped is to find pillows, hygiene packs and knitted
to look after their own and to take the kind of foam that we were after. winter essentials and numerous aid
responsibility for each other. The We then trailed them and made fur- organisations, hospitals, community
Street Swags project is a means of ther refinements. groups and volunteers distribute
educating and changing the way them.
that members of the community The media was also vital in spread-
relate to each other. ing the word and telling the com- ED )'Tell us about winning the INDEX:
munity what we were aiming to do People’s Choice Award 2009.
ED ) What are Street Swags about? and together, within a couple of
weeks, we had a nearby prison JM )'It was a very long way for me to
JM )'Homeless people, who live in making hundreds for that up-com- come from Australia to Denmark,
dire poverty and fear, needed a ing Christmas period. Since then and it was an even bigger deal to
portable shelter, bed and blanket in we have bedded over 12 000 people leave my husband and little boy for
which they could carry their extra across Australia, and beyond. the ten days, but I felt I had to go.
belongings. It needed to be com-
fortable, yet able to withstand harsh ED ) Explain the extended design What I value most from my big jour-
weather conditions. Most impor- process and philosophy. ney are the amazing people I met.
tantly, though, it needed to not look It was such an honour to be in the
like bedding, as to protect these JM )'A bag with room for extra be- company of some of the cleverest,
people’s safety, particularly that of longings, the Street Swag is made most creative and caring people in
the women and children. It needed of super lightweight waterproofed the world and for that I am truly
to be simple enough so that un- canvas with a high-density foam grateful.
trained helpers could produce mattress. It offers its users a degree
them by the thousands and cheap of comfort, warmth and protection ED )' What did you do with your
enough to be disposable. from the weather. stunning prize?

Based on the concept of a single Street Swags empower and bring JM )' My Egg chair designed by
sheet of folded piece of paper, I together all levels of community. Arne Jacobsen in 1958 is an iconic
sewed the first couple of designs Corporates, private entities and Danish design and the ‘swag’ is an
on ‘Barbie doll’ size, which was service providers donate funds to iconic Australian design, which I
about the extent of my sewing ca- sponsor these specially designed adapted. You may have heard of ‘the
pabilities. I used felt instead of beds. Prisoners sew, gaining work Jolly Swagman’ who is the character
foam and ribbon for strapping. My readiness skills and qualifications. in a very famous Australian song

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‘Waltzing Matilda’ (Matilda is his JM )'As an Australian charity gov- but it also sells a new version de-
swag). So I thought it was a beau- erned by our countries taxation signed for emergency relief, The
tiful gesture to honour one coun- laws, Street Swags Ltd could only Walkabout Bed. The website www.
try’s iconic design with another. send 10% of what we make over- walkaboutbeds.com shows what
seas. So in order to respond to the these are about.
The Egg sits gloriously in the main massive need and interest for
room of my house and my little boy Street Swags generated by INDEX: I also plan to further my work,
loves giving rides to all our guests. we started a second company, pushing communities to take the
He thinks I bought it back for him. wholly owned by the charity, Walk- next step in caring for each other
about Beds Pty Ltd. This subsidiary and their world and changing peo-
ED )'What are the future plans for company not only has the ability ple’s minds on how they value
your product? to supply the Street Swags to aid these relationships. 0
organisations in other countries,

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Until June 2009, if I encountered the acronym, SABS, I
would think of the little white SABS stamp of approval
symbol on the window of my dad’s old VW Citi Golf. On

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long trips I used to stare at this symbol while the scenery
hazed past in the background. As I grew up, I learnt
that this stamp of approval meant that a product had

&%-!)&*2!&.*
been tested by the SABS to make sure it is a quality
working product that adheres to strict local and inter-
national standards. In June 2009, however, I learnt that
since 1987, the SABS has also been putting its stamp of

&/!*.%,.* approval on young design talent, and more specifically,

leadership and entrepreneurship development in South
Africa, resulting in great talent being uncovered, pro-

.&%3+*(6* moted and given opportunity to grow and thrive.

In the mid-eighties, the SABS Design Institute started

%++0(4%-* taking steps towards becoming involved in design edu-

cation with the end goal of promoting young design
talent to, in turn, benefit South Africa and its people.
During that time, Adrienne Viljoen, now manager of
By Weyers Marais
the SABS Design Institute, took her inspiration from the
international success stories of designer Kenji Ekuan
and the Abe Bailey Award Scheme. Viljoen believed that,
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like Ekuan and the students involved in the Abe Bailey The second winner, Jacques Lange – yes, another Jacques
travel bursary, young designers in South Africa could be – a former graduate from the University of Pretoria, went
empowered by an initiative that exposed them to inter- on to become president of the International Council
national design. She also believed that this platform of Graphic Design Associations (Icograda) and co-chair
could inspire such young designers to take ownership of the International Design Alliance (IDA). Jacques is
of design in their own communities and as a result, new creative director and partner at Bluprint Design, group
South African design leaders would be born. editor of the DESIGN) stable of publications and will
chair the jury for the 2010 Design Achievers Awards.
This developed into the SABS Design Achievers Awards
initiative. To the same end of inspiring young designers The first female winner of Design Achievers was Monica
to plough back into their own communities and country Di Ruvo, a former interior design student from the Tech-
by the means of creativity, the Achievers Awards have for nikon of the Witwatersrand. Today Monica heads an in-
the past 23 years been judged with a focus on talent, terior architecture firm which operates in several African
leadership and social entrepreneurship. This focus has countries. She has also remained involved with the
for many years unlocked or emphasised the participat- Achievers Awards acting as chairperson of the adju-
ing students’ potential and has resulted in many suc- dication panel from 2007 to 2009.
cess stories of past Achievers.
These are only three of the many and varied success
The first Design Achiever winner was Jacques Ros- stories of past Design Achievers and although it seems
souw, a graphic design student from the University of too good to be true that so much success can come
Stellenbosch. Today, Jacques heads a leading com- from one initiative, I can personally vouch for the ex-
munication design consultancy based in San Francisco, tent of the influence this award scheme has on a young
USA, which has won numerous prominent awards. designer’s life.

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In April of 2009, while still completing my fourth year Before Design Achievers, I thought I was the only person
in Surface Design at Cape Peninsula University of who worked and thought the way I did. However, when
Technology, I was encouraged by a past Achievers I met the other Design Achiever finalists, I was greatly
Awards finalist to enter my thesis project. My research humbled and inspired to find there are others who
topic was based on making a design difference through share and exceed my burning passions and my thoughts
social entrepreneurship and fitted quite well into the about ploughing back into my community and country.
judging criteria. At first, all I could think about was I did not only meet students, I met industry leaders with
going there to win, winning a trip to an international amazing ideas and thoughts about design. This expe-
workshop and experiencing international design. After rience encouraged me and filled me with hope for our
writing my entry motivation and compiling the port- country’s future.
folio required, I sent in my entry and waited with great
hope. I soon heard that I had been selected as a finalist To me, Design Achievers was a journey that still con-
and along with 24 other students from across South tinues today because I know I shall stay involved in some
Africa I was flown to Johannesburg to present my project way or another in future. After the rigorous adjudication
and personal ideas to a panel of discerning judges, process I was selected as runner-up and although this
representing many different industries, dimensions was an incredible honour, I still look back and what really
and perspectives. stands out are the people I met and what I learnt from
them. Two of those people are Sidhika Sooklal and
From the first day spent with the other students, I started Ntibile Zonke. Sidhika (Sid) was the first Indian woman
to realise that this opportunity was about much more to win Design Achievers and did so in 2008. At the time
than a trip abroad, and definitely about much more than she was studying Information Design at the Univer-
winning a competition. At the time I was surrounded by sity of Pretoria. Sid won Design Achievers with her design
some of the top young design minds in South Africa of a cervical cancer prevention campaign for South
and not only did I get to meet them, but I got to spend Africa called ‘One in twenty nine’.
time talking to them about their work, their ideas, their
paradigms. I was able to network with like-minded Ntibile, who won in 2009, was at the time a fourth year
people of my own age an many inspiring mentors who Visual Communication Design student from Stellen-
have made their mark in the design industry. bosch University. He entered his fourth year project, an
 "!"* )'

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educational game for young children based on games WM )'Being the awarded Design Achiever 2009, your
already familiar to the children in the Cape Town prize was to attend the Zsennye Design Workshop that
townships. was held for a week in Hungary in September. Tell us
more about this experience.
Recently, I met up with them again and asked them to
share their Design Achievers experiences. NZ )'I represented South Africa at this workshop, which
in itself was a huge honour and a great responsibility.
WM )'Ntibile, tell me a bit more about your thinking There were different groups that you could partici-
behind the game you designed for Design Achievers pate in – automotive design, catastrophe design, phi-
Awards (DAA). losophy in design, eco-media design and eco-design.
I chose the latter which was about understanding the
NZ )'Because I think it is important for the game to have role of the designer in the whole product life-cycle.
a South African identity, I designed my game based on
existing indigenous games, I grew up with like ‘diketo’. There were designers from Hungary, Taiwan, Malaysia,
The main aim is really to educate children and I believe Turkey, Poland and the Czech Republic. The different
that games are an effective way to do so because chil- groups were given briefs and we had to come up with new
dren enjoy learning while they play. The game is rooted ideas. Our group was very focused on finding ways to
in my own backyard. it’s about my community and the tackle the ecological problem that the world currently
issues that I am exposed to. I want to use my design skills faces. One of our ideas was to build a place that could teach
and apply them to help children in my community. children about recycling. There were also presentations
from different university professors. I enjoyed every-
WM )'Do you have future development plans for your thing and I’ve learned a lot during my time in Hungary.
project?
Interview with Sidhika Sooklal (SS)), the 2008 DAA
NZ )'At the moment the game is still an idea that needs winner
to be developed into a final product, but I do plan to
do this as part of a Masters study project. WM )'As the winner of 2008 Design Achievers, tell us a
bit about your experiences.

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SS )' DAA 2008 was a phenomenal experience. As a have for other people, their occupations, the environments
finalist I had the opportunity to meet other young design- and so forth. Their attitude to respect, hard work and
ers from around South Africa as well as Africa. DAA dedication was awe-inspiring.
2008 allowed me to engage with young people from
other institutions and disciplines, as well as learn WM )'What stood out for you in your trip with regards
about the calibre of design education at various insti- to the Japanese’s approach to design and how did
tutions. One aspect that DAA has introduced in re- this influence your personal design approach?
cent years is the involvement of young designers
from other African countries. Personally I really en- SS )' Japanese designers are very hard-working and
joyed not only seeing South African design from a lo- dedicated. Contemporary Japanese design is defi-
cal context, but from a continental perspective as nitely moving towards a user-centred and humanistic
well. The structure of the DAA programme allowed approach. I think brands such as MUJI testify to this
me to build personal relationships and networking emergence. Furthermore, I think the conventional
opportunities. It also provided us as students with thoughts of Japanese design conjure up images of
presentations on things you may not learn about at Manga and Anime, as well as the use of illustration in
university, such as public speaking and intellectual way-finding systems. The Japanese are definitely very
property law and many other aspects. Being a finalist playful and creative in their design solutions, such
in itself, was a memorable and invaluable experience that they are unique, culturally specific and striking.
and has changed my ideas and concerns about design.
I think the experience has made me consider the im-
Being surrounded by 20+ other passionate, hard- plications of everything I design. The experience of
working and committed designers and chosen as ‘the both DAA and Japan has made me realise that design
best out of them’ all is a very humbling experience. is not a vacuum. We as designers have a responsibil-
ity to respect what we do and fulfil our obligations to
WM )'As the overall winner, you were awarded a trip the best of our abilities.
to Nagoya, Japan, to attend an international student
design seminar. Japanese culture and design must WM )' Your thoughts on DAA and award schemes in
have been quite viscerally contrasting to what we are general?
used to in South Africa. What stood out for you with
regards to the country’s culture and their way of SS )' I am very grateful for the experience that the
thinking about and approaching everyday life? DAA allowed me. I think in South Africa the initiative
has numerous values. First of all, awards schemes
SS )'Japan is definitely a culture shock to the average are motivations for young designers. It motivates de-
South African. Culturally what stood out to me is the signers to want to produce exceptional design work
amount of respect instilled in the culture. Japanese people and aspire to be recognised for their abilities. DAA is
exude respect in everything, from etiquette to work ethic. based on the concept of using design to solve social
Respect depicts the ultimate value and gratitude people issues. It therefore allows designers the opportunity to
 "!:* )'

engage in problem solving a social issue. All the design and develop design in Africa, not just in South Africa.
books in the world state design is a problem solving We have been inviting African students to the Achiev-
activity. What better use of design skill, than using it to ers judging week for the last few years, but in 2010
solve social issues. DAA is for some students the only we want them to participate more actively as the
opportunity and exposure to this realisation. It there- South African students will.”
fore can be a gateway into a new career path, innova-
tive new product or just a realisation of the power of While elaborating about the future of Design Achiev-
design. The initiative and media-hype surrounding it ers, Adrienne also spoke about plans for 2011. The
is an awesome platform to build public and govern- SABS plans to see Design Achievers 2011 held in an
mental awareness of the power of design. African country where students from South Africa and
other African countries will meet for the Design
The SABS Design Achievers initiative is doing invalu- Achievers Awards. With this in mind, the 2010 Design
able work towards promoting and investing in South Achievers, again from both South Africa and other
Africa’s design future, but this is not where it ends. African countries, will participate in a workshop
The international design arena has always been char- where they will ask questions about what value de-
acterised by constant change. As a result, Design Achiev- sign could have for Africa as well as discuss the
ers has never been static in its development and has theme, content and possible outcome for the 2011
stayed in a constant state of flux since inception. I Design Achievers meeting. Next year and 2011 will be
briefly spoke to Design Achievers founder, Adrienne made possible by a collaboration between the SABS
Viljoen, to find out more about where Design Achievers Design Achievers Awards and the Network of African
is headed next year and also asked her about her long- Designers – a relationship which will continue to play
term vision for the initiative. a vital role in the future growth of design in Africa.

“Design Achievers has never been static and we have While, in my mind, the SABS has always been synony-
kept our forward motion by encouraging past finalists mous with quality approved South African product
and winners to be involved as mentors in the pro- design, it is clear that their stamp stretches far wider
gramme after their participation, whether it is than design within our own borders and that beyond
through speaking at our weekend of judging or being the quality of products, they are investing in the qual-
a part of the judging panel,” said Adrienne. She went ity of young design leaders from our continent. With
on to say that these same mentors are really the ones this knowledge, one cannot help but share Adrienne’s
she sees as responsible for the programme’s direc- vision that such investment will prove invaluable in
tion in future. the development of those who will inevitably be our
future design leaders. 0
When asked about Design Achievers 2010, Adrienne
shared her long-term vision as the context for the
2010 programme. “A country is strong when its neigh-
bours are strong, for this reason we want to invest in

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Now in its second year, the House challenged students to source appro-
and Leisure Green Designers at priate manufacturers to help them
Woolworths competition aims to turn their prototypes into reality.
promote an emerging generation of “Eco-friendly design is not only about
eco-design stars. Students are en- creating things that will make our
couraged to take green prototypes lives better without harming the en-
from idea to retail. vironment, but is also about being
responsible in terms of the suppliers
Over a seven-month period House and partners used in creating the
and Leisure features the creations of final product,” concludes Larkin.
students from various tertiary design
institutions around the country. This sustainable approach to design
House and Leisure and Woolworths resonates with Woolworths, which
then select the top ten designers, who is again sponsoring the competition
will take their prototypes one step this year, and which hopes to see
further, by sourcing manufacturers some of the designs in its stores.
able to convert their designs into “Over the last five years we have
shelf-ready product. taken major steps in supporting local
design,” says Paul Duncan, head of
“The aim of the competition is to design, homeware at Woolworths.
allow South Africa’s young designers “This year we are pushing the stu-
the opportunity to give expression dents to think further than just con-
to their eco-friendly designs,” says cept. We’re encouraging them to work
Naomi Larkin, editor of House and where possible with our suppliers
Leisure magazine. “We then profile in an effort to come up with a product
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The cream of the local design scene has agreed to expressiveness in South African design that’s unique.
mentor students from seven South African tertiary de- We just need to learn to believe in our own sense of
sign institutions. “Students have the privilege of being style.”
mentored by some of the top creative minds the industry
has to offer,” says Larkin. The mentors for this year’s Kate Carlyle, owner of Mustardseed & Moonshine )
competition are: Melissa Kerkhoff, owner of Lula Fabrics; On why she is involved in the competition: “I’m excited
Sally Arnold, owner of Karoostar Interiors; Lise Butler to work with young, innovative, lateral thinkers who
and Amanda Haupt, owners of Design Team; Richard believe they can change the world…and will do so.”
Hart, owner of Disturbance; Kate Carlyle, owner of
Mustardseed & Moonshine; Philipe Bousquet, Jewellery Philipe Bousquet, jewellery designer ) On what he
Designer; and Pierre Swanepoel, owner of Studiomas. would like to take away from this mentoring experi-
ence? “To meet students full of dreams and to feed
And access to great mentors is not the only thing stu- mine too.”
dents stand to gain. Each of the finalists will receive a
R1 000 Woolworths gift voucher, and the three overall Pierre Swanepoel, owner of Studiomas ) On what he
winners (who will be announced at Design Indaba in would like to teach the students: “Share more. Commu-
February 2010) will each receive a MacBook. nities can achieve more as a collective.” 0

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Melissa Kerkhoff, owner of Lula Fabrics ) What are
South Africa’s design strengths? “Our rich heritage
and recycling – look at township art and Heath Nash’s
fabulous lighting.”

Sally Arnold, owner of Karoostar Interiors ) On why

she is involved in this competition: “I like helping to
create design that’s good for the soul, the environ-
ment and the purse.”

Lise Butler and Amanda Haupt , owners of Design

Team ) On why they are involved in the competition:
“We gained valuable knowledge ourselves through
industry-related project while studying and believe
it’s appropriate now to offer inspiration and guidance
from a professional point of view.”

Richard Hart, owner of Disturbance ) What is South

Africa’s design strength? “I think there’s a joy and

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A lighting design inspired by South The judges looked for a simple and savvy visitor will look for something
Africa’s iconic vuvuzela has won a top unique design that captured the zeit- more. The ‘Vuvu lamp’ will be made
award for John Edwards (24), a Uni- geist and a solution that was eco- of timber and will be turned to get
versity of Cape Town School of Archi- friendly and showed an understand- the right shape.”
tecture student. Edwards’ design ing of design as part of a process,
was selected from over 120 entries from its origins to how the waste Edwards admires South African
in the eighth annual SOLVE New materials are dealt with. A clear designer Adriaan Hugo for his in-
Talent Search award. The ceremony understanding of the brief was es- dustrial-like, simple designs. Inter-
was held at the Green Point, Cape sential and the production cost national inspiration comes from New
Town outlet of Weylandts Home- should not exceed R1 800. Zealand designer David Trubridge.
stores at the end of last year. The “In terms of architecture, I really ad-
prestigious annual competition, “I have wanted to enter the com- mire the work of the local OMM De-
organised by Elle Decoration mag- petition every year since its incep- sign Workshop and, internationally,
azine and sponsored by Weylandts, tion, but I never thought I had a good Peter Zumthor.”
was, for the first time, open to both enough idea” said Edwards. “I
students and amateur designers. thought I’d just try out an idea this Judge Chris Weylandt said of the
year – and the outcome has way winning design: “Perfectly pitched
The other finalists were Carly Warren exceeded my expectations.” simplicity means that ‘Vuvu’ can suc-
(20) of the BHC School of Design cessfully migrate from one room
in Cape Town, Stiaan Bester (30), “Inspired by the 2010 FIFA World to another throughout the home,
partner at KarbonBlack Creative, a Cup, I wanted to design something and it also translates well from a
Pretoria-based information design soccer-related. The first idea I had, standing lamp into a bedside lamp
studio, and Micha Koren (26), an ended up as the one I submitted – and pendant.”
architecture graduate who is the a light based on the vuvuzela. Visitors
founder of korigin.com, a fledgling to South Africa will want to take home “As we source much of our home-

design company in Cape Town. more than a plastic curio – the design- ware and furniture from all over the

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world, it is through this competition that we can

discover and nurture new local talent. Although I
travel the world in search of beautiful and rare pieces
of furniture that change, inspire and offer solu-
tions to people’s homes, nothing gives me greater
pleasure than to find some of these solutions on
home soil in South Africa.”

The competition judges are all well-known in the

design industry. Adam Hoets is an architect and
garnered the Elle Decoration International Design
Awards 2008 Lighting Design and 2009 Designer
of the Year Award, along with business partner
Sian Eliot, for their work on Willowlamp’s chande-
liers. Paul Pamboukian lectures on lighting design
and runs the Paul Pamboukian & Associates Light-
ing Design studio.

Ravi Naidoo, the founder of Interactive Africa,

gives the world the Design Indaba Conference and
Expo every year – one of the premier design events
in the world today. Chris Weylandt of Weylandts
was the fourth invited judge and the winning de-
sign will be manufactured and sold by Weylandts.

The other judges were décor stylist Doreen de

Waal, Elle Decoration’s editor, Karen Roos and
deputy editor, Lauren Shantall. 0

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What a lovely affair. The perfect setting to a prestig-

ious event, Carrol Boyes’s studio played host to the
Metal Fruitfull Awards which saw ten finalists pre-
senting their beautifully crafted prototypes for all to
see. With so many well-executed pieces, it would
surely be a tough decision.

While photographing the scene, I was attracted by a

fascinating piece which seemed to emulate bubbles
on the surface of water. The designer was third-prize
winner Christiaan van Aardt. After studying Industrial
Design at CPUT, Christiaan was employed as a de-
signer at point-of-sale for a company called Todwil in
Paarl. “I stumbled upon the competition on the Inter-
net. I collected images I could add to my library of
inspiration. My ‘library’ became my reference to come
up with something that was out of the box and to put
the ‘Fruitfull’ theme into context,” says Van Aardt of 9*/'&#1&1*$(7;QK-#]*&+#77*-B&W6K.&F61#:61#&H(%+*7.B&
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huge chunk of his time.

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Not following any particular style, Van Aardt lets his Second-prize winner, Oupa Vusimusi Mokwena, de-
feelings take the lead when going about the design signer of the hand carved ‘Swivel Tsonga’, is as ex-
process, sketching and experimenting with ideas in a cited about the prospects the recognition of this com-
3D modelling programme. “I aimed to work within a petition holds, as he is passionate about his love for
limiting size for ease of production and produced a wood. “Making the prototype required using ma-
3D modelled mould using in-house CNC technolo- chines, but I reverted to the handmade touch. Stem-
gies. The model was then turned into a physical ming from handcrafted products, I carved my bowl
mould, and a vacuum form was then produced from from wood. It would be original as I see that most
the mould. The mould was trimmed, sanded and guys are blinded by the material – metal – but I stayed
sprayed and this resulted in the final prototype.” true to myself because I love wood.”

Van Aardt is delighted to have received recognition Deeply influenced by his culture, Mokwena says his
for his design of ‘Bubbly’. “Knowing there are people style is constantly changing and because of this, in-
out there recognising the potential of young design- terpreting the brief was difficult at first. “I hit a brick
ers is very pleasing and means that all the hard work wall when coming up with initial ideas, but then I
paid off. Just having my name linked with a well tapped into my culture and looked at tribes in Africa
known design company like Carrol Boyes means so for my inspiration. I was able to build and produce it,
much to me, and hopefully this will only lead to greater adding my motives afterwards. As I am so fond of making
things in the future.” things by hand, I set about doing some sketches and
 "7@* )'

then carved the prototype out of the wood by hand, ED ) Carrol Boyes’ designs have a very distinct style.
sanding it just a bit to get a smoother look.” Do you follow a particular design philosophy?

A 2001 graduate of Pretoria Technikon, Mokwena is cur- MD ) As I am relatively new to the industry I have not
rently self-employed, keeping himself occupied with established my own signature style yet. That takes
working tools, commissions and the occasional handy time, but I would consider my style more simplistic
work stint. “It feels good to get recognition for my hard and minimalist. I see beauty in simple shapes.
work. I think things will change a lot after this as it is
a great boost to my business venture.” ED ) How did you go about the design process?

The overall winner was Martin Doller for his Origami-

MD ) Once I had established the functional require-
inspired ‘Ga-mi’. Doller had this to say in an interview
ments for storing and preserving fruit, it was simply
with ED ) .
a matter of building a 3D form that incorporated and
addressed these principles.
ED ) Where did you study?

MD ) I graduated in 2005 after studying Industrial Drawing inspiration from the concept of origami, I also
Design at Cape University of Technology. used a material that not only simulated paper but was
strong enough to hold fruit, which in this case, was
ED ) Where do you currently work? stainless steel sheet metal powder coated in white.

MD ) I am self-employed. It allows for more freedom ED ) How do you feel about winning the award?
as a designer.
MD ) It’s exciting and very new to me! I have entered
Although I don’t limit myself to lighting, a lot of my once before but have never been recognised like this.
recent work has involved custom-built chandeliers.
ED ) In what way does that add to your experience as
ED ) How did you interpret the brief? a designer?

MD ) I looked at table decorations and the folding of

MD ) It gives me confidence in my ability to continue
the serviette, which led to origami and paper as inspi-
doing what I enjoy most – designing and creating
ration.
beautiful products.

ED ) What were some of the challenges you faced

As I have been making custom-built feature chandeliers
while designing and producing your prototype?
I am now working on doing a range of mass-produced

MD ) Preserving the fruit was crucial, as fruit tends lights and I am quite excited about this new develop-
to go off really quickly, so my focus was to design a ment. I have a few projects on the go with various
product using the appropriate material and shape to architects and enjoy the challenge of interpreting
protect and hold the fruit while allowing for a lot of their ideas into functional objects that not only look
air ventilation. good but do the job they intend to be doing. 0

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By Robyn Mitchell

You’d be forgiven to think that Hollywood had descended upon

Cape Town as hoards of well-dressed creatives gathered at the
Cape Town Convention Centre for the 31st Annual Loerie
Awards. Even typical Cape Town weather couldn’t keep the
crowds from pitching at what has been voted as the best cere-
mony in Loeries’s history. Delegates were treated to interesting
fare with food following the Feed your ego/7 deadly sins theme.

Grand Prix were scooped up by Naledi Network, TBWA/HUNT/

Lascaris JHB, FOXP2 and Ogilvy JHB. There was a great sense of
camaraderie up in the gallery section, especially among Jupiter
Drawing Room who were ’drumming up support’ with drumsticks
and Ogilvy, who sported red pom-poms and mini Ogilvy flags.

Students were also recognised for their efforts, with a Gold

Loerie awarded to Jano Booysen, Stephen Galloway, Elske Nel
and Barbara Cilliers from the University of Pretoria and a Craft
Gold in Illustration awarded to Bruce Mackay of the AAA School
of Advertising.

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ED) posed some questions to the 2009 Student

Gold, Silver and Bronze winners.

4,*&+#77#7A&K#*$*1
The awards are judged according to five criteria; an
innovative concept, bringing new and fresh thinking,
excellent execution, relevance to the brand, the target
audience and to the chosen medium.

S[Y5?(Y[J?'(555

Bronze Loerie: Posters

ED ) What inspired the concept behind your winning

piece?

JH ) I thought about bands and events and the arbitrary

side of actually being entertained. The band itself, of
course, was also a great inspiration. I also looked at big
shows, stadiums, events and general photomontage,
as well as electro-music and the type of imagery that
compliments the music. Y(,.7&^(-7B&>-(7]*&9(*-#*&G#77*-R&[(1'*-3

ED ) Anything extraordinary we can expect from you

in the future?

JH ) I’ve always been into illustration and the process

of creating imagery, but more set on motion graphics
and animation for future work.

ESTIAN FOURIE, UNIVERSITY OF PRETORIA

Silver Loerie: Publication Design

ED ) What inspired the concept behind your winning

piece?

EF ) My aunt’s names, Charlotte van Vuuren – Van Vuuren

meaning ‘from fire’. This book is about my aunt and her
very complex personality, eclectic life and the nature
of fire.
<1'#.7&L(6-#*B&5#")*-&9(*-#*&G#77*-R&[6D"#$.'#(7&0*1#A73
ED ) What was the strength of this project?

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 "@"* )'

EF ) I think the strength of my project lies in its simple body. So that led us to the idea of ‘dirty’ secrets, and
design process, concept and detailed execution, and I an obvious product benefit of Tuffy bags is that they
feel that any piece with these three qualities will always are so strong. Therefore, strength equals their silence
succeed. I think the judges liked the project because it over your indiscretions.
is bold and simple, yet very detailed. The design proc-
ED ) Explain the design process.
ess began with trying to understand my aunt and her
extremely complex personality and then involved many JG ) I went for a newspaper cartoon-style illustration.
photos that I took in and around her house and many It was not too difficult to find references. I kept the
hours of Photoshop, typographic crafting and paying style really simple and consistent through all three
great attention to page layout. executions.

ED ) Anything extraordinary install for the future?

ROMANO CARDINAL & STEPHANIE ZIETSMAN, AAA
EF ) Absolutely! I’m working with a company called the
Silver Loerie: Newspaper & Magazine Advertising
Kinetic this year and I think it is the start of some great
work. ED ) Your inspiration for your winning concept?

ZOLNA MINIK, CITY VARSITY RC ) My language and Afrikaans culture. If you dig
deep into your own experiences, that’s when you get
Bronze Loerie: TV & Cinema Commercials original stuff.

ED ) Your inspiration for your winning concept? SZ ) Our grannies, especially Romano’s ouma, and child-
hood memories of all the time they used to spend in the
ZM ) I heard the Gringo soundtrack from the movie
kitchen, baking and whipping up delicious puddings.
Hot Rod and suddenly, my imagination was filled with
cowboys. ED ) Explain the design process involved.

ED ) Why do you think the judges thought that your RC ) Good research. Good Photoshop skills. Good coffee.
entry was different, unique and spot-on? What was
the strength of your project? SZ ) We came up with the concept, and the headline
shortly afterwards. We then spent quite a lot of time
ZM ) I wanted to portray a clichéd Western moment sourcing suitable images. Once we’d found ones we
– the suspense between a bandit and sheriff. I think liked, it was up to Romano to work his magic on
the strength lies in the fact that you are expecting a them. While he was busy with the final touches, I
shootout, but get a disco ball instead. wrote the radio ads.

JENNY GLAZIER, RED AND YELLOW ED ) Which designer or agency’s work do you aspire
to and consider to be your role model/s?
Bronze Loerie: Newspaper & Magazine Advertising
RC ) I don’t believe in role models, I do my own thing.
ED ) Your inspiration for your winning concept?
I also rarely look at what other agencies are doing,
JG ) We started thinking about how black garbage ‘cause I don’t want it to influence my thinking proc-
bags have an almost sinister quality. You never really ess. But my favourite piece of work is a print ad that
know what’s in them – perhaps stolen cash or a dead DraftFCB did a few years ago called “Waar die hart

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"@0* )'

van vol is.” This inspired me to go into advertising

and do what I do.

SZ ) I really love the work that Angie Batis is doing for

Net#workBBDO in Jo’burg. I also think Hanlie Kriel, who
used to do the Klipdrift posters is amazing.

GREG DARROLL, DURBAN UNIVERSITY OF TECHNOLOGY

Bronze Loerie: Collateral Design

ED ) Your inspiration for your winning concept?

GD ) I wanted to create something different that new-

comers to the university would enjoy. I took each word
and created a character/scenario around it, incorpo-
rating bits and pieces, and illustrating them all as
uniquely as possible in order to grab someone’s at-
tention and for them to stare at it for ages.

ED ) Explain the design process involved.

GD ) The postcards were predominantly illustration

with a touch of type here and there; the first step was
pen and paper – planning all the twisted body parts
and layout. This was all done roughly, just to get a
basic shape. Then it was redrawing them all in Illus-
trator, and slowly adding more and more detail. Last-
ly it was a case of choosing colours and planning the
layout for the backs of the cards.

ED ) How do you see your future as a designer?

GD ) I’m just really enjoying everything that’s happen-

ing at the moment. I decided to specialise in illustration
for my final year at university. I’ve had a truly amazing
year, winning contests with my t-shirt designs and my
work appearing in various media. So who knows?

ELSKE NEL, STEPHEN GALLOWAY, BARBARA CILLIERS

& JANO BOOYSEN P(:.7(&!.-;#7."B&5#")*-&9(*-#*&G#77*-R&S*+1K.K*-&
E&H.A.]#7*&8;)*-'#1#7A3
Gold Loerie: Mixed-Media Campaign, University of
Pretoria.

ED ) What inspired the concept behind your winning

campaign?
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ESBJ ) The concept of ‘Rock It’ started off as a joke ED ) What inspired the concept?
while we were brainstorming after the briefing. We
MH ) For the development of my fictional company I tried
needed something that could really carry the weight
to think of new words to describe graphic design. I
of a music festival and we felt that the rocket theme
have always been very passionate about design and
could do the job and at the same time also easily ex-
illustration because of the endless possibilities it pro-
tend into visual imagery.
vides. The concept behind the ‘Royal Visual Invention
ED ) As a group entry, explain a bit about the design Convention’ is built on my belief that graphic design
process that was involved. is all about having fun.

ESBJ ) Our group comprised of pretty strong person- KATIE MYLREA, VEGA Cape Town Campus
alities and we were all in the top-end performers of our
class. Yet, we balanced this by focussing on individu- Bronze Loerie: Design – Logos and Identity
al strengths and divided the workload accordingly. Programmes
Because we had a pretty strong concept, we felt that it
ED ) What was the strength of your project?
could lend itself easily to further design extensions.
KM ) My project was very simple. It is conceptually
In hindsight, we believe our campaign was super-well
strong, not just pretty. I took the idea of an imper-
executed. We utilised the elements associated with
sonator and turned it on its head. It is playful, fun,
rockets to compliment a music event. The concept was
easy to read, uncluttered and illustrated in a fun, dif-
simple and strong but could only be elevated through
ferent, quirky style. I think the main strength defi-
meticulous design. The latter was the key element
nitely laid in the concept as a fresh, new, original ap-
since all our team members are passionate about de-
proach to corporate identities.
tail and crafting. It paid off in the end.
Research is key. It took me ages to find a good meta-
BRUCE MACKAY, AAA phor for my logo for an Impersonator (wolf in sheep’s
clothing). Upon finding this quirky theme, all the oth-
Gold Loerie: Craft Gold – Crafts: Illustration
er elements of the corporate Identity fell into place.
ED ) What inspired you to develop this winning entry? Throughout the design the wolf is seen to be hiding
in sheep’s clothing and becomes the impersonator.
BM ) I have always wanted to write and illustrate a
Execution of an illustration style and hand-done font
book. The basic idea behind it is how people will always
took ages. I decided to keep it very simple in black
look for ways to avoid dealing with the inevitable.
and white that really added to the concept and de-
ED ) How do you see your creative future? sign. Endless drawing and research followed, con-
tinuously going back to the drawing board for hours
BM ) I’m busy working on getting my book published on end in search of the best result.0
and working on a prequel as well as a new book.

MARLI HEUNIS, NORTH WEST UNIVERSITY

Silver Loerie: Design – Logos & Identity Programmes ) !"#$%&'(&)#*+&.&$(:K"*'*&()*-)#*+&(/&',*&gT1'&

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59+".$#(+,4")#1

Ideas that Matter offers the design community an opportunity

to showcase their creative talent and come up with ideas on
paper for social good. Applications made to Sappi to help
promote specific social causes are evaluated by a panel of
creative gurus and judged on the effectiveness, creativity and
practicality of the campaigns. Grant funding to design students,
professional designers and design agencies covers the costs for
implementation to either create awareness or raise funds for the
social causes.

Now in its tenth year, the programme has benefited many causes
around the world. André Oberholzer, group head of Corporate Affairs
for Sappi Limited comments: “The programme is testimony to
Sappi’s support for the design industry and commitment to so-
cial responsibility. It also demonstrates the effectiveness and
creativity of using paper as a communications medium.”

In the South African region seven grants were made to causes

varying from environmental to humanitarian and animal rescue
programmes. These causes address social issues communicated
through the creative applications of brochures, leaflets, corporate
stationery and various other elements.
 "@@* )'

The judging panel comprising Lisa Walters (Chilli Factor), Carla Hall (It’s a Go) and Sean Fandam (Fandam Design)
said that they looked for overall impact and arresting images that communicate the message effectively, as
well as the ability to evoke a response from the recipient.

The 2009 Sappi Ideas that Matter grant recipients for southern Africa region were:

Designers Institution Organisation

Amy Bruce, Kyle Mac Donald, Cape Peninsula University of Volunteer Wildfire Services
Michael Merrett and Megan Technology, Cape Town
Wessels

Carey Cawood, Kerri-Jane Cape Peninsula University of Jikeleza Dance Project

Mitchell and Joanne Stone Technology, Cape Town

Isola Ashipala, Lindelihle Cape Peninsula University of Sikhula Sonke

Bhebhe, Brent Peters and Technology , Cape Town
Sergio Samuels

Amor Coetzee and Jedd Mc- Nelson Mandela Metropolitan Save a Pet
Neilage University, Port Elizabeth

Dominic Roberts Nelson Mandela Metropolitan Wilderness Foundation

University, Port Elizabeth

Michael Walton Nelson Mandela Metropolitan The Summerstrand Cheshire

University, Port Elizabeth Home

Jaco Burger, Corrine Erasmus, North-West University The Daphne Lee Centre for
Catrine Louw, Lauren Moses Differently Abled
and Sanja van der Berg

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Three young designers were awarded the ultimate commendation
for their creations at the 15th Annual Vukani! Fashion Awards. The
designers, Angelique du Randt, Lindiwe Makoyi, Zandile Meyiwa,
scooped awards from a pool of 13 designers competing in the pres-
tigious competition held at the Arena, Maponya Mall.

Zandile Meyiwa, a 20-year old designer from Cape Town, won the
Vukani! Overall Collection award for her collection which featured gar-
ments blending international trends with a contemporary approach
to African style for women. “Being recognised for my designs is
amazing,” she said.

Judges, including leading emerging designer Mosa Mokoena and

fashionista heavyweight Eleanor Ford, were impressed with Meyiwa’s
attention to detail in a collection which combines earthy tones in
her elegant yet humble range that is inspired by pushing boundaries,
African chic with a fusion of influences from Asia in terms of shape
and styling.

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Angelique du Randt, a 21-year old impressed the judges and the

crowd of close to 1800 guests with her dramatic designs. Her signature
style is inspired by comfort, beauty, innovation and confidence.
Angelique’s range is intentionally sexy and cheeky. She was awarded
the Metropolitan Vukani! High Fashion! Commendation for her
eye-catching ball gown.

The Bernina Vukani Most Innovative Dress award went to Lindiwe

Makoyi, a third-year student at the Victoria Toma Institution of Fashion.
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garments.

All three Vukani! Fashion Award winners received the very latest
start-up kit from Bernina, worth a whopping R94 000.

The awards ceremony marked the official closing of the 2009 Vukani!
Fashion Awards and Fair, which took place at Maponya Mall in
Soweto. To tie in with this spirit of fashion, Maponya Mall also
hosted an exciting showcase of the ‘must-have’ Autumn/Winter
fashion trends for 2010. All shows were open to the public.

“I am passionate about improving indigenous fashion in the South

and African Diaspora”, says Sonwabile Ndamase, executive pres-
ident of SAFDA and founder of the Annual Vukani! Fashion Awards.
“The awards stimulate the creation of innovative fashion that reflects
the cultures of our country, while exposing and promoting great
local talent. And, of course, it offers fantastic training, education
and career possibilities to promising South African designers.”

Guests, including the Her Royal Highness Queen Mantfombi Zulu,

wife of King Zwelithini Zulu, Mr Moss Leoka and local fashionistas,
were treated to fashion shows celebrating creations from across
the continent, with leading designers from Mozambique, Angola
and South Africa presenting their collections.

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ED )'How did it all start? crushed magazine covers and more. I decided then
and there that these garments must go to the WSSD
Debbie Bird )' In2002 the City of Cape Town was as part of the Cape Town exhibition. We secured
planning to exhibit at the World Summit on Sustain- sponsorship and called on celebrities to model the
able Development (WSSD) in Johannesburg. Sheryl Eco Fashion creations. Celebrities proudly carried the
Ozinsky, then head of Cape Town Tourism, was on the message to reduce, reuse and recycle.
organising committee and asked me and other indus-
try colleagues to brainstorm some ideas for an envi- The slogan for the show was: Real people, with real
ronmental festival in Cape Town that would bring the bodies, wearing real art. And so Eco Fashion was born.
feel of the WSSD to the city.
The WSSD is a serious affair with lots of global issues
We approached the Frank Joubert Art & Design Centre being addressed. But when the colourful Eco Fashion
to do an exhibition of art using recycled materials to with its vibey tunes and beautiful people showed off
display at the 360-year-old Castle of Good Hope. its important message it was as though a breath of
Principal Jill Joubert and her team were thrilled as fresh air had breezed through the huge dome. The
they had been looking for a space to exhibit their world’s media turned their cameras to the show and
year-end work. the next day Eco Fashion appeared on the front pages
of newspapers and on television around the globe.
Whilst we were scrutinising the work I noticed some
stunning, cutting-edge fashion designs – all made Every year since then, Grade 10, 11 and 12 students
from recycled junk. Seen from afar the garments from various schools in the Western Cape have been
could have been worn to the opera but up close these given a theme – Frida Carlo, Savanna, Paper..., and
marvellous creations were made from cork, bottle every year they have been amazing us with their cre-
caps, bubble wrap, CDs, woven shopping bags, ativity, talent and innovativeness.
 "B!* )'

ED )'What made this year different? DB )' I facilitated the meeting of the stores with the
students. We called three meeting date options
DB ) We were working on the launch for the new re- where the students could sit face-to-face with their
tail development at Cape Quarter so the students store owners and discuss the brief. With nearly 80
were given the following brief: “Your client owns a stores and 80 students this was a mammoth task and
store at the Cape Quarter. Create a design that best we had 80 different experiences and reactions rang-
translates the lifestyle of your client’s store.” ing from amazement to enthusiasm, to a cynical:
“This little person is going to do WHAT for my shop?”
We had approached the Frank Joubert Art Centre to
once again participate but soon realised that the Follow up, follow up, follow up – the success of any
number of tenants in the new Cape Quarter required venture. Never assume it’s all going to happen with-
many more students, so I approached Stellenberg out continual nagging. We collected materials to take
High in Tygervalley and Rustenburg Girls High in to schools, collected students to bring to the Cape
Rondebosch. Both Wilna Coetzee and Zelia Simpson, Quarter, appeased confused parents … all in the
the design teachers at the respective schools, loved midst of planning an 11-day launch programme of
the uniqueness of the project and realised that it which this was just one component.
would give the students a real life experience that
could shape their future. ED )'And on the night?

Next we approached each of the tenants at Cape DB )' After months of planning the Cape Quarter’s
Quarter and explained the concept to them, inviting grand opening happened on the 6 November. We
them to participate. planned for the Eco Fashion Show to be the highlight
of the VIP/media event and repeated it the following
ED )'How did the process evolve? evening for the public. The students mostly wore their

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"B7* )'

own creations and as their designs hit the catwalk the gave her a whole bunch of photographs to work with
audience went wild with delight. After the show the and was amazed at the outcome. According to Caroline
students were on cloud nine with excite ment, thrill and this student just got her – she reflected the essence of
relief and they shared their experiences with each her as a photographer and as a person.
other, their proud teachers and their proud parents.
Melam from Gonzenhauser Fine Rugs had been very
All the designs were then installed in their appropriate worried about her student, Gazelle Swanepoel, as she
stores and even the most sceptical of store owners now had not heard from her. Gazelle was really struggling
proudly displayed their outfit in a prominent space. with how to translate a rug store until Melam emailed
some pictures of their rugs and that was all it took for
ED )'How did the stores react to their garments? Gazelle to do an amazing translation of her intricate
design that successfully reflected the feel and look of
DB )'Owner of Victorian Bathrooms, Margaret Goodall, a kelim through her beautiful full-length design with
was thrilled and amazed at the talent of her student, bustier top.
Jamie-Lee Jansen, and kept in close touch with her
throughout the process. Jamie-Lee on the other hand said Joclyn and Justin from Extreme Eyewear had met with
that she got the impression that Margaret had taken and given their student, Zayaan Farouk, some of their
one look at her and did not believe that she could fulfil shopping bags and he created the funkiest outfit, which
the brief. “That is what really inspired me to do my very they were very proud to put on display in their store.
best,” she said. Her mother said that she had never
seen Jamie so passionate about a project before. Lisa King (Lisa King Gallery) and her mom, Pat, were
thrilled with their outfit and Pat asked their designer
Caroline Gibello who owns a photographic gallery of Nadia Darries if she would wear it – it was the perfect fit.
the same name briefed her student, Leila Khan, and
 "B@* )'

La Petite Tarte was given to five girls at Stellenberg Art Jamming met with their student from Stellenberg High
High to work on. Their teacher, Wilna Coetzee told quite late in the project. The student produced work from
the girls that only one design would be chosen for the paper folds and rolls of such precision that owner Leora
show. However, when we saw them it was impossible Israel commented that it looked like a professional art-
to choose so we showed all five. ist’s work and not that of a Grade 12 student.

Debbie Zeelie from Culinary Kitchens was also quite Two top art students from Rustenburg Girls High were
sceptical after she met her student but was thrilled with commissioned to create a male and female outfit for
the design of Robyn Parker-Ross. The tunic dress of the Cape Quarter itself. This was the last design to
crushed pamphlets with woven leaflet halter top is be worked on and students Caitlin and Zarah were
amazing.
put under pressure. The students were given paper
rolls with the Cape Quarter logo and bubble wrap
One of the most innovative designs created done
which they embellished with sparkling mosaic chips
Pierre Cronje. Without a briefing session the student
to create the feel of this inspirational centre.
did her own research. Finding it difficult to design a
garment that must reflect wooden furniture, she
ED )'Will you do it again?
made the most stunning full skirt from cork with cut-
out designs, finished off with a bustier top made from
linoleum with wood grain pattern. DB )' Every year I say never again, but its success
shows that it has its place. More importantly, the
Pieter de Bruin and Pieter Pienaar from Palette du message that it sends out has lasting implications:
Fleur said that they knew exactly what they wanted in Reduce, Reuse, Recycle – a philosophy that we need
a design and came to the briefing session with Natalie to take very seriously. 0
Maggott very well prepared with designs, ribbons and
foliage. They were very happy with the result.

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"BB* )'

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In 2008 The Loerie Awards launched The Creative Future of the creative industry as a career path in this country.
scholarship to enable a talented student from a disad- The SABC already sponsors The Loerie Awards Travelling
vantaged background to further his or her studies in any Exhibition, an essential tool in spreading the message
area of brand communication at a tertiary institution. of creativity around the country, showcasing the best
The scholarship also aims to increase awareness of the work in advertising, communication design and expe-
creative industry as a viable career path for disadvan- riential marketing.
taged students and to increase the flow of creative talent
into the industry. “The SABC has, over the last few years, increased its
investment and strengthened its partnership with The
“It was important for us to create a scholarship that not Loerie Awards in order to support the creative industry,”
only made it financially possible for a student from a says Nisha Jones, SABC sales director and acting mar-
disadvantaged background to study, but also ensured keting director. “Broadcasting and creativity go hand
that they were supported in their studies in a meaning- in hand in pushing the boundaries of communication.
ful way,” says Andrew Human, CEO of The Loerie Awards. Because we see the need to fortify and celebrate
South African creativity, the SABC has also partnered
To this end, the scholarship makes provision for fees, with The Loerie Awards in the establishment of the
accommodation, study materials and living expenses, Creative Future Scholarship.”
as well as offering mentorship and guaranteed employ-
ment in the creative industry after graduation.
L#7;#7A&.&"*.;#7A&'."*7'
The scholarship was created in partnership with SABC
In 2008 over 100 schools in KwaZulu-Natal were invited
Commercial Enterprises, and implemented with the as-
to enter students for consideration for the scholarship.
sistance of the Woolworths Making the Difference
From those entrants a shortlist was drawn up. Those
through Design (MTDTD) programme, which created the
students were invited to a selection day where their port-
platform for the scholarship to reach out to potential
folios were reviewed; they were interviewed and set a
candidates through the Woolworths MTDTD schools’
three-hour creative challenge to assess their writing
network.
and drawing skills and creative thinking processes.

The SABC is an avid supporter of creativity in South Last year, 400 schools from three provinces – the Western
Africa, and embraced the opportunity to partner with Cape, KwaZulu-Natal and Gauteng – were invited to
The Loerie Awards on a project that creates awareness participate. From the entries received, a shortlist was
 "B>* )'

drawn up, taking into account the entrants’ academic one-year bridging course that teaches disadvantaged
records with particular focus on their achievements South Africans critical skills with an emphasis on
in language, maths and art or design. creative communication and expression.

The students on the shortlist were invited to bring a In 2009 Busisiwe Mahlangu of Benoni High School
portfolio to an interview venue to be examined by a emerged as the forerunner in the selection process to
panel comprised of Andrew Human, Suné Stassen, receive The Creative Future Scholarship. “It’s exactly
design consultant to the Woolworths Making the Dif- what I wanted to do,” says Mahlangu. “It’s what I am
ference through Design programme, David Mashabe- talented at, and I was going to try to follow that in my
la, creative director at SABC, and a representative career.”
from a design or brand communications school in
each province. The judges concurred with Mahlangu’s own assess-
ment that the creative industry is where her talent
While the panel assessed the portfolios and academic lies, and selected her as the overall best candidate to
records, the students wrote an exam that tested their receive the Creative Future Scholarship. “She has an
creative, language and writing skills and posed intel- amazing understanding of the creative industry,”
lectual challenges to assess their three-dimensional says Stassen. “She’s extremely mature, seems to be
thinking, represented through sketches. a leader, and is a strong all-rounder with unbelievable
communication, problem solving and creative skills.”
“The point of the scholarship is to try to find a student
who for instance has the potential to become a creative Over two years, the course of three lives has been
director of a company one day,” says Stassen. “They dramatically altered by the Creative Future Scholarship.
need strong writing skills, as well as to be creative and In all cases, financial aid was given to students who
analytical, and have strong conceptual skills and vis- would not have had the opportunity to further their
ual literacy. We’ve set the bar very high because we educations, who will now actively pursue careers in
are really looking for a talented, deserving learner.” the creative industry. In addition to changing three
lives, though, it is the broader aim of the scholarship
to create awareness and influence many more than
4,-**&"#)*1&$,.7A*; those it influences directly.

In 2008 the full scholarship was awarded to Zwelisha “Creativity is an essential tool for business, for life
Giampietri, a student at Durban Girls High School. A and for personal development,” says Andrew Human.
year down the line, having chosen to attend Vega, The “The Loerie Awards and our partners aim to create
Brand Communication School, she has continued to awareness and further the understanding that it can
excel, coming out at the top of her class, and filled with also be a career path for many students coming out
enthusiasm about the industry to which she has been of our schools. With our scholarship, we are delight-
exposed. ed to have changed the lives of these deserving indi-
viduals, as well as being confident that we have in-
In 2008 a second scholarship was created for Siyabonga spired others to reach for their dreams as well.” 0
Ntambela from the Phoenix Lenarea Secondary School
so that he could take part in Vega’s Imagination Lab – a

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">;* )'

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The annual ‘Making the Difference Through challenges their creativity in finding new uses
Design’ (MTDTD) competition, now in its fifth for it.”
year, is sponsored jointly by Woolworths
and Sappi, and is held in conjunction with Md+.%.".&q&>-#7A&#'&(7m?&
the Woolworths ‘Making the Difference’
education initiative. MTDTD currently sup- The theme for the 2009 competition was
ports the design curriculum at some 400 ‘Zwakala – Bring it on!’ and entrants were
schools in the Western Cape, Gauteng and asked to imagine that they had been selected
KwaZulu-Natal. as one of South Africa’s top designers en-
trusted with the task of branding their coun-
Each year, art and design learners in Grades try, as well as showcasing and reflecting the
10, 11 and 12 are invited to enter projects in spirit of its people to local and international
categories including visual communication guests through their final design.
design, surface design, environmental design
and product design, which could incorporate The 2009 national winner Lauren Bauer, a
the design of packaging, furniture, clothing Grade 11 learner from Krugersdorp High
and fashion accessories. School, took top honours for her ‘hat/bag’; a
functional and imaginative reversible hat-cum-
The idea behind the competition is to inspire bag made up of hand painted Hessian hex-
learners to use their creative abilities and agons featuring the logos of well-known
demonstrate them practically, as well as to South African household brands. The judges
develop their awareness of the environment. were impressed not only by the creativity
Every year learners are only allowed to use shown in her concept, but also by her skill
waste or recyclable materials in creating in creating small-scale paintings on a diffi-
their designs. As Penny Luthi, Woolworths cult material. They could also envisage the
brand manager: ‘Making the Difference design as one that could go into full pro-
Through Design’ programme explains, “As duction and live beyond the World Cup.
part of our Good business journey, Wool-
worths is committed to supporting educa- The other provincial winners for 2009 are
tion, as well as to protecting the environment. Dèna De Reuck from Lientjie Blok Art Centre
Limiting students to recycled materials whose ‘biker jacket and denim soccer skirt
helps them understand the amount of outfit on mannequin’ took top honours in
waste that ends up in landfill every day and the Western Cape, and Daniella Bussy of
 ">"* )'

Durban Girls’ High, whose black

and white mural made from recy-
cled Perspex and sponge, took
top honours in KwaZulu-Natal.

G(("+(-',1&
16KK(-'1&',*&
0*1#A7&_7;.D.&
To show Woolworths’ continued
championing of design educa-
tion, six high school design
learners will this year have their
designs printed onto delegate
bags and T-shirts for the 2010
Design Indaba. As part of the
‘Making the Difference Through
Design’ programme, some teach-
ers were asked to nominate their
top design students for this work-
shop and entrants were asked to
design a new emblem or coat of
arms symbolising South Africa
whilst at the same time honour-
ing a local design hero, brand or
product. All designs needed to
draw inspiration from, and incor-
porate, indigenous fauna and
flora or a representation of in-
digenous knowledge into their
designs.

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'123'-45612'789:1;3

">0* )'

The young designers produced intricate and insightful emblems rep-

resenting local culture and heritage. Danica van der Merwe a Grade
10 learner from Stellenberg High School was inspired by sporting
brands – the Proteas and the Springboks – as well as local wildlife.

Emile Uys another Grade 10 learner from Stellenberg High School

based his emblem on modern design elements which were concep-
tualised by South African designer Garth Walker of Orange Juice
Design fame. Joel Zanon, in Grade 12 from the Frank Joubert Art
Centre, reinterpreted Heath Nash’s ‘Flowerball’ as a soccer ball en-
capsulated in a traditional crest offset by organic lines and flour-
ishes. Kaylin Ball, Grade 10 from Stellenberg High School, was in-
spired by South Africa’s national bird – the blue crane – and its
elegant wingspan which, for her, symbolised independence and
freedom anchored by the strength and solidity of the African ele-
phant. Nomaswati Sopotela a Grade 10 learner from Rustenberg
High School drew inspiration from the iconic skylines of Johannes-
burg and Cape Town, as well as the majestic African lion. Finally,
Lasché van Heerden, another learner from Stellenberg High School,
chose to represent the wealth South Africa has to offer in the form
of gold, diamonds and wildlife.

MH.%#7A&',*&0#//*-*7$*?&)#.&',*&+(-";+#;*&+*D

The ‘Making the Difference Through Design’ website is an exciting

addition to the programme. The website features customised re-
sources for design teachers, design students and parents who sup-
port the FET Design curriculum. The website also offers advice on
viable career choices and the top design schools across the country.
Furthermore, design teachers and students are able to view and
download information and entry forms for the annual ‘Making the
Difference Through Design’ competition as well as download the
programme’s resource manual, which is rich in design content ranging
from communication design, surface design, environmental design
and product design.

For more information log on to www.makingthedifference.co.za/high or

search for ‘Making the Difference Through Design’ on Facebook and
become a fan. 0
 ">:* )'

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By Suné Stassen

Stellenberg High School recognises the essence of AM )' Technically, my main inspiration for the project
process work. They teach a thorough understanding was the work and work processes of William Kentridge.
of design and production processes and most of all, Ever since I saw his animations in grade 9, I’ve always
they instil the importance of thinking and doing in wanted to do something similar. I finally mustered up
both 2D and 3D. the courage to try and do it at the end of the year. Con-
ceptually, the other main inspiration was a personal
Walking through the matric exhibition was highly mo- experience – the death of my father in 2001. This was
tivating. Only the school uniforms were constant re- the first time that I used my art cathartically, linking it
minders that the viewer is in fact looking at matric to a deeper meaning. The overall concept was ‘Reveal-
work and not the final expo at a university. These ing vs. Concealing’ – the significance of revealing of
young creative minds’ work speaks of well developed carefully concealed emotions and experiences. Each of
concepts, brilliant skills and professional work ethics. the animations is linked to a specific memory or emo-
tion concerning the absence of my father (hence the
During the run of this exhibition I tracked down two of title of the project – ‘the things we lost’).
the talents who really made an impact with their con-
cepts and the brilliance of their technical execution. The animations are personal, but also general enough
for others to relate to. I really wanted the viewer not
Annchen Marais and Chantelle Grové, both grade 12 only to see my feelings and emotions, but I wanted
learners at Stellenberg High School, share their view them to become aware of theirs too. The animations
on their work and the future. were installed in a public bathroom – kind of bringing
the private to the public. I was very happy with the
end result and I think it was successful. The reaction
877$,*7&H.-.#1& I received was very positive and I am encouraged to
take this much further.
Overall concept: ‘Revealing vs. Concealing’
Title: ‘the things we lost’ ED )'Tell us more about your creative input and spe-
cifically about the choice of materials you selected
ED )'Explain your main inspiration behind the pieces for this series.
for your final matric expo in 2009.
 ">!* )'

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AM )' Since this was the first time I did this kind of ED )'Why did you choose animation as a tool to con-
thing, I had no idea what the process would entail vey your concept?
and how it’s really supposed to be done. Therefore, I
used compressed charcoal and chalk, as this is what AM )' I chose animation and specifically this type of
William Kentridge uses for his animations. I also add- animation, because it creates the feeling of the art-
ed colour using a soft pastel. I then started the draw- work coming alive before one’s eyes. Unlike with some
ing process, taking pictures of the alterations as I other art forms, I feel that animation, with all the lines
went along. and movement, can really convey true emotion. I want-
ed to draw the viewer in and make it more personal
ED )'How would you describe the quality, texture and having to follow moving objects on a screen and I feel
movement of the pieces you have produced and how that animation can actively involve the viewer.
did the materials contribute to the look and feel of
the end products? ED )' Explain the process that was involved in pro-
ducing the pieces.
AM )'The quality of the drawing is a combination of
rough and sketchy drawings and finer detail in some AM )'I basically did a few drawings and made thou-
objects. I wanted the drawings rough, dirty and dark sands of alterations on them. You draw a little, take a
to communicate the nostalgic feel and the idea of raw picture, erase, draw again, take a picture, erase, and
emotion and to create a more eerie, old movie feel. so you create the movement. I started out with a gen-
Because charcoal cannot be completely erased, dur- eral idea of what I wanted to draw, and during the
ing the process of drawing and erasing, a kind of process the idea evolved further. In the beginning I
ghost trail was formed. This contributes greatly to- had no idea what to expect and how things should
wards the feel of the whole exhibition – these trails follow. For example, when I started at the base of the
make this type of animation so unique. The viewer birdcage, I had no idea what would happen when I
can literally see the process from beginning to end. finished the cage. The cage then started growing out
These trails also add a whole new layer of meaning. of the base and by the time it reached the top (sev-
The movement quality of the animation is also a little eral hours later), I decided that I would like to add a
jerky, so as to convey the old, nostalgic, vintage feel. bird. And so my ideas developed during the process.
Henry Uys, one of my friends who currently studies at

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">7* )'

AFDA, then put the pictures together in a movie for- am absolutely awestruck. I would love to meet them
mat and I exhibited these animations on television and see how they work.
sets in the cubicles.

ED )' Define the importance of the design process

!,.7'*""*&O-()j
you followed in producing the final pieces.
ED )'Explain your main inspiration behind the sculp-
AM )'The works and actual animations were rooted in ture pieces you produced for your matric expo.
automatism, with very little planning involved. The de-
sign process was extremely important in the design and CG )' My exhibition commemorated the unnoticed
layout of my exhibition space. The inevitabilities of a hero, the horse. In my opinion the horses were the un-
public bathroom (mirrors, basins, and more) were all sung heroes of the wars. Power-hungry rulers exploit-
problems that I needed to solve. I spend hours rede- ed their power, strength and endurance. Because
signing the space. The exhibition space had to tie eve- horses were such valuable resources in war, they be-
rything together and create the atmosphere, so the lay- came the target of the enemy. The bodies of dead hors-
out was an integral part of my exhibition in which the es were used as protective barricades for soldiers,
design process was an absolute necessity. showing that even after death they were of great val-
ue. In my pieces I tried to portray the beauty, majesty
ED )' Who are your creative role models and who and elegance of the horse – to show that the horse
would you like to work with, should that be possible? isn’t just a tool for war, but has great magnificence.

AM )'I have so many creative role models in different ED )'Tell us more about your creative input and more
art forms – Diane Victor, Jane Alexander, Oliver Jef- specifically, the materials you selected.
fers, of course William Kentridge… If I could work with
any artist right now, it would be the guys from Shy CG )'My sculptures were made from wire and alumin-
the Sun. I have only recently seen what they do and I ium mesh. There was one made from found objects in
 ">@* )'

a similar style to the work of Willie Bester. These character and impact on the viewer. The strength of
found objects were very personal as they were from his work is incredible and it would be amazing to
my late grandmother. The material was an important work with the mind behind those masterpieces.
part to the sculptures because the mesh used really
produced the life-like quality I was looking for. The ED )'How would you describe the quality, texture and
mesh was easy to work with; I would cut a piece of movement of the pieces you have produced and how
mesh in the desired size and then I would start play- did the materials contribute to the look and feel of
ing with it in the same way that a child would play the end products?
with play dough. Once I achieved the desired shape
and feel I would cut another piece of wire and cover CG )' The aluminium mesh has a smoke-like look to
the entire horse so that it looked like there were mus- it, making the sculpture look almost surreal. The wire
cles under the skin. mesh has a greenish tinge but gives the sculpture
great definition, showing all the muscles. The found
ED )' Who are your creative role models and who objects were used in a way that every object seemed
would you like to work with, if you could? to be a different muscle or bone on the horse’s body.
The material helped to create the life-like quality the
CG )'Willie Bester’s work like Trojan Horse 11, Who let sculptures have.
the dogs out and Dog of War really inspired me. His
use of found objects really made a big impact on my ED )'Why is the design process vital if you want to be
exhibition. Esther Benedict also inspired my work. successful in your final product?
She works with single layer wire in the form of life
size horses. Heather Jansch made life size sculptures CG )'You need to research your ideas first so that you
of horses out of driftwood. Her sculptures are unbe- can select the best possible solution. Thumbnail
lievably realistic and capture the essence of the sketches are important for you to get a feel for your
horse. But if I had the chance to work with any artist idea and then final sketches are used to summarise
it would be Willie Bester. His works have so much all your ideas. 0

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Henry Thoreau and Stephen King are two indi-
viduals from different fields, backgrounds and
even centuries. Yet it is interesting to note that

"!.'2);
both these gentlemen comment on the impor-
tance of ‘seeing’ something and paying attention
to the details, instead of merely looking at it. You

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may ask what the difference is as we use the
terms look and see almost interchangeably these
days. The following article helps describe why

&/!*!-!3!)&* these terms are different when it comes to design

and offers a few guidelines to help you ‘see’ the
world and designs around you.

(6*"!.'2)* There are also so many things that influence how

we see, react and interpret images and designs.

%)%-5.'. The first thing we need to consider is how we see

images and designs. Again this may seem like a
simple concept but have you ever really consid-
ered how you see things? Your eyes are exposed
By Vikki du Preez
to thousands of visuals every day, including TV
advertisements, magazine advertisements, post-
ers, road signs, people’s faces and every other
VL;,(R/,03")#("0(#)3(6;$3(&)/(%))@($3'(</3( little item or situation that you experience while
6;$3(&)/(0,,1W(X(Y,#+&(A$8"7(L;)+,$/'(bf3;( you are awake. Your eyes observe these and
.,#3/+&(>;"%)0)>;,+ send the information to your brain where it is
sorted and stored. This may be a very over-sim-
VJ,*,*<,+(3;$3(3;,(3+/3;("0("#(3;,(7,3$"%01((?)( plified version of the process but it does high-
light the almost unimaginable number of things
*$33,+(;)6(&)/(0,,(3;,(6)+%7()+(6;$3(03&%,("3( you are required to ‘see’ every day. In the modern
"*>)0,0()#(&)/+(6)+@($0($#($+3"03'(3;,(3+/3;( world it becomes more and more difficult to pay
"0("#(3;,(7,3$"%01W(X(:3,>;,#(N"#4'(A/*$(N,&( attention and analyse what we see because there
is simply so much of it. The effect is that people
E5(?)8,%I'(]b03(.,#3/+&($/3;)+1
become more prone to simply ‘look’ at the world
around them – implying that they do not actively
register, analyse and interpret what they are
looking at.

For a design student this is an unacceptable situ-

ation and often new students need to focus and
develop their analytical viewing skills that are re-
ferred to as visual literacy. Visual literacy is the
ability to view, interpret and understand different
types of images. These images may be influenced
 ">>* )'

by a specific culture, may be used as propaganda or may call the

viewer to action. A design student must be able to read images,
almost like a language, and understand what influences it. To help
develop their visual literacy students are often required to analyse
design or art examples, such as the Notre Dame cathedral, as part
of their course.

One way to examine examples is to complete a formal and con-

textual analysis. Anne D’Allena’s book How to Write Art History
(Laurence King Publishing) is a wonderful source that you can use
to help you understand and complete a formal and contextual
analysis. The contextual analysis places the example in space and
time. What influence did culture have on the example? What was
the political milieu when it was created? These type of questions
help us understand why an example looks the way it does. A for-
L#A&T3&9#7*R&4,#1&*=.:K"*&1,(+1&,(+&"#7*&
mal analysis is a visual investigation of an example. It focuses on
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exploring the elements of art and design that can be identified in
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the example and the visual results of these elements. In future :(-*3&4,#1&*'$,#7A&(/&S('-*&0.:*&#7&[.-#1&
editions a number of design elements and characteristics will be 61*1&)*-@&1*71#'#)*&"#7*1&'(&$(71'-6$'&',*&
discussed but the following section introduces a few of the ele- #:.A*&D*/(-*&K-#7'#7A&#'&(7&K.K*-3
ments that can be identified and explored as part of a formal
analysis.

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There are a number of basic elements of design which can be looked
at in a formal analysis. These include line, shape and form, texture,
colour, rhythm, scale, space and balance, as well as composition,
among others.

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Lines (Figure 1) are the most basic building blocks of an image. It
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usually indicates a mark that moves from one point to another
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and it can be straight, curved, random, thin, thick, even, uneven ,#A,"#A,'13
and more. Lines can also be described as organic and natural or
angular and rigid. The direction of line can also be a focus in your
formal analysis. In examples where lines are mostly horizontal
there is generally a sense of calmness to the composition where-
as vertical lines produce a more dramatic character. Compositions
using mainly diagonal lines are more dynamic with a greater
sense of movement.

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A shape is the two-dimensional area which is created when lines
are joined. The most basic shapes include circles, triangle, rectan-
gles, amongst others, but shapes can also be irregular and or-
ganic (figure 2). Form is usually discussed as a characteristic of
three-dimensional examples. You can, for example, discuss the
form of a car, building or a modelled dress. Very often a form is
made up of shapes and it is the effect of light (shadows) which
creates a form.

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Texture refers to the surface quality of the shapes and forms in an
example. These could be quite specific like tree bark or more ge-
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neric like smooth, rough, velvety, and more. Textures can be tac-
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tile or visual (figure 3). If a texture is tactile is means that it is re-
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ally there – if you touch a brick you can feel that the surface is #7;#$.'#(7&(/&'*='6-*&(7&',*&D6#";#7A&+.""13&
uneven and rough but if the texture is visual it means that the
texture is ‘fake’ (for example when an artist paints a cobbled road
in a painting – the surface of the painting is smooth but it looks
like there is a texture).

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Colour is one of the most important elements to consider when
you complete your formal analysis. Colour is one of the design
elements that elicits the most reaction from people and it can
even influence how people feel. All over the world colours are
viewed in different ways and carry specific symbolism. Blue, for
example, used in a Zulu Love Letter (figure 4) represents hope and
faithfulness but in many Asian cultures blue represents wealth.
For this reason it is important to analyse the use of colour, as well
as the context of the example to fully grasp the meaning of the
L#A&l3&d6"6&9()*&9*''*-B&$(;*;&D*.;*;&
colour selection.
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using a colour wheel (figure 5). A colour wheel is a diagram showing
the different colours and it makes it easy for us to find out what
colour share special relationships. One such relationship is com-
plementary colours (figure 6), colours which are on opposite sides
of the colour wheel, like blue and orange. Another relationship is
 0;"* )'

analogous colours which are next to each another on the colour

wheel like yellow and yellow-green.

Once you have identified the specific colours that have been used
and their relationship to one another you can also analyse the use
of colour in the example as a whole. For example, if only reds,
browns, oranges and yellows are used, you could say that the
example has a warm colour palette. Examples could also have
cold colour palettes (blues, violets, greens) or a monochromatic
colour pallet - when shades and values of only one colour is used
in an image (figure 7). Often the colour in an example can also be
described through the name given to the palette such as earthy
tones, natural palette, and more.

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.7;&K-(A-*11#(7&(/&$("(6-&#7&.&$#-$6".-&/(-:3& When an example has a number of repetitive shapes, forms or even
colours these elements contribute to the rhythm observed in an
example. When there is a sense of repetition it creates a greater
sense of harmony.

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Scale quite simply refers to size, but not just the size of the exam-
ple your analysing. Ask yourself questions like, ‘How big it this
object or example in relation to me?’ and ‘Are the elements in the
example different sizes?’. In modern product design, such as cell
phone design, the trend over the last few years has been to pro-
duce smaller more powerful appliances. An important aspect of
scale, when referring to mobile phones, is how the size of the
phone relates to the size of a human hand.

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L#A&n3&!(:K"*:*7'.-@R&!(:K"*:*7'.-@& Space and balance are closely linked to composition (figure 8).
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created by various shapes and forms found in the example. Posi-
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negative space is the area outside the shapes and forms (some-
times referred to as the ‘empty’ area of a composition). The rela-
tionship between the positive and negative spaces is one aspect
that influences an example’s balance – the other is the use of line,
shape and form.

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Composition refers to how the designer has combined all the ele-
ments of a design. Are there certain features which stand out or
which have been hidden? Are the elements randomly placed or
are they based on a grid? Very often composition is a discussion
which incorporates the other design elements, for example you
could have a rhythmic composition or a very dramatic composi-
tion using positive and negative space.

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design. A visual understanding is, however, not a complete under-
standing. To really understand an example you will have to com-
plete a contextual analysis (figure 9) as well as a formal analysis.
A contextual analysis places the design in a larger arena and aims
to identify the influence that culture, politics, finances, beliefs
had on the creation of the design. Design is created by people for
people, so what influences people will also influence their de-
signs. To complete a contextual analysis you can ask yourself a
number of questions like: ‘Did cultural or social factors influence
the design?’ ‘Did the design use revolutionary materials or tech-
nology, and why?’ and of course ‘What impact did the design have
on society?’

The ability to analyse and interpret examples is one of the most

important skills a design student can master. In the beginning it
may seem like quite a tedious process having to identify all the L#A&p3&_7&',#1&D".$%&.7;&+,#'*&)*-1#(7&(/&',*&
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art created by a society you can start to understand society itself.
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>#D"#(A-.K,@
Barnet, S. 2008. A Short Guide to Writing About Art.
(9th Ed). New Jesey: Pearson Prentice Hall

D’Allena, A. 2006. How to write Art History. London:

Laurence King Publishing

Photoinf.com 2003-2007. Composition & the Ele-

ments of Visual Design. Photo Composition Articles
[Online]. Available: http://photoinf.com/General/
Robert_Berdan/Composition_and_the_Elements_of_
Visual_Design.htm [23 October 2009]

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“My design methodology is to fulfil
people, be conscious of the environ-
ment, create friendly user-interaction

+0("#$&.* and is based on my insatiable desire

to create beautiful and innovative

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things.

Like a sponge I have an astute eye

%*.(6&* for detail and I absorb everything

in my working environment. So,
my idea is to create desirable

6((&+0')&* products that leave behind a soft

footprint, which are often executed
 0;!* )'

or inspired by traditional craft skills on the contrary, being taught by collective idea is stimulating and
and finished off with an edgy detail. them. Personally, I think that the has taught me to be flexible and not
trick to collaboration between craft to be too precious over my ideas.
As a product designer I feel privi- and design is contrast, surprise and Group work has also given me a
leged to create consciously. It is one the unexpected. Design doesn’t need sense of responsibility and self-
of the most satisfying things to cre- curios. We need to keep craft fresh realisation on the importance of
ate beautiful physical objects that and apply it where people least my skills, my role and my contribu-
speak of the future, of history, of expect it. tion in the “ecology” of the design
life, of passion and of soul. environment.
Product design and solutions
I believe that in order for ‘green’ should also be PLAYFUL. To me, We live in interesting times, being
design to be effective we have to this means products that really re- confronted with a global ecological
think of every part of the process. spond to and interact with users, and financial crisis. It is a time of
For me, this means keeping the perhaps a piece that stimulates transformation and in order for
environment in mind right from social commentary or a product things to change positively; we are
product conceptualisation straight that provides the user with multiple going to want to change. And to
through to the end of the product’s options. achieve that we will have to share
life. our knowledge, learn to listen to
I don’t believe that there is such each other and appreciate each
I also believe that sustainability may thing as a ‘complete’ design. People other’s skills, while utilising them
also be achieved by increasing client- often adapt and customise prod- to their full potential. The easiest
awareness on the impact that prod- ucts to suit their needs and, there- way to achieve this is doing it to-
ucts have on our environment by fore, I believe that products and gether. Focusing on a mutual vision
providing them with superior, more environments should demand and of wellbeing and actively working
efficient, friendlier choices. enjoy user involvement. So, I aim for towards that vision within our
my products to be flexible enough community will help to reinforce
I grew up in a creative and musical to interact, develop, evolve, adapt purpose and meaning to life. This
home and this has inspired me to and grow according to the user’s sense of belonging will encourage
apply arts and crafts to my life and needs. Ultimately the ideal is to us to reflect upon life and nature and
to my design work. I feel blessed develop a deeper awareness and a persuade us to live more conscious-
to live and operate in a country personal co-creation relationship ly. I guess what I’m trying to say is
that is filled with talented individ- with clients or end users, by in- that design can be a powerful cat-
uals that know and apply tradi- volving them prior, during and after alyst for change and I want to be
tional craft skills on a daily basis. the design process. part of the revolution. VIVA!” 0
At first, when I started collaborating
with crafters I thought that I would I really enjoy the dynamic environ-
be teaching them design skills but ment of working in groups. The chal-
I often find myself humbled and, lenge of integrating and creating a

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Heidi Liebenberg, a multi-talented designer at the from the 19th and 20th centuries. The artistry of the
Gold of Africa Museum in Cape Town has been involved African goldsmiths is remarkable and continues to
in various design disciplines for the past 26 years. inspire jewellery designers to this day.
She explains: “My design journey first started in the
fashion industry, locally and internationally, where I You will find the workshop of the museum in the leafy
worked as a make-up artist for print and television courtyard next to the restaurant. Liebenberg contin-
for 12 years. During this time I studied and qualified ues: “Our fully functional workshop offers courses for
as an interior designer. After moving to Cape Town I aspiring goldsmiths and hobbyists and is currently
found myself as a graphic and book designer in edu- also looking at a training programme for previously
cational publishing. I really like being hands-on and I disadvantaged groups. We really welcome students
am always on the lookout for a new challenge, which and visitors to visit our workshop where you can witness
eventually led me to train as a goldsmith. I qualified goldsmiths hard at work and see first hand how they
as a jeweller at the Cape Peninsula University of Tech- make jewellery.
nology and I am currently the goldsmith at the Gold
of Africa Museum in Cape Town.” “Of course, creating good jewellery pieces always
starts with having a good design. The starting point
The Gold Museum is located in the historic Martin for a design can be a brief from a client or a concept of
Melck House, Strand Street in Cape Town. The build- your own. Once the brief/concept has been established,
ing was originally the rectory for the Lutheran Church inspiration is sought by exploring different avenues.
next door. It is a beautiful example of an old Cape Town The methods used will depend on the individual
townhouse. The museum now houses a permanent designer. All design work is the sum total of our ex-
collection of gold jewellery from West Africa dating periences; likes and dislikes, as well as a desire to
 0;@* )'

convey meaning or beauty. Some designers choose formerly occupied by a wax model. The ancient jewel-
to immerse themselves in visual stimulation and lers would have formed their wax master using
some like to experiment with the materials. Often in- beeswax. They would then encase the entire wax
spiration comes to us while relaxing. A good designer model in clay. The clay would be fired to become as
will always stay curious and enjoys finding solutions. hard as stone and the wax burnt out of the mould.
Molten metal would then be introduced into the
“Once our inspiration has generated great ideas we mould and, once cool, the mould shattered to expose
need to refine and mould them to best suit the de- the metal piece which is a duplicate of the initial wax
sired outcome. There are basic elements of design master. Only one item can be made when using this
that must always be taken into account. Shape and method. A new wax model would be required for a
form, line, colour and texture are some of these ele- subsequent piece.
ments. Other things to consider might be the mes-
sage you intend to convey through your design. For “Today, large manufacturers that make use of mod-
instance, the piece could be narrative or figurative ern technology can quickly design and manufacture
and the shape organic or geometric. It can even be multiple pieces using lost wax casting. Computer
symbolic of something real or foreign. aided design (CAD) and rapid prototyping mean that
multiples of any one item can be produced. The mul-
“Inspiration can also be found while exploring the tiples may be complete items such as rings that are
techniques of jewellery making. Making samples or ready for the setting of stones. This can also include
testing combinations of techniques can lead to new components such as clasps and findings. Jewellery
and exciting possibilities. items are cast in batches and are often completed
with the minimal amount of handwork.
“One of the techniques used both by the ancient Afri-
can goldsmith and the modern day jewellery designer/ “Individual goldsmiths working without the benefit of
manufacturer is the ‘lost wax’ technique. CAD and rapid prototyping, still hand carve jewellers
wax to make their models. These models are then
“‘Lost wax’ is a casting technique where a metal object cast in a very similar way to the ancient techniques.
is the result of casting molten metal into a cavity, The wax models are assembled on a wax tree, set

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0;B* )'

into a flask into which investment is poured (invest- “In our goldsmith classes, participants are encour-
ment is similar to a specialist plaster of Paris). The aged to bring along ideas and designs of jewellery
flask filled with investment, with its tree of wax in the they would like to manufacture. Designs are dis-
centre, is then placed in a kiln. The kiln fires the in- cussed and developed keeping in mind the level of
vestment to become ceramic and burns away the skill of the participant. Quick sketches allow the class
wax. Once the flask is at the correct temperature, it is members to work out the specifics of their design.
removed from the kiln and molten metal is introduced Decisions about dimensions, metal thickness,
into the cavity from which the wax was burned. The weight, form, balance, surface textures, clasps and
flask is then dipped into cool water; the thermal settings are clarified. Since each participant has dif-
shock splinters the ceramic and exposes the metal ferent ideas we have the opportunity to cover a
models, the exact duplicate of the wax tree. number of techniques that benefit everyone, either
by participating directly or by seeing each other’s
“At the Gold Museum shop you will find 18ct gold work in progress. We always start with learning how
jewellery made by lost wax technique inspired by the to smelt and pour metal into ingots to produce wire
work that are included in the permanent collection. or plate. The techniques of piercing (sawing metal),
filing and soldering are also covered during the work-
“In our workshop we use casting techniques and all shop. Stone setting, various surface decoration tech-
the traditional tools and skills of the ancient gold- niques and forming techniques are all explored.
smith. Cuttlefish casting is another form of metal
casting that is taught at the Gold Museum workshop. “Initially learning to manufacture jewellery requires a
Here the required form of the final article is carved lot of patience and dedication. Manufacturing can be
directly into the bone of the cuttlefish. The cuttlefish repetitive, if you are making lots of tiny components,
bone or serpius officionalis is the soft backbone of tenacity, focus and concentration will be an asset.
the squid. Impressions are easily made with a variety Personally, I’m always very excited to see if the piece
of tools and the natural striations of the bone are I envisioned is developing as expected, I still tend to
used to good effect. This creates a heavily textured rush and shed tears afterwards!” 0
surface that can be retained or removed in part.
0;>* )'

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Design as a secondary school subject has faced many and contextualises it in the worlds of business, society
transformations, developments and challenges and popular culture – a rather refreshing approach.
during the past few years. Not dwelling on the chal-
lenges, one of the most encouraging recent develop- Another unique aspect of the textbook is its focus on
ments is the publication of the text-book, Design the South African context. Design Grade 10 is filled
Grade 10 and the accompanying Design Grade 10 with examples of work, case studies and interviews
Teacher’s Guide published by Future Managers in 2009. with South African designers. The content goes be-
The publisher describes the book as: “The first ever yond mere ‘show and tell’ and positions design as a
full-colour design textbook designed for designers by vialable career option.
designers in South Africa.”
The selection of case studies and featured designers
The authors, Suné Stassen, Leon Buchner, Ronell Lare- spans a variety of design disciplines and generations and
man, Lara Kruger and San-Marie de la Rey, brought thereby, creates local role models – an aspect that
together their vast experience in design practice and Africa urgently needs.
education in a whopping 300-page textbook.
Since Design is not regarded as a priority school subject
The book coincidentally matches the FET (Further Edu- such as Mathematics and Science, the Department of
cation & Training) National Design Curriculum for Grade Education does not invest many resources in its de-
10 100%, and it is divided into four modules, which match velopment – teacher training and teaching tools.
the four school terms. The modules take an unique and However, the authors of this textbook drew upon
intelligent pedagogical slant on the subject and in- their deep passion for the subject to develop a tool
clude: What is design?; Communication; Can design that elevates its status, empowers its teachers and
benefit society?; and Design in a business context. inspires its learners.

The content is structured to effectively empower teachers The publisher took a commendable risk by investing
to take learners on a progressive and insightful journey in a niche subject, publishing an obviously costly full-
through the plethora of design disciplines, covering colour textbook – an unusual step in the textbook market
history, theory, critical thinking, contemporary case – and they supported the belief of the authors that
studies, practical activities, assessment guidelines and one cannot teach Design effectively with a black and
much more. white handbook. Understandably, it is not a high-end
quality production but that was never the intention
The content structure and the design of the book is – it needed to be an unpretentious and content driven
dense and engaging. It moves beyond the traditional ‘workhorse’, which it is.
way of teaching design at secondary school level,
which tends to focus on the aesthetic and execution Design Grade 10 can be ordered directly from the pub-
aspects. Design Grade 10 rather focuses on the inherent lisher at http://www.futuremanagers.co.za/index.
function and value of contemporary design practice php?act=viewCat&catId=41 0

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8/!)*'.*%*,(:*%*8')"(8D*
By Charl Blignaut

You’d be forgiven for thinking that Vega School is a What Cook is proposing is a new way of looking at
top-end ad agency when you first arrive at reception. learning about business, one that isn’t just built on
A small flock of Loerie Awards preens on a wall. Acid greed and profit, but that also “brings people and so-
green winks at you through glass from a high-tech ciety into a critical context”. Successful brand building
studio where fashionable young things are casually deals in values as well as profits and so he ensures
busy on the very cutest Macs. that Vega students engage with the real world and
solve brand problems within the broadest social con-
It’s only when you reach the corridors that it feels text.
more like school. Students emerge from writing their
year-end exams, comparing answers and jabbering. “’We take on an NGO or two each year to contribute
But it’s not just any school. Take a look at the Mac to their brand building and fundraising,” he tells me over
lab. Apple has called this arguably the most techno- the phone from Durban. “This year we did a xenophobia
logically well-equipped educational institute in the campaign and we worked for a community chicken
world. farm, building a brand identity for an amazing women’s
co-op.”
If new business strategies through brand building are
the grist of Vega’s mill, then the school fits the bill. G(-%#7A&(7&.&-*."&K-(X*$'
After all, if you’re going to start a branding school, best
you get your branding right. It’s not surprising then that the Nelson Mandela Foun-
dation approached Vega to strategise and design a
Vega’s founder and navigator, Gordon Cook, says the corporate identity for the Nelson Mandela Children’s
following on the school’s website: “Traditionally the Hospital, about to be built in Johannesburg. They
purpose of business is to generate profit. However, wanted to work with young people on the project.
enlightened companies see the purpose of business
being the creation of value as uniquely defined to Deeshana Chetty was a member of the team that pro-
meet the needs of key value shareholders such as duced the winning branding for the hospital (along with
staff, customers and the broader community. A brand Nicola Davis, Nkgabiseng Mutau, Kagiso Magoba and
is the ultimate vessel to deliver this value.” Vanja Lavadinovic) and she’s ridiculously eloquent. She
0":* )'

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sounds more like a seasoned professional than a stu- the night every night for weeks. And the project hasn’t
dent. When you think about it, creating a corporate ended. We’ve been tweaking it, improving on it.”
identity for a project like this could be a pinnacle in a
designer’s career – and she’s still at school. I ask her why they went to all this extra effort. “Because
it’s a real project, a real client,” she says. “It had to
“We drew inspiration from a line Nelson Mandela be perfect. We did a booklet, the logo, the industrial
gave us about the project. He said he wants every design, stationery, everything.”
child to come to the hospital as a patient and leave
as a friend. The hospital forms a kind of family net- The students had to pitch their designs to a panel and
work. We started thinking about the African proverb go through the rigours of a professional appraisal.
that it takes a village to raise a child.” A Family Dedicated “Here you get the opportunity to understand how the
to Care was born from this idea, but the team was industry works. You win, you fail, you adapt. You get
crucially aware that the brand design needed to draw to understand how clients think.”
from Africa but hold its own internationally.

“We did research and discovered that the idea of fractals

8&7*+&+.@&(/&"((%#7A&.'&&
is a very African science,” says Chetty. “Indigenous D61#7*11&*;6$.'#(7&
African tribes used fractals in village planning, in
weaving, in geometry. So that’s how we settled on the In the thoroughly modern canteen that serves fresh and
fractal forms in the design.” The baby blue colour in moreish food I find Lara Oberholzer and Kerry Elliott.
the identity was chosen so that it could be child The students were members of two groups from Vega
friendly and also non-threatening for patients’ parents chosen as finalists in the Branson School of Entrepre-
since it instils trust. The design needed to be careful neurship’s Business Plan Competition. They had to
not to be too childish nor too serious, neither too Afri- beat off 142 entries to get there.
can nor too global.
Oberholzer’s team wanted to make the Virgin brand
It’s this balance that won them the task and a 2009 relevant to the youth. They designed a comprehensive
Pendoring Award and a finalist spot in the 2009 Loerie business plan for a Virgin student card and magazine.
Awards. Graça Machel also honoured the designers Elliott’s team tapped into Virgin’s travel wing with a
and the school by handing over R150 000 for the Vega plan for Virgin Medical Tourism. Reading through
Bursary Fund and the students got to have their photos their proposals, which they also had to pitch to a pro-
taken with the grand old man, Madiba. fessional panel, I am impressed by how big their
thinking is – and even more so when I find out they
“You know,” says Cook, “I’ve been working with students are both first-year students.
for 20 years and I’ve never seen kids work so hard – it
was in recognition of Mandela.” Chetty laughs when I tell Both are studying Cook’s latest brainchild – a BA Degree
her what Cook had to say. “It’s true. We worked through in Brand Building and Management. “It’s a hybrid BA
 0"!* )'

built on the assumption that we need to find new my perspective of the business industry and how hard
ways of looking at business after the global financial you have to work to succeed.”
meltdown. We had to revisit the commercial principals
but question them and bring in humanities, philoso- “We want a new breed of thinkers who can provide
phies and ethics.” creative and innovative approaches to developing
and sustaining brands. In our view brands cause
I ask Oberholzer and Elliott if the experience of creating business,” says Cook. “A lot of young people have an
a new business on paper has opened up some new entrepreneurial spirit. If you want to live outside the
possibilities for their future. They both say they’re fo- box, you might have to create your own box. We don’t
cused on a career in brand management, but now their even know what the new businesses will be, but we
options have been broadened. “It’s opened up some new know you will have to be brave.” 0
windows in my mind,” says Oberholzer. “It’s moulded

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By Veronica Barnes and Vikki du Preez

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You often read about design courses and all the wonder-
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ful things that form part of design education. Most of the
P#$,.-;&5'**"*3
information, however, is written by the colleges, univer-
sities or institutions offering the programmes. You may
find yourself wondering what it is really like, what the
students experience and how they see the courses
they are enrolled in.

A number of industrial design students studying at

the Cape Peninsula University of Technology (CPUT)
offer their thoughts on what it is really like to pursue
this course. Industrial design is a practical, studio-
based design discipline which equips students with
the knowledge and skills to apply the design process
to problems relating to mass-produced products.
This means anything from an electric toothbrush to a
chainsaw and even a car. Students learn how to pro-
duce conceptual sketches, technical specifications,
rendered images and real or computer-generated
models to show what the final product will look like.
Students work exceptionally hard, but there is always
time for a braai or a get-together which helps bond
 0"@* )'

students and staff and creates an energetic and sup- course that I have come across. Nothing is more exhila-
portive environment. rating than extracting ideas from your imagination
and building them. I have learnt so much this year;
The first year is often a scary time for students because my drawing abilities, my skills and my confidence in
you may not know anyone and often you are far from design have grown. The most critical part of this course
home. Here are some of their views: was time management, in that should one not effec-
tively manage one’s time, the workload would become
Jonathan Fish ) “Having a heavy work load doesn’t too stressful. This course requires your full attention,
mean you need to work exceptionally hard, it rather focus and dedication.”
means that you should manage your time and learn to
work under pressure. Communication with the lectur- Madelé Koegelenberg and Angela Landos ) “Starting
ers is vital, as they offer help when needed, creating with a Lego man and ending the year with a 1:1 scale
a supportive and friendly environment. Something to Baby Protector for the beach…this year was definitely
think about when designing: ‘Less is more’. It’s up to stressful, yet truly magnificent. Industrial design is
you and no one else, whether you are there to learn or definitely the right course to choose if you enjoy the chal-
not, but at the end of the day when the ink runs out, lenge of working with unfamiliar materials for the first
there is no one to blame for the results, but yourself.” time and the adrenaline rush of meeting deadlines
and juggling assignments. Great friendships are made
Raees Amien ) “I have thoroughly enjoyed this course amongst fellow students, as well as with the lecturers.
even though at times it can be tough. I have learnt Reflecting on the year, even the few sleepless nights
many things over this past year and believe that it were worth it, compared to the rewarding feeling of a
will help me in becoming the car designer I dream of successful conclusion and knowledge gained.”
becoming one day. The people I have met have had a
big impact on my life – learning about their cultures By second year, students generally settle down and
and ways of thinking. The course is very open in the recognise their own individual design style and process-
sense that there are no restrictions to learning. For es. They start to better understand how they can adapt
those who are thinking of applying for this discipline, the design process to the way in which they work and
I personally think there is no better course to study, design. Students use all the skills they were taught
but dedication and an open mind is a must. I have during first year and develop these skills when they
had lots of fun this year and can only wait and see complete more complex projects. Second year is an
how my future unfolds with the help of this course.” exciting year, where you’re not a new first year and
you also don’t have the pressure of a graduation
Brad Inch ) “When I started this course I was intimidated looming over you.
by the designs done by the third-year students and
thought I would never be able to accomplish that type Richard Steele ) “I can think of many memorable mo-
of end product, but slowly the course unfolded and ments experienced during my studies at CPUT, but
revealed the tools, creative ability and confidence probably the best experience so far has been the
within me to be able to produce the same. Industrial knowledge of design I have gathered. As a first-year
design is probably the most exciting and enjoyable student I tried very hard to impress my lecturers, and

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0"B* )'

this led to a warped sense of what design is. After a

lot of trial and error, I can finally say that I have
reached a higher understanding of design in second
year. Design is not something that should be forced,
it is not something pretentious. For me design is
something natural and free; and the more time I
spend designing, the better I become at it. This deep-
er understanding of design was like a discovery to me
– one day I just understood what it meant to appreci-
ate a shape, and I have seen my fellow classmates go
through the same transformation. I can’t wait to see
what discoveries I will make in third year.”

Third year is the final stretch of the National Diploma

Three-Dimensional Design, and students who suc-
cessfully graduate either start their professional ca-
reers or they continue their studies by enrolling for a
degree in Industrial Design. During the third year stu-
dents draw on all the skills and knowledge they have
gained during their first two years and they expand
on this through their own research. We asked two
third- year students to share their experiences of the
course and what they would take away with them.

Raoul de Villiers ) “Nearing the end of my third year

at this university, I relate somewhat differently to my
surroundings. Having come to this course later in my
life, aged 28, I already had some life experience be-
hind me. This made things easier to deal with, such
as deadlines, focusing for long hours and more. How-
ever, the fundamental education process was a job
done well. There is a much clearer understanding of
how people inter-relate and put themselves forward.
Being armed with knowledge of materials, processes,
colours, shapes and proportions leaves me better
prepared for being a professional designer. Yet, there
 0">* )'

!S&K-(X*$'&D@&P&;*&F#""#*-1B&&&&&&&&&&&&&&&&& is a major component missing from that list which I

f&5$,#*D*-'B&W&>("61&.7;&0&F#"X(*73& have taken with me – decision-making. The course
4,*&D-#*/&+.1&'(&;*1#A7&.&-.7A*&(/&
has enabled me to speed up decision-making with
/6-7#'6-*&/(-&',*&-*$*K'#(7&.-*.&(/&.&
$(71'-6$'#(7&$(:K.7@3&_'&+.1&.& clarity in a holistic and confident manner. Third year
$(:K*'#'#(7&/(-&!S&H.76/.$'6-#7A& has paved the way to deal with your inner workings,
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and just getting on with the job at hand. No one else
:(;*"&(/&',*&/6-7#'6-*3
& is going to do the work for you.”

Katrin Scheibert ) “As a third-year student I feel I

have gathered a lot of knowledge and life skills
Y(7.',.7&L#1,R&\(.'#7A&K(("&"#A,'3& through my course. Although the creative side of de-
4,*&D-#*/&+.1&'(&;*1#A7&.&\(.'#7A& sign is emphasised, the ethical and more technical
K(("&"#A,'B&/(-&.&,('*"3&_'&+(6";&D*& aspects of the profession are also a focal point. This
K(+*-*;&61#7A&1(".-&*7*-A@B&1(&.&
places a great responsibility, both ethically and envi-
1:.""&1(".-&K.7*"&#1&#7$"6;*;3
ronmentally, on a product designer. The emphasis
here is the importance of sustainability in all prod-
ucts, and the manufacturing process. Not only have I
learnt to work independently and to set my own goals
and deadlines, but most importantly, I have devel-
oped my critical thinking and been able to apply this
to design and other aspects of my life. This has made
me much more aware of things that happen around
me everyday, which I might not consciously take note
of. I have learnt how people perceive and approach
consumer products, and I would like to apply this to
0(:*1'#$&9.;;*-&;*1#A7*;&D@&f.'-#7&
5$,*#D*-'3&4,*&D-#*/&+.1&;*1#A7&.& create products, which benefit the user not only in its
;(:*1'#$&".;;*-B&+,#$,&+(6";&D*& function but also in its emotional value.”
61*;&#7;((-13&4,*&1'6;*7'1&:.;*&
1$."*&:(;*"1&(/&',*&".;;*-3
Studying industrial design can be one of the most re-
warding things you ever do, however, it requires ded-
ication, self-motivation and hard work. When you
graduate you are equipped to solve complex design
problems and become an entrepreneur. More than
that, studying industrial design helps you look at the
world around you with fresh eyes and, in the process,
identify and develop your strengths as a designer. 0

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 00;* )'
Illustration: [email protected]

!"#"#$%&'%()*+,-.'

COME GET SOME

@ the Cape Peninsula University of Technology’s Faculty of Informatics and Design. We offer a wide range of under and
postgraduate creative courses to choose from:
Architectural Technology | Fashion | Film & Video Technology | Graphic Design
Industrial Design Information Technology | Interior Design | Jewellery Design & Manufacture
Journalism | Multimedia Technology | Photopgraphy | Public Relations Management
Surface Design | Three-Dimensional Design | Town & Regional Planning
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Enquiries: 086 123 CPUT or www.cput.ac.za

 +!))5*6(0*&/!'0*
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By Robyn Mitchell

Attending the Design Indaba Expo looking at our work. It made me

one is always assured to leave feel very proud of CPUT.
with awesome inspiration, quality
designer pieces, and a fresh bout Roxanne Spears, former Graphic
of enthusiasm – no matter your Design lecturer and conceptual
field of expertise. This is an excit- brain behind the HeadSpace stand
ing exhilarating space for network- had the following to say:
ing of professional and emerging,
students and public. RM ) What are your passions,
what makes you tick as a designer
In 2009 the Cape Peninsula Uni- and what creative application do
versity of Technology (CPUT) was you prefer?
privileged to not only have a stand
at the Expo but to also be awarded RS ) Passionate people, art, music
the best stand award for their con- and design that brings beauty to
cept, HeadSpace. the world and inspires wonder-
ment. My amazing creative friends
Being the selected student to rep- continuously inspire me. I see fan-
resent the Graphic Design Depart- tastic work everyday while re-
ment was a surreal experience and searching. One of my biggest in-
a great honour and privilege for me. spirations in the last few years has
It was amazing to see delegates been Gourmet Magazine , which
and speakers having a look at the unfortunately closed down in
stand and knowing that they were 2008. As a graphic designer, I offer

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000* )'

a client the best media solution we edited and foundation design I also caught up with Daryn Mole-
for their brand. However, my main stepped in and made their own. naar, industrial design lecturer,
areas of focus are in packaging, My biggest help came from a few one of the helping hands for this
branding and publishing. amazing individuals – Daryn and project. For him, concept is king
Craig from the industrial depart- so any designer who pushes the
RM ) What was your original con- ment who built the stand; the boundary of what’s available has
cept with HeadSpace? very talented illustrators Justin his attention. That’s also why he
and Simon who worked with me loves working with students and
RS )'HeadSpace was the name of through to the end; the divine their ideas. According to him,
the poster campaign for the CPUT Lauren Fowler who worked into they are not afraid to be adven-
final exhibition. I saw the oppor- the night on the movies; the tal- turous in their designs. He also
tunity to follow the illustrated style ented team at Craftwork who put freelances and enjoys designing
that was created and the use of anything from medical equip-
Robby’s video together and to all
existing icons, but the concept was ment to cell phone packaging.
the students whose work was
more the design process of ‘inspir- Daryn says: “If I could choose
showcased.
ing’ students. I saw the Design only one field...I would get bored
– so a bit of this and a bit of that,
Indaba exhibition not only as a The production was the most chal-
that’s more my field.”
fantastic marketing opportunity lenging – especially having to get
but a great way to inspire excel- the institution to pay for each
RM ) Tell us a little more about
lence and motivate future students. step – the printing, the materials,
your experience and involvement
Inspiring excellence and passion the works, driver, hiring of equip-
in the project.
for design was close to my heart ment and the list goes on. The
as a design lecturer, so it was design part was fun.
DM )' As a lecturer it’s difficult
wonderful to design a stand that
not to teach. When I was busy in
showcased some of the very best RM ) What was it like to create and
the workshop, the students natu-
work and make the whole stand to share the Expo floor with the rally started helping out. We
about the students, which is why top designers in the industry? chatted about joining methods,
we teach in the first place. glues and materials needed for
RS )'It was a blast. I’d designed this project. Teach by doing.
RM ) Tell more about the logistics stands before but not in an envi-
and working with the other design ronment where the design of the Roxy gave a very clear idea of
departments. After all, the entire stand was as important as the what she had in mind and we tried
stand had to showcase a unity be- content on the stand and where to make it happen. The communi-
tween departments. the best of the best in South Africa cation between the two depart-
showcased their wares. It was ments was fantastic. They did their
RS )'All the different design depart- important that the stand not only part – the 2D, and we did ours – the
ments gave me images to work showcased the talented design- 3D and at the end we all worked
with to create the stop-frame ani- ers that come from CPUT, but that pretty well together.
mation movies. The industrial de- the stand itself was cutting-edge
sign department had already of contemporary design. RM ) What about the design and
made a showcase movie, which production process involved?
 00:* )'

DM )'Roxy came up with the basic prestigious and widely attended

concept, three asymmetrical event. It was also great for us as
shapes with AV screens included. we were too late in applying for an
All I did was bring the concept to emerging creatives stand to know
life. I worked closely with Craig our work was going to get seen
Finnan and Roxy on the concept anyway was great. And it was great
until we were all happy. Then I to be involved in what turned out
did some technical drawings and to be a successful project to work
went into the workshop for a few on. We learned a lot from it.
days.
RM )And to know that you are
RM )What was it like knowing sharing floor space with top de-
that the stand was sharing the signers?
Expo floor with top South African
designers? OHT )' I think it really motivated
us to do our best. We really wanted
DM )'It was a great honour and to deliver something that was dif-
nerve racking! It did not help ferent but effective and striking
walking around either, but it did – something that would stand out
feel good. I don’t think we had and be recognised.
the competition on our minds
when we created the stand. All RM ) As a young design company,
we wanted to do was create a being featured on the stand and
stand that would represent CPUT your greater involvement, how
and our students’ work. It was a did this impact on where you are
shock when they announced the today?
winning stand.
OHT )'Obviously we learned a hell
RM ) What was your initial reac- of a lot. We were very involved in
tion when you found out that of the design from its conception,
all the students of your depart- throughout production until the
ment, you had been chosen to be finishing touches. It was a tough
showcased on the CPUT stand? job but it was great to work on.
The exposure also helped a great
OHT )' We were obviously very deal and I think people who had
happy to have our work up. But heard of us before took us a little
also being part of the build-up more seriously. We got a few great
team – this was our first big job as contacts because of the stand as
One Horse Town and we were very well as lots of positive feedback. 0
excited about the massive expo-
sure we were going to get at this

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 00!* )'

Over the past decade, the Design Academy Eindhov- designers who are only qualified in a limited field, but
en has made quite an international name for itself prefers to place an emphasis on creating and fostering
and has managed to produce many famous alumni. It a designer in the fullest possible sense of the word.
has been chaired by one of the world’s most famous
trend-forecasters, Li Edelkoort and has, on a number The school draws on a lot of the teaching principles
of occasions, been named one of the world’s top de- of the Bauhaus, the first design school to truly em-
sign schools. So what makes the Design Academy brace a unity between artistic and practical tuition.
such an innovative design school? Like the Bauhaus, where every student followed a
general course which then led to the choice of a more
Established in the Netherlands as the Academy for specific path, the Design Academy system comprises
Industrial Design Eindhoven in 1947, the school sub- two parallel streams, namely the design departments
sequently changed its name in 1997 when it moved and the Compass departments, which both start out
into the old Philips lightbulb factory in the city centre in a very general and broad manner, and become
of Eindhoven. It continues to create the impression of more specific as the course progresses. The design
a creative factory, rather than a school. The bottom departments are the component that allows for more
three floors contain workshops for metal, wood, plas- focused design-related projects and teaching, while
ter, plastics, textiles, screen-printing, digital work the Compass departments teach subjects to all stu-
and photography, as well as student administration. dents, irrespective of their design directions. The four
The fourth and fifth floors comprise large open spac- directions are Atelier, Market, Forum and Lab, which
es where students cluster around tables in their vari- attempt to cover all aspects in which a designer is
ous departments for lessons, while the sixth floor involved in a rotational manner during first and second
tops it all with a cafeteria. year, and one chosen direction of focus in the third.

The school still remains primarily an industrial design Through these departments, the first year’s aim is to
school, with approximately 600 students, both un- expose students to as much as possible, both in the
dergraduate and postgraduate. But over the past sense of materials and techniques, as well as ways of
decade it has progressed into the realm of design in thinking and cultivating one’s personal identity. There
its entirety. Because of this, the school has veered is also great emphasis on creating an awareness of
away from traditional teaching. Where most schools oneself as a designer and oneself in relation to de-
teach in a discipline- specific manner, training and sign and creative expression.
developing graphic designers, industrial designers,
fashion designers and architects, respectively, the Having previously studied product design in Paris,
Design Academy chooses to train designers in the Mickael, a second-year student commented that the
most holistic sense of the word, with the emphasis course he had followed in Paris, comprising almost
being on design as a whole and the broad spectrum solely of drawing and 3D rendering. At the Design
that it involves. Academy there is a totally different approach to how
one is encouraged to work. Through both the Com-
The curriculum is shaped by this holistic teaching ap- pass departments and the design departments, there
proach, instilling the idea that design is not a career is a far greater emphasis on thinking and experiment-
but a way of life. The design industry is becoming ing in 3D throughout the entire design process.
less structured by specific, individual fields, but is
moving towards a state of merging and overlapping. Woodwork, sketching, painting and materials form
In the same way, the school does not wish to produce the basis of Atelier 1, with the emphasis on both in

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teaching basic techniques, but also in extracting of looking through the use and application of different
one’s personal qualities and hand writing, and learn- line directions, viewpoints and composition in draw-
ing to use these as strengths in the work process. The ing, conveying meaning through the sculpture of
higher years hone in on teaching the principle of form, ‘reading’, and designing and conducting con-
thinking with your hands as a source of inspiration textually conscious architectural studies, while the
and innovation. This department sets out to maxim- second year looks at colour and context, and design-
ise intuition, technique, knowledge and individuality, ing public spaces.
particularly through the traditional arts and crafts.
Lab is the more technically orientated of the Com-
Market is the Compass department for the entrepre- pass departments, where one can work and experi-
neurial designer, where the aim is in cultivating a de- ment with new knowledge and materials in many dif-
signer who sees the added value of design in a com- ferent ways. One can test techniques and is able to
petitive, globalised world. It also brings awareness to work with many different ideas and materials, with
the designer’s relationship within this market, and the aim of extending oneself and looking further than
how to effectively develop oneself and one’s products the familiar. Students are acquainted with available
in this market, preparing students for the creative skills and knowledge in the practical issues behind a
economy. In the first year this is done with a theatre design, as well as the means to create effectively. In
performance class, where one is forced to express the first year this is explored through technical draw-
oneself through words, movement and body lan- ing, metal studies, pertaining to the research of met-
guage, while another component is Form & Function, als as well as the application of metalwork tech-
a subject looking at form, shape, colour and material niques and methods, studies in 2D and 3D form, and
through a graphic and typographic medium. Higher prototype creation with foam, plaster, clay and ce-
years are directed more at the market relationship of ramic moulds. In the second year plastics are cov-
the product and of the consumer – taking the initial ered, as well as a subject focusing on the formal de-
first year relationship of oneself within the market, velopment of 2D to 3D.
and expanding that scope outward.
The Design departments, on the other hand, although
Social and cultural context also have relevance with- not specifically defined as such, are more discipline-
in design education, and this is covered in Forum. It specific. The eight departments are Man & Activity,
discusses the meaning and the position of the de- Man & Communication, Man & Identity, Man & Leisure,
signer, focusing on the cultural perspective of design, Man & Living, Man & Mobility, Man & Public Space
the influence of design on the world, and the world and Man & Well-Being, and already in the names,
on design, and the changing relationships between convey the openness and freeness of subject matter.
context, content and public, investigating these in
both a practical and theoretical way. Initially, meth- Each name is essentially self-explanatory, referring
ods of research and design writing are explored, more to what the department potentially could include,
while later, philosophy and cultural studies are ob- as opposed to what it is limited to. And it is this sort
served. The more practical components of the depart- of attitude that seems to guide the path of teaching
ment involve applied research and study about ways that the design departments follow. Although each

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department does tend towards a more specific de- this sort of approach can exist because of the ques-
sign discipline, it is in no way restricted to it. In fact, tioning, free and self-exploratory nature that the
one could almost make anything in any of the depart- academy embeds in its students.”
ments, as long as it in some way pertains to the de-
partment’s philosophy, approach and way of working. One way that students are pushed into this direction is
And because of this sort of approach, the syllabus by lecturers keeping things intentionally vague. Stu-
allows for a style of teaching that isn’t direct teaching dents are forced to keep swimming, and find the edge
as such, but more a means of equipping students themselves. This really draws more out of students
with skills, and then leaving the rest up to individual. than mere spoon-feeding. Sometimes this approach
Mickael, a French student in the second year, elabo- can be frustrating, as Chizu, a third-year student from
rates, “At the Design Academy they teach in the Japan expresses. She was used to a system of rules
sense of giving you a starting point and a time frame, and instructions, and having to follow these in order
at which they expect an end point, but leave the in- to succeed. However, at the Design Academy, she
between part up to us, so that you can meander and finds that things are taught more as a guideline than
find your own way to that end point.” as a strict definition. Although a sometimes frustrat-
ing approach, it is this sort of approach that also
These design departments are followed as introduc- forces one to become more decisive about one’s own
tory lessons in the first year, while the second and ideas and direction, and allows one to stumble upon
third years cover four semester-long modules. The solutions that would otherwise not be found. This ap-
teachers of these departments are, in fact, not teach- proach ultimately develops a designer who can think
ers, but professional designers, working in industry. for him or herself.
So ultimately, one is not taught as such, but students
are treated more like real designers, while at the Diddue, a second-year student, originally from Spain,
same time, the teachers take on more of a mentoring had previously studied interior architecture in Bel-
role in the way that they try to impart their knowl- gium. “I found that the syllabus there was interest-
edge and current experience in the field. The final ing, but there was still something lacking.” He elabo-
year of study starts out with a semester-long intern- rated that in his previous studies the focus was
ship, and ultimately culminates in the completion of predominantly on the technical side, involving model
a graduation project. building, technical drawing and learning software.
These are no doubt all important skills in the design
Throughout the four years at the Design Academy the industry, but for him, and many other students, the
teaching style has a conceptual emphasis. As Peter, Design Academy is a school that fulfils that some-
a second-year student from Taiwan commented: “In thing that is lacking. By embracing a more creative
comparison to previous studies, where the emphasis and holistic approach to design, as opposed to only
often lay in evaluating by the standards of ‘will any- an industry-orientated slant that so many schools
one buy it’, here at the Design Academy, the empha- adopt, designers are trained to meet current needs.
sis often does not in fact lie there, but more in the Creating an open and free space allows for the flour-
realm of cultivating conceptually strong or relevant ishing of new and innovative designs, in an environ-
designs, irrespective of its direct market value. And ment of potential, instead of constraints. 0

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